Django Unchained, Quentin Tarantino’s latest creation definitely created a huge buzz after winning the Golden Globes for Best Original Screenplay and not to mention grabbing a Best Picture nomination at the Oscars. This film stars Jamie Foxx, Leonardo DiCaprio and Samuel L. Jackson is already being dubbed as Tarantino’s highest grossing film after Pulp Fiction. Check out why Django Unchained got nominated at the Oscars this year below:
“Django Unchained: Tarantino’s Best Film Since Pulp Fiction
Some people have expressed surprise that Django Unchained has been Oscar-nominated for Best Picture. But this is Quentin Tarantino’s most entertaining film since Pulp Fiction, and its first hour is brilliantly funny.
It’s too bad about the second one. The early scenes are engaging and inventive. Christoph Waltz (an Oscar-winner for Inglourious Basterds) is slyly subversive as a soft-spoken German dentist turned deadly bounty hunter.
He intercepts a chain gang of blacks and offers to buy Django (Jamie Foxx, an Oscar-winner for Ray), to help him find a white three-man gang who may be hiding nearby.
Django does just that, and they outwit a vengeful Ku Klux Klan, under the leadership of Don Johnson and Jonah Hill.
Their problem is the ill-fitting bags over their heads, which mean they can’t see.
This is an inspired comic sequence worthy of Blazing Saddles. It’s also a skilful parody of scenes in the 1915 classic, The Birth Of A Nation, where director D.W. Griffith glorified the Klan as American heroes.
The grateful German entrepreneur helps Django learn to shoot, and offers him a job as his bounty hunting partner: ‘It’s like slavery — it’s a cash for flesh business.’
Django replies, with brutal honesty, that he just wants ‘to shoot white folks for money’. There follow more splendid scenes, as the two partners ride as equals into southern towns, causing outrage among the men and fainting fits among the women.
Waltz’s way with words and his ability to hide behind the law are richly enjoyable. He and the deadpan Foxx make a hilarious double-act.
The film starts to falter when it attempts to take a deeper, more emotional turn. Django reveals he has a wife (Kerry Washington) whose German owners taught her German and called her Brunhilde.
She was branded on her face for trying to run away with her husband. The bounty hunters learn she has gone to work for a rich, evil plantation-owner called Calvin Candie (Leonardo DiCaprio), who has a taste for black-on-black ‘Mandingo’ all-in wrestling to the death and uses female slaves for his sexual pleasure, as ‘comfort girls’.
The bounty hunters hatch a plan to rescue Django’s wife under the guise of purchasing one of Candie’s fighter-slaves at an absurdly inflated price.
Once inside Candie’s heart of darkness, however, they have to outwit not only the sharp-witted Candie but his chief slave-butler, a memorably malevolent Uncle Tom called Stephen (Samuel L. Jackson).
Things do not go as planned, and there is an almighty shoot-out.
A less self-indulgent director would allow the film to end there, but Tarantino lets it ramble on for quite a bit longer, with a spectacularly ill-advised acting cameo by the writer-director, who attempts an accent that’s meant to be Australian but sounds more South African.
As with Peter Jackson’s Hobbit, a film with plenty of high points is allowed to run on for at least half-an-hour too long.”
The rest of the article can be read at Daily Mail
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