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Short summary

With the help of a German bounty hunter, a freed slave sets out to rescue his wife from a brutal Mississippi plantation owner.
In 1858, a bounty hunter named Schultz seeks out a slave named Django and buys him because he needs him to find some men he is looking for. After finding them, Django wants to find his wife, Broomhilda, who along with him were sold separately by his former owner for trying to escape. Schultz offers to help him if he chooses to stay with him and be his partner. Eventually they learn that she was sold to a plantation in Mississippi. Knowing they can't just go in and say they want her, they come up with a plan so that the owner will welcome them into his home and they can find a way.

Trailers "Django Unchained (2012)"

When Calvin Candie (Leonardo DiCaprio) smashes his hand on the dinner table, DiCaprio accidentally crushed a small stemmed glass with his palm and really began to bleed. He ignored it, stayed in character, and continued with the scene. Quentin Tarantino was so impressed that he used this take in the final print, and when he called cut, the room erupted in a standing ovation. DiCaprio's hand was bandaged, and he suggested the idea of smearing blood onto the face of Kerry Washington. Tarantino and Washington both liked this, so Tarantino got some fake blood together.

During the filming of one of the dinner scenes, Leonardo DiCaprio had to stop the scene because he was having "a difficult time" using so many racial slurs. Samuel L. Jackson then pulled him aside telling him, "Motherfucker, this is just another Tuesday for us."

Leonardo DiCaprio, whose role marked the first time he played a villain since Der Mann in der eisernen Maske (1998), was uncomfortable with how horrible and explicitly racist his character was. However, Quentin Tarantino convinced him to be as menacing as possible, saying that if he didn't take it all the way, people would hold it against him forever.

According to critic Alex Ross, the alliance between Django (Jamie Foxx) and Dr. King Schultz (Christoph Waltz) is "not as absurd" as audiences might believe, because in the 1840s, many German revolutionaries and progressives left Europe for the U.S., where they often became active in the anti-slavery movement.

Jamie Foxx used his own horse, Cheetah, in the movie. He got it four years prior as a birthday present.

In an interview, Quentin Tarantino stated that originally, the mandingo fight scene, and the scene with the dogs, were longer and more violent. He said he felt like he was going to "traumatize" the audience, so he cut both scenes down.

After working on this film, Composer Ennio Morricone said he would probably never again collaborate with Quentin Tarantino, since he didn't like the way he "places music in his films without coherence" and "never giving enough time". However, Morricone and Tarantino collaborated again on The Hateful Eight (2015), which earned Morricone his first Academy Award.

After an accident in training, where Christoph Waltz was thrown off his horse and broke his pelvis, Jamie Foxx gave him a gift to make him feel better about riding a horse: a saddle with a seat belt.

Christoph Waltz turned down the role when first given the script. He felt it was too tailored to his persona. Quentin Tarantino insisted and wouldn't take no for an answer. Waltz agreed under one condition: his character had to be pure, and never once act in a negative or evil manner. Tarantino sent him a hand written letter that simply said "Of Course, Mein Herr!- Q" Waltz sent a telegram back "Mein Herr, Of Course!- CW"

Christoph Waltz dislocated his pelvic bone while training for his part. He alluded to the injury backstage after winning the Golden Globe, stating, "Riding a horse wasn't much of a challenge. Falling off was." Waltz's injury necessitated that Dr. King Schultz's early scenes on horseback be accommodated by a horse-drawn wagon instead.

Will Smith, Idris Elba, Chris Tucker, Terrence Howard, Michael Kenneth Williams, and Tyrese Gibson were all considered for the role of Django. Quentin Tarantino actually wrote the role with Smith in mind, and Smith's agents and manager wanted him to accept it, but Smith ultimately decided to pass. Tarantino then offered the part to Jamie Foxx, who accepted.

The twelve thousand dollars paid for Broomhilda's (Kerry Washington's) freedom equates to just over three hundred eighteen thousand dollars in 2013.

Christoph Waltz concluded his Oscar acceptance speech for this film with, "sorry, couldn't resist", a reference to his character's final line on-screen, "I'm sorry. I couldn't resist."

The film was shot in one hundred thirty days. This was Quentin Tarantino's longest shooting schedule for a single film.

Quentin Tarantino revealed at Comic-Con that Django (Jamie Foxx) and Broomhilda (Kerry Washington) are meant to be the great-great-great-grandparents of the character John Shaft from the Shaft (1971) films. An overt reference to this connection can be found in Washington's character's full name: Broomhilda Von Shaft.

Die himmlische Joan (2003) star Amber Tamblyn made a cameo early on in this movie as Dr. King Schultz and Django make their way through the town of Daughtry, Texas. Django, on his horse, causes quite a stir in the town, and in one shot, Amber Tamblyn is seen gazing down from behind a window, in amazement as the pair make their way through the town. In an interview, the actress explains on the reasoning for the cameo, "It was first a friend thing", she explained. "He texted me and said, 'Would you come do a cameo?' And I said 'yes'. And after the fact, I said, 'It would be super cool to have my father (Russ Tamblyn) and me play Son of a Gunfighter and Daughter of a Son of a Gunfighter.' And Quentin was like, 'Sold. Done'. So it's sort of like this totally weird thing to happen and a total inside joke." It's also a sweet father-daughter memory. "It's such a cool moment for me to see my name in an old Western style next to my dad's", Tamblyn said. "Even though I didn't really have much of a role, that to me is like a career lifetime moment. Some day, when my dad is gone, I'll look at that and go, 'We were next to each other.'"

When Quentin Tarantino first met Franco Nero in Rome, he told Nero that he first saw Django (1966) when he was working in a video store. He then proceeded to recite lines and even sing the songs to Nero from all of his movies. Nero was astonished that he knew them all.

The quilt that is on the bed, onto which Broomhilda is thrown, is an Underground Railroad style. Myth has it, that slaves would use quilts to communicate, and the Underground Railroad style was saying to "pack up and go".

Jonah Hill was supposed to play a bigger role in this film. He was originally cast to portray a character named Scotty Harmony, the son of Southern slave buyers who would purchase Broomhilda (Kerry Washington) to become his lover. The entire segment was cut.

At one hour, six minutes, and seventeen seconds, Christoph Waltz's performance in this movie is the longest ever to win an Academy Award for Best Actor in a Supporting Role.

The white men playing poker towards the end of the film are using severed ears from slaves as their currency.

Excluding films in which the cast is billed alphabetically (Celebrity - Schön, reich, berühmt (1998) and Don's Plum (2001)) this is the first time in sixteen years that Leonardo DiCaprio didn't get top billing.

The film did not receive a rating from the MPAA until over a week before its wide domestic release. Nevertheless, Quentin Tarantino decided in the best interests of audiences to tone down the film's violence. According to Tarantino, "the MPAA actually gave an R rating to a rougher version than I ultimately ended up presenting to the public. I could handle a rougher version of the movie than what exists right now. I have more of a tolerance for it, but I kind of realized that when I watched that version of the movie with audiences, that I was traumatizing them too much. It's just that f**king simple. And I want people to enjoy the movie at the very end of it."

The men in hoods organized by Big Daddy (Don Johnson) represent a group known as "The Regulators", spiritual forebearers of the post-civil war KKK, formed in 1865.

Cuba Gooding, Jr. lobbied for the role of Django, but Quentin Tarantino would not consider him. According to Gooding, it's his biggest disappointment.

Leonardo DiCaprio (Calvin Candie) was originally the first choice for the role of antagonist Colonel Hans Landa in Quentin Tarantino's Inglourious Basterds (2009). However, Tarantino decided that a German-speaking actor should portray the character, and the part went to Christoph Waltz, who portrays Dr. King Schultz in this film, which marks Waltz's second film collaboration with Tarantino. DiCaprio can, however, speak some German.

Django's blue costume is based on the famous painting "The Blue Boy". This painting inspired F.W. Murnau's film Emerald of Death (1919). Murnau is best known for creating the "Unchained" camera technique.

Holds the all time record for most uses of the "n" word, or some version of it in a movie, with one hundred sixteen uses.

While filming on-location in Jackson Hole, Wyoming, Quentin Tarantino rented out a local movie theater to show samurai and Western movies from his own personal collection.

The name "Django" is a Romani name, meaning "I awake". It was very popular amongst musicians and jazz enthusiasts for having been the adopted name of Jean-Baptiste Reinhardt (1910-1953), a Romani-Belgian jazz guitarist known as Django Reinhardt, whose story was told in Django (2017).

One of the members of the Smitty Bacall Gang was Gerald Nash. This name was also used as one of the police officers killed by Mickey and Mallory in Natural Born Killers (1994) (written by Tarantino). This is a trademark of Tarantino's: reusing names and relating characters amongst his scripts.

While Kevin Costner turned down the role of Ace Woody, this is not the first time he has rejected a role offered to him by Quentin Tarantino. The character of Bill in Tarantino's Kill Bill films was originally written with Costner in mind, and eventually offered to him, but he refused. That role went to David Carradine, who died in 2009, and to whom this film is dedicated.

Quentin Tarantino has said that Calvin J. Candie is the only character he has ever created who he truly despises.

Dr. King Schultz says he wants to re-name Eskimo Joe, the Mandingo fighter he tries to purchase, "Black Hercules". This was the real-life nickname of Ken Norton, the actor and boxer who starred in Mandingo (1975).

Calvin explains that via the study of Phrenology, he is able to find the three dimples on Ben's skull, which represent submissiveness. Phrenology was an ill-fated phase of real Psychology when it was actually believed bumps on different skull locations represented different traits like creativity, athletic ability, and so on. It is considered quackery by modern medical standards.

This is the second time Jamie Foxx and Kerry Washington have portrayed a married couple. The two previously starred as Ray Charles and Della Bea Robinson in Ray (2004).

Leonardo DiCaprio was injured twice, once during rehearsal, and once during filming. Once with a hammer that broke and hit him in the head. For filming, the hammer he handled was made of foam. The second is an accidental glass broken while filming the dinner scene, which was real, and caused DiCaprio to bleed.

For the montage sequence of Django and Dr. King Schultz beginning their partnership as bounty hunters, Writer and Director Quentin Tarantino played the background music live on the set while filming.

In the scene in which Stephen (Samuel L. Jackson) is describing what will happen to Django (Jamie Foxx) after he is shipped to the mining company, Stephen ends his monologue by saying "And that will be the story of you." Quentin Tarantino previously used this line in Kill Bill: Vol. 2 (2004).

While it is known that there is a link between Dr. King Schultz and the grave of the mysterious "Paula Schultz" featured in Tarantino's Kill Bill: Vol. 2 (2004), not much is fully understood about the connection. However, fans have theorized that Dr. Schultz was related to this Paula Schultz character, possibly as in husband and wife at some point, who were separated shortly before the doctor went to pursue his career as a bounty hunter. Other theories suggest that Paula Schultz could have been Dr. Schultz's estranged daughter or long-lost sister. Tarantino has not confirmed this, however.

The film's release was delayed in China by government censors in April 2013. Their requests included "turning the blood to a darker color, or lowering the height of the splatter of blood."

There was talk of splitting the film into two parts, like Kill Bill, but Quentin Tarantino eventually rejected the idea and cut a whole lot of the planned film. Among what was cut out includes an entire backstory for Zoë Bell's character, which explains that she wears a bandanna over her face to hide a gruesome injury. Tarantino does plan on releasing an extended cut later down the line, restoring some scenes that were left on the cutting room floor.

Dr. King Schultz partly mirrors the real-life Doc Holliday, also a dentist turned gunfighter.

Leonardo DiCaprio has stated that the characters of Drexl Spivey from True Romance (1993) and Doc Holliday from Tombstone (1993) were main influences on his performance as Calvin Candie. True Romance (1993) was also written by Quentin Tarantino.

The Italian song playing right before Django and Broomhilda reunite translates as "Still here/ still you/ although now/ I know who you are/ who you will always be/ and when you'll see me// you'll remember/ still here/ still you/ I hope that you will forgive me/ you, your eyes are still the same, you seem to ask again about me/ about how things are/ (...) something that will come back/ as it was again/ still here/ still you/ and what's been is gone by now/ and" (song ends abruptly).

Joseph Gordon-Levitt was cast in a minor role as Jano, but had to drop out due to scheduling conflicts with his directorial debut, Don Jon (2013).

Many of the actors and actresses were playing characters written with them in mind, including, among the more sizable roles, Christoph Waltz, Leonardo DiCaprio, and Samuel L. Jackson.

As appreciation for being cast, James Remar gave Quentin Tarantino a 35mm IB Technicolor print of Mandingo (1975). Quentin occasionally screens the print at his repertory theater in Los Angeles, The New Beverly Cinema.

With a budget of one hundred million dollars, this is Quentin Tarantino's most expensive film.

When Django (Jamie Foxx) and Dr. King Schultz (Christoph Waltz) are in Daughtrey, Texas, the saloon they are in is called "Minnesota Clay's Saloon". Minnesota Clay (1964) is the name of a Western movie directed by Sergio Corbucci, the same director of Django (1966).

Although the film is often considered a part of the Western genre, Writer and Director Quentin Tarantino preferred to refer to the film as a "Southern", due to the film's setting in America's deep south.

Franco Nero, making his cameo in the film, is seen wearing white gloves. This may be a reference to his wounds in Django (1966). However, this should not be seen as him being the same character in both movies, as Django (1966) took place in the 1870s, and this movie took place in the 1850s.

DIRECTOR TRADEMARK (Quentin Tarantino): (rotating shot): During the first dinner scene with Calvin, the camera moves around the table as he talks, showing the different characters' faces, and towards the end, when Django is talking with the LeQuint Dickey Mining Company about the Smitty Bacall gang, the camera similarly rotates around them. Tarantino used this effect in Reservoir Dogs - Wilde Hunde (1992) and Death Proof - Todsicher (2007).

Zoë Bell and Lady Gaga were considered for the role of Lara Lee Candie-Fitzwilly.

Dr. King Shultz (Christoph Waltz) killed approximately twenty-three people, while Django (Jamie Foxx) killed approximately thirty-eight people in this movie's run. Calvin Candie (Leonardo DiCaprio) kills nobody, but under his instruction, is responsible for two deaths.

Despite Quentin Tarantino writing the role of Django specifically for Will Smith, he ultimately decided to pass on the film, due to him seeing the character as not being the lead. He told Entertainment Weekly, "Django wasn't the lead, so it was like, I need to be the lead. The other character was the lead. I was like, 'No, Quentin, please, I need to kill the bad guy.' I thought it was brilliant. Just not for me."

The opening song is the soundtrack that played during the opening credits of Django (1966) by Luis Bacalov.

First western to win the Academy Award for Best Original Screenplay since Zwei Banditen (1969), and the first to win an Award for Acting (and in the same category) since Erbarmungslos (1992). This movie, along with True Grit - Vergeltung (2010), repeated a rare pattern, where twenty years earlier, two westerns (the other being Der mit dem Wolf tanzt (1990)) were nominated for Best Picture two years apart.

Leonardo DiCaprio does not appear until one hour and three minutes in.

Dr. King Schultz's (Christoph Waltz's) and Django's (Jamie Foxx's) horses are named "Fritz" and "Tony", respectively. These are the names of the horses of, respectively, silent Western stars William S. Hart (Fritz the Horse) and Tom Mix (Tony the Horse).

DIRECTOR CAMEO (Quentin Tarantino): One of the LeQuint Dickey Mining Company employees, using an Australian accent. He is also wearing a bag on his head as one of The Regulators.

During the first forty minutes of the movie, with the exception of a single scene at Big Daddy's (Don Johnson's) plantation, Dr. King Schultz (Christoph Waltz) drives a wagon, rather than riding a horse. This was because Waltz had injured his pelvis in a fall from a horse prior to principal photography. Analysis of the script shows that there was only a small amount of dialogue that ever had to be re-written, due to the cart.

Sacha Baron Cohen was cast as Scotty, and Kurt Russell was cast as Ace Woody, but both dropped out due to scheduling conflicts. Kurt Russell starred in Quentin Tarantino's The Hateful Eight (2015), which also featured Samuel L. Jackson and Walton Goggins. Coincidentally, The Hateful Eight (2015) is set in the same universe as this movie, but is not a sequel. Samuel L. Jackson and Walton Goggins play different characters in both movies.

Features seven actors who have been nominated for an Academy Award for Best Actor in a Supporting Role. Jamie Foxx (for Collateral (2004)), Christoph Waltz (Inglourious Basterds (2009) and this film), Leonardo DiCaprio (Gilbert Grape - Irgendwo in Iowa (1993)), Samuel L. Jackson (Pulp Fiction (1994)), Jonah Hill (Die Kunst zu gewinnen - Moneyball (2011)), Russ Tamblyn (Glut unter der Asche (1957)), and Bruce Dern (Coming Home - Sie kehren heim (1978)). Waltz is the only one to have won, although Foxx captured the Best Actor Oscar for Ray (2004), and Leonardo DiCaprio for The Revenant (2016).

WILHELM SCREAM: When the riders retreat from the exploding wagon in their night raid, and one falls off a horse.

Sid Haig was a strong contender for the role of "Mr. Stonesipher", so much so that Casting Director Victoria Thomas informed Haig's agent, "It's a lock". Quentin Tarantino scheduled, and later cancelled at the last minute, two auditions for Haig. Two months later, the role quietly went to David Steen instead. Tarantino, being known for his extremely dry humor, this "prank" is presumably rooted in Haig turning down the role of Marcellus Wallace in Pulp Fiction (1994).

The final showdown with Django and the hillbilly trackers was written to be entirely different. Mr. Stonesipher, the head of the trackers, was originally to be a stronger, and more threatening villain to Django. There was a scene written in the final draft of the script with Django killing the trackers with an axe. He then faces Mr. Stonesipher, and the two engage in hand-to-hand combat, with Stonesipher nearly defeating Django, but eventually losing.

Dr. King Schultz (Christoph Waltz) reminds Monsieur Candie (Leonardo DiCaprio) that his slave D'Artagnan (Ato Essandoh) is named for the hero of Alexandre Dumas' novels, and that Dumas was one-quarter Black. Waltz and DiCaprio have appeared in adaptations of those novels: Waltz played Cardinal Richelieu in Die drei Musketiere (2011) and DiCaprio played King Louis XIV and his identical twin brother Phillippe in Der Mann in der eisernen Maske (1998).

Russ Tamblyn, whose character in this movie is named "Son of a Gunfighter", starred in Sohn des Revolverhelden (1965). Also, Tamblyn's real-life daughter Amber played the character named "Daughter of a Son of a Gunfighter".

After the actors left the project, the minor roles that were going to be played by Michael Kenneth Williams, Sacha Baron Cohen and Joseph Gordon-Levitt were removed from the film.

Denzel Washington was considered for the role of Django, but was deemed too old.

Marks the fifth time Writer and Director Quentin Tarantino and Samuel L. Jackson collaborated in a director/actor relationship.

Although some viewers feel that Calvin Candie (Leonardo DiCaprio) displays incestuous behavior towards his sister Lara (Laura Cayouette), it is not necessarily so. He is a Francophile, and it is a tradition among the French to greet each other by kissing on the cheeks.

In the beginning of the film where Dr. King Schultz frees Django, one of the slave owners calls one of the slaves "Blueberry". This is a reference to the comic "Blueberry" made by Jean "Moebius" Giraud and Jean-Michel Charlier. Blueberry takes place during the American old west, where the main character starts out as a racist, but after he is saved by an African-American, he becomes a gunman who fights against all kinds of discrimination.

Samuel L. Jackson does not appear until one hour and twenty-six minutes into the film.

The screenplay for this film was featured in the 2011 Blacklist; a list of the "most liked" unmade scripts of the year.

Was described by Samuel L. Jackson in an interview as "Shaft (1971) on a horse."

Franco Nero was considered for the role of Calvin Candie, but instead was given a cameo appearance as a minor character. Nero suggested that he play a mysterious horseman who haunts Django in visions and is revealed in an ending flashback to be Django's father. Quentin Tarantino opted not to use the idea.

Django (Jamie Foxx) takes on a mythical form while on Big Daddy's (Don Johnson's) plantation confronting the Brittle Brothers. The Gothic nature of this scene is clearly represented when Big John Brittle (M.C. Gainey) is about to whip Little Jody (Sharon Pierre-Louis) for breaking eggs. Django is dressed in his "Blue Boy" attire, but when Little Jody looks at his image in the mirror next to the tree where she is tied, Django's head and hands are invisible in the reflection, elevating his mythic stature to that of an enchanted figure. In Gothic lore, specters and ghosts are unable to see their own reflections.

Quentin Tarantino's first movie not edited by Sally Menke, who died in 2010. Fred Raskin (who assisted Menke on Kill Bill: Vol. 1 (2003) and Kill Bill: Vol. 2 (2004)) took over editing duties.

When Calvin's people return from his funeral, they find Django upstairs in the house wearing a burgundy suit. This is the same suit Calvin was wearing when he first appeared in the movie.

Dr. King Schulz mentions that Alexandre Dumas was one-quarter Black. Dumas was of mixed ancestry. On his father's side, his grandfather was a French nobleman, and his grandmother was an African slave in what is now Haiti, which makes Dumas one-quarter Black.

The scene with the Australian slave traders was originally written a little differently. Instead of two Aussies and the Southern hillbilly man (played by Michael Parks), according to the final draft of the script, there were supposed to be three Australians, and the characters had more dialogue.

It's been theorized that Paula Schultz, the deceased woman in whose grave Beatrix Kiddo (Uma Thurman) is buried alive, in Kill Bill: Vol. 2 (2004) is Dr. King Schultz's wife. On the gravestone, it states that Paula Schultz died in 1898. This film takes place in 1858 to 1859, and Dr. King Shultz may had been married at some point in his life.

This is technically not the first western Django movie, on which Quentin Tarantino has worked. He played a minor role in Sukiyaki Western Django (2007). This role was in exchange for a request by Tarantino for Sukiyaki's director, Takashi Miike to cameo in Eli Roth's Hostel (2005).

Quentin Tarantino wrote a role for Michael Kenneth Williams, but Williams had to turn it down due to scheduling conflicts with Boardwalk Empire (2010).

Early in the film, Christoph Waltz kills a town Sheriff, and is about to be arrested by the local U.S. Marshal, until he pulls out an arrest warrant for the man he has just killed. Later in the movie, he points out Monsieur Candie's fondness for Alexandre Dumas, whose novel "The Three Musketeers" features a similar discussion between D'Artagnan and Cardinal Richelieu, who was played by Waltz in Die drei Musketiere (2011).

Production Designer J. Michael Riva died on June 7, 2012, long before the Christmas Day release. This movie is his final credit.

In one of the scenes at the beginning, Tarantino used an arrangement of the main music theme from Ein Fressen für die Geier (1970), directed by Don Siegel, and original score written by Ennio Morricone.

David Steen plays Mr. Stonesipher, Candie's dog handler. The last time Steen worked with Quentin Tarantino, he played a dog-handling cop in Reservoir Dogs - Wilde Hunde (1992).

Four characters use the "n" word at least ten times: Calvin Candie (twenty-nine times), Stephen (twenty-seven), Django (fourteen), and Big Daddy (eleven).

The rifle used by Dr. King Schultz is a 1874 Sharps Buffalo, which appeared twenty years later than what the movie would suggest.

It has been suggested that Michael Parks' character in this film is Earl McGraw's (a role played numerous times by Parks) ancestor, although neither Quentin Tarantino nor Parks have confirmed this.

Dennis Christopher's character, Léonide Moguy, is a reference to French director Léonide Moguy.

The film cast includes four Oscar winners: Christoph Waltz, Leonardo DiCaprio, Jamie Foxx, and Quentin Tarantino; and four Oscar nominees: Samuel L. Jackson, Bruce Dern, Russ Tamblyn, and Jonah Hill.

Leonardo DiCaprio and Russ Tamblyn appeared in modern-day adaptions of Romeo and Juliet. DiCaprio played Romeo in William Shakespeares Romeo & Julia (1996), and Tamblyn played Riff in West Side Story (1961).

The music where Django confronts Big John Brittle (M.C. Gainey) and Lil Raj Brittle (Cooper Huckabee) is from Django (1966), when the main antagonist in the latter movie is using Mexican civilians as target practice.

In a January 2013 interview with Vanity Fair, Costume Designer Sharen Davis said much of the film's wardrobe was inspired by spaghetti westerns and other works of art. For Django's wardrobe, Davis and Quentin Tarantino watched Bonanza (1959), and referred to it frequently. The pair even hired the hatmaker who designed the hat worn by Little Joe. Davis described Django's look as a "rock-n-roll take on the character". Django's sunglasses were inspired by Charles Bronson's character in Der weiße Büffel (1977). Davis used Thomas Gainsborough's 1770 oil painting The Blue Boy as a reference for Django's valet outfit. In the final scene, Broomhilda wears a dress similar to that of Evelyn Stewart's character in Ein Loch im Dollar (1965). Davis said the idea of Calvin Candie's costume came partly from Rhett Butler, and that Don Johnson's signature Miami Vice (1984) look inspired Big Daddy's cream-colored linen suit in the film. Dr. King Schultz's fake chinchilla coat was inspired by Telly Savalas in Einsatz in Manhattan (1973). Davis also revealed that many of her costume ideas did not make the final cut of the film, leaving some unexplained characters such as Zoë Bell's tracker, who was intended to drop her bandana to reveal an absent jaw.

DIRECTOR TRADEMARK (Quentin Tarantino): (long shot): There is a long shot when Django is explaining his plan to the LeQuint Dickey Mining Company employees.

DIRECTOR TRADEMARK (Quentin Tarantino): (long shot): During the dinner scene in Candyland, there is a long shot where Stephen (Samuel L. Jackson) walks from the kitchen to the dining room, then it switches off to Dr. King Schultz (Christoph Waltz).

The fifteenth biggest grossing film of 2012.

In November, 2012, in his monologue while hosting Saturday Night Live (1975), Jamie Foxx promoted the movie and included this: "And in the movie I had to wear chains. How whack is that? But don't be worried about it, because I get out the chains, I get free, I save my wife, and I kill all the white people in the movie. How great is that?"

This is the first stand-alone film (not counting Grindhouse (2007) or Death Proof - Todsicher (2007)) directed by Quentin Tarantino which was not produced by Lawrence Bender.

Jamie Foxx's first western.

Firearms used in the film: James Remar (who plays two characters) wields the same weapon as both, a muzzle-loading, double-barreled, sawed-off 12-gauge shotgun; Lil' Raj Brittle carries a .44 caliber Colt Dragoon, with which Django shoots him six times; Django wields a .36 caliber 1851 Colt Navy revolver; Dr. Schultz wields a .44 caliber 1858 New Army revolver; in the final shootout, Django wields both revolvers; Schultz also wields a Cobra Big Bore .38 caliber Derringer on a sleeve slide, and a .45-70 Sharps 1874 Cavalry Carbine; various characters wield a .44 Rimfire 1860 Henry Rifle; various villains wield 1856 .577 muzzle-loading Enfield Pattern cavalry carbines; Django briefly carries a .44 caliber Remington 1858 Cattleman's Carbine.

The title alludes to the titles of Django (1966), Hercules Unchained (1959), and Engel ohne Ketten (1970).

Kevin Costner was cast as Ace Woody, but dropped out due to scheduling conflicts.

The final draft of the script is dated April 26, 2011.

Quentin Tarantino included scenes in the snow as an homage to Leichen pflastern seinen Weg (1968). "Silenzio takes place in the snow. I liked the action in the snow so much, Django Unchained has a big snow section in the middle", Tarantino said in an interview.

Kurt Russell replaced Kevin Costner for the role of Ace Woody, but then had to pull out. Russell and Costner appeared in Crime is King (2001), and have played lawman Wyatt Earp, in Tombstone (1993) and Wyatt Earp - Das Leben einer Legende (1994), respectively. Ironically, Costner was favored over Russell for the role of Crash Davis in Annies Männer (1988).

Calvin J. Candie's given names are a reference to Italian Director Giorgio Ferroni, who directed several Spaghetti Westerns, including a trilogy starring Giuliano Gemma (Ein Loch im Dollar (1965), Tampeko (1966), and Für drei lumpige Dollar (1967)). For these films, he was usually credited as "Calvin J. Padget", "Calvin Jackson Padget" or "Calvin Jakson Padget". Quentin Tarantino has listed the Padget-Gemma trilogy among his favorite Spaghetti Westerns, and used the first film's theme for the soundtrack of Inglourious Basterds (2009).

Das Geheimnis von Twin Peaks (1990) cast members Russ Tamblyn and Michael Parks appeared in this movie, alongside their respective children, Amber Tamblyn and James Parks, as well as Bruce Dern, father of their Twin Peaks (2017) castmate, Laura Dern.

This is one of two films written and directed by Quentin Tarantino, that featured Samuel L. Jackson and Michael Bowen, in which the main protagonist's name is in the title. The other film was Jackie Brown (1997).

During this shoot, Walton Goggins was contacted by Sons of Anarchy (2008) Creator Kurt Sutter about the transgender role of Venus Van Dam for season five. Being a big fan of the show, Goggins accepted and appeared in six episodes.

Leonardo DiCaprio (Calvin Candie) and Jonah Hill (Bag Head #2) appeared in The Wolf of Wall Street (2013).

In the first draft of the script, Dr. King Schultz was written to be more vulgar.

Jamie Foxx and Samuel L. Jackson appeared in The Great White Hype (1996).

Samuel L. Jackson and Lewis Smith grew up in Chattanooga, Tennessee.

The plantation owned by Calvin Candie is called "Candyland". There is a racing board game called "Candyland" that was published by Milton Bradley in 1949. Calvin Candie died in 1859, ninety years before the board game was invented.

Nichole Galicia and Ato Essandoh appeared in Wish I Was Here (2014).

Dr. King Shultz wants to buy the Mandingo fighter Eskimo Joe and rename him "The Black Hercules". In another Leonardo DiCaprio movie, Aviator (2004), the giant troop plane designed by Howard Hughes was named "The Hercules", a.k.a. "The Spruce Goose".

Don Johnson and Rex Linn appeared in this movie. Both were in television shows that took place in Miami, where they were in law enforcement: Johnson in Miami Vice (1984) and Linn in CSI: Miami (2002).

In the original draft of the script, there was supposed to be a young stable/slave boy named Timmy.

Christoph Waltz played a similar role in Alita: Battle Angel (2019). In that film, Dr. Dyson Ido (Waltz) mentor of the film's title protagonist Alita (Rosa Salazar) is a Cyberphysican and Hunter-warrior (bounty hunter).

Franco Nero: The lead actor from Django (1966), the movie which inspired this one, has a cameo as the owner of the slave that fights against a slave owned by Calvin Candie (the screenplay gives his character the name Amerigo Vassepi). After being asked to spell his name, Django explains, "The 'D' is silent". Nero replies, "I know".

Zoë Bell: A favorite stuntwoman of Writer and Director Quentin Tarantino appears as the tracker with the bandanna hiding her face.

Tom Savini: A noted Special Effects and Make-up Artist in the industry, that has worked with Quentin Tarantino and Robert Rodriguez, respectively, on numerous titles. He plays the tracker in the fur coat who pulls the dogs off of D'Artagnan (Ato Essandoh).

Quentin Tarantino: [Red Apple Cigarettes] During the Mandingo fight scene, Django can be seen opening a bag of tobacco with a red apple design on it.

Quentin Tarantino: [Banal conversation] When the villagers are getting ready for the raid and they talk about the bags.

Quentin Tarantino: [Bare feet] Depictions of the slaves' bare feet.

When Dr. King Schultz (Christoph Waltz) puts the dynamite in the tooth atop the wagon, he is whistling the Django theme song.

Body count: sixty-nine.

James Remar has two roles: one as "Butch Pooch" and other as "Ace Speck". A situation is created where his first character (Speck) is shot and killed by Christoph Waltz (Dr. King Schultz). Thereafter, Remar's second character (Pooch), in turn, shoots and kills Dr. King Schultz. In effect, Waltz kills Remar and later Remar kills him back.

About halfway through the film, Dr. King Schultz says "I, for one, don't intend to die in Chickasaw County, Mississippi, USA". Unfortunately, that is exactly where he ends up dying.

The notoriously famous shoot-out between Django and Calvin Candie's henchmen was not written in the final script. Instead, he and Broomhilda were immediately captured after Dr. King Schultz's demise.

In the finished draft of the script, the character of Billy Crash was written to be much more brutal and sadistic. A scene of him raping and tormenting Broomhilda in his cabin was cut from the final film. His original death from Django was also much different. Instead of shooting Crash to death at the end, Django takes a large knife and throws it at his chest as he leaves his cabin after his assault on Broomhilda.

In the final draft of the script, Stephen was written to be a more brutal character; in the barn scene after Django was captured at Candie's mansion, he was supposed to torture Django by burning off his nipples with a hot poker. The dialogue from this scene, spoken by Samuel L. Jackson, can be heard on the film's music soundtrack.

The Biblical verse Big John Brittle (M.C. Gainey) is saying before he is killed by Django (Jamie Foxx) is a version of Genesis 9:2, "And the fear of you and the dread of you shall be upon every beast of the Earth, and upon every fowl of the air, upon all that moveth upon the Earth, and upon all the fishes of the sea; into your hand are they delivered." This particular verse refers to God giving all the beasts of the Earth into man's hand. In the slave culture, black people were considered beasts, not fellow men.

Calvin Candie is constantly eating candy and sugary delectables, which causes his rotten teeth. That connects four things in the plot: Calvin is rotting from the inside because of his evil nature (according to Quentin Tarantino), Dr. King Schultz is a dentist turned bounty hunter who "gets rid of" the human cavity, who is Calvin Candie, Calvin's farm is named "Candyland", and sugar was one of the main crops harvested by slaves.

In Star Wars: Episode II - Angriff der Klonkrieger (2002), Mace Windu (Samuel L. Jackson) killed a bounty hunter named "Jango". In this movie, Jackson's character, Stephen, is killed by a bounty hunter named "Django".

After the initial explosion of the Candyland plantation, the song "Trinity: Titoli" by Franco Micalizzi is heard playing during Django's exodus. An extra smaller explosion was added in post-production while Jamie Foxx is walking away from the building's burning, remains to cover the segment of Franco Micalizzi's song "sleepy tired guy", that was uttered to describe the main character of the song. This segment was an accurate description for the character of "Trinity" from the Spaghetti Western Die rechte und die linke Hand des Teufels (1970), for which this song was written. This phrase was used due to the character's introduction of sleeping and being towed across the desert in a makeshift bed tied behind his horse. However, this quote did not match the character of Django, who is never seen to rest throughout this movie. Hence the cover-up of this segment of the song, that would have caused some confusion.

DIRECTOR TRADEMARK (Quentin Tarantino): (victim's viewpoint): Lil Raj Brittle's (Cooper Huckabee's) viewpoint is shown before Django (Jamie Foxx) kills him.

In Kill Bill: Vol 2 (2004), Bill (David Carradine) described how painful a shot to the kneecap is. Mr. White (Harvey Keitel) mentioned the same thing in Reservoir Dogs (1992). This was referenced when Django (Jamie Foxx) shoots Stephen (Samuel L. Jackson) in both of his knees.

In the original script, Calvin Candie serves his guests rhubarb pie in the scene that leads to his death at the gun of Dr. King Schultz. In the film, he serves white cake.

User reviews


  • comment
    • Author: Wizard
    Quentin Tarantino, one of the most iconic directors of the 21st (and late 20th) century, why? Simple. Because of masterpieces like this. Tarantino defies the laws of film, he shoots them in his own way, however he wants. Tarantino has always focused upon the action thriller genre from Reservoir Dogs up until Inglourious Basterds. However, Django Unchained is Tarantino's first look at the Western genre, his first attempt at it and he executed it beautifully. The scenes were shot perfectly alongside an amazing soundtrack as well as his own small cameo.

    Django Unchained tells the story of Django (Jamie Foxx), a slave who is soon picked up by bounty hunter Dr King Shultz (Christoph Waltz). The story follows on as Shultz takes on Django as his "deputy" during their tasks of bounty hunting, in return Shultz says that after winter he will help find Django's lost wife, Broomhilda. This takes them to a huge plantation in Mississippi owned by Calvin Candie (Leonardo DiCaprio), from here they plan up a scheme on how to get away with Broombilda.

    The cast boast out amazing performances, particularly Christoph Waltz (also famous for his previous collaboration with Tarantino on Inglourious Bastards as Colonel Landa). Both Foxx and DiCaprio's performance are both equally amazing. All three are able to add some light-hearted humour in the mix to make sure it doesn't stay too serious, as well as having comic actor Jonah Hill play a member of the KKK.

    There's a reason the film has been nominated for 5 Oscars.
  • comment
    • Author: Uafrmaine
    I only had one thought on my mind for this Christmas: see Django Unchained. Quentin Tarantino's latest opus, a Western set two years before the Civil War, concerns a former slave named Django (Jamie Foxx). He is freed by bounty hunter Dr. King Shultz (Christoph Waltz) in order to help him with a bounty. Quite quickly, Shultz takes Django under his wing and trains him as his partner. But he made him a promise: that he would rescue his wife from a plantation owned by the ruthless Calvin Candie (Leonardo DiCaprio). And rescuing her is not going to be all that easy.

    What pains me the most about Django Unchained, as a die-hard Tarantino fan, is just how sloppy it all seems. I enjoyed every minute of it, but I could never shake the feeling of how messy and thrown together it all feels. Portions of the film feel episodic (the search for the Brittle Brothers, mentioned heavily in the trailers, begins and ends practically within minutes), and some scenes just seem to play out just for the fun of it. Another scene from the trailers involving a lynch mob with bags covering their faces seems added for comedic purposes, and has no real point of actually existing. More than any of his films before it, Django feels like Tarantino simply making a movie for sheer pleasure and with no outside motivations or controllers.

    The film threatens to go totally off the rails at any given moment, and lacks any real sense of direction or focus. It may sound ridiculous, but the loss of editor Sally Menke confirms a sneaking suspicion I always had about Tarantino – he needed a steady right hand to help encourage him as to what was needed and what was not. I do not want to criticize Django's editor Fred Raskin, but it is obvious he is no Menke and that works against the film heavily. It lacks the polish we have come to expect, and is practically stripped of the glossy/cool texture so prevalent in Tarantino's work up until now.

    But then maybe that was his intention all along, and perhaps Tarantino is airing out his frustrations with life and film in general. Django is deliberately shot on film (or at least from the print I saw), and looks very gritty and messy at all times. It is significantly more brutally violent than anything he has worked on before (the borderline cartoonish Kill Bill included), and has a very go for broke attitude about itself. The film seems to revel in how brilliantly it can splatter all the blood and gore (done through the use of squibs and no digital!), and how uncomfortably numbing it can make the violence. I know he does not care what people think of his films, but this movie especially seems like an emphatically raised middle finger to the establishment. And for all of my complaints about how messy it all feels, I was never once bored or felt like the movie was dragging itself out. The staggering 165-minute running time shockingly flies by faster than you might ever imagine.

    Acting wise, Tarantino stacks the deck with a number of recognizable character actors young and old for roles that vary in size. Most have very few lines, if any at all, and seem to just stand by, just as content as the audience is to watch the action unfold. It is a little off-putting, especially with how important some of these characters are initially made out to be. Washington as Broomhilda von Shaft (one of the most subtle references he's ever dropped) does well as the helpless victim and frequent dreamlike object – but she never really gets to show off any of her acting prowess outside of her facial reactions. They are increasingly effective, especially during horrific flashback scenes. But her work here feels ridiculously stunted in comparison to the other leads. Samuel L. Jackson, much like Tarantino himself, seems to just be having fun in his role as Candie's adviser Stephen. He plays on every ridiculous stereotype he ever has been associated with and then amps it up to a near ludicrous state. He is frequently hilarious, but the role seems to border on parody more than anything else.

    Surprisingly, Foxx takes a very long time settling into the leading role. It may just be the character, but it is quite clear from the on- set that he is not very comfortable in Django's shoes, and leads credence to why Will Smith, amongst so many others, dropped out of the picture so quickly. But once he finds his footing, he does a fantastic job walking the thin line between empathetic and sadistic. It is not an easy character to play, but Foxx makes it his own, bringing a sense of style and grace that are virtually absent from the rest of the film. And of course, he gets all the best lines.

    Waltz and DiCaprio are the clear standouts however, nailing every nuance of their sadly underwritten characters. While Waltz plays the straight man, DiCaprio is delightfully unhinged and vicious. Both are playing directly against type, yet are strangely comfortable in the roles. Watching them act circles around the rest of the cast, Foxx included, is the true highlight of the film. I just wish they were both given additional emphasis and more to do.

    For all of its numerous faults, I had a blast watching Django Unchained. It is hilarious, it is a lot of fun, and is wildly enjoyable. I genuinely think it could have been a lot better if there was more focus and direction, but this is very clearly a picture Tarantino wanted to make on his own terms. And for that, I applaud him for the effort. It is not his best work, but certainly not his worst.

    8/10.
  • comment
    • Author: Uanabimo
    Merry Christmas to all you Tarantino fans out there. I hope you made a Tarantino checklist so here we go.

    Witty dialogue, check. Excessive profanity especially use the word 'nigger', check. Excessive violence including testicles getting blown off, check. Soulful musical score, check. Sometimes non-linear narrative, check. Shots of women's feet, check. Very great character driven plot, check. An actual spaghetti western, even though it takes place in the American South, check.

    There are four standout characters played by the top billed actors.

    Jamie Foxx plays Django, a freed slave who becomes a bounty hunter. Even though he is the titular character, he gets downplayed when in the presence of the other actors. Still he delivers a solid performance, in fact hes very convincing. We all know Jamie Foxx as this golden voice RnB singer and comedian with a very clean cut image. He was able to pull off the whole transitioning from a timid slave to a menacing bounty hunter. Not only that he had the whole look down too, with all the facial scarring and the messy hair.

    Christoph Waltz plays Dr. King Schulz, a German dentist turned bounty hunter who frees Django so he could help pursue his previous owners who are targets. Waltz is a very charismatic actor, and thats how he does this role. Presents every line with finesse.

    Leonardo Dicaprio is in his best yet. He plays a plantation owner, Calvin Candie, and is the owner of Django's wife. This is a very different role. We've seen Leonardo in gritty roles before but never did he play this lecherous antagonist. We were all used to Leo being this teen idol, who looked like a member of Hanson. Here he's this Southerner with discoloured teeth and a scruffy beard.

    Finally Samuel L. Jackson who plays Steve, a house slave who you could say is the secret antagonist here. For all the screen time that he has he dominates. Sam usually plays boisterous roles as a tough guy, but it was very interesting seeing him play a devious and manipulative old man.

    The only gripe here was that this film was a little too long exceeding the three act structure, but its an epic western film so I'll excuse Tarantino for that. Yet again he made another great film with a lot of flair and carried well by the four big hitter actors. Well done Mr. Tarantino.
  • comment
    • Author: Garne
    Absolutely loved every minute of this movie. Usually I'm not too crazy about Tarantino's movies, but this one is definitely the best one I've seen in a long time. The actors were picked perfectly. The overall experience of a movie is amazing. When we first went to watch it, I was a bit skeptical and thought I'd end up leaving an hour into the movie (it's a 3 hr movie), but it grabbed my attention from the very beginning and I didn't even wanna get up to go to the bathroom, afraid to miss something. I'm usually very particular about the movies, nothing can hardly satisfy me, but this one is definitely in the top 5. Soundtrack was perfect. When I got home, I've done some more research on it and loved it even more! Overall, I would highly recommend this film!
  • comment
    • Author: Voodoosida
    Modern exploitation guru Quentin Tarantino serves up historical revenge once again. His last film, INGLOURIOUS BASTERDS, had the German Nazis getting theirs, and now, with a good German on board (in fact he's the villain from the last film) we're out to set things right in the American Deep South, two years shy of the Civil War…

    Although the first half takes place on the road from Texas to Mississippi as bounty hunting dentist Dr. King Schultz recruits a slave named Django to help him find three outlaw brothers (Django alone knows their appearance). These are the more spirited and deliciously cutthroat segments as our heroes partner up and, as Django puts it, "Kill white people for money." Christoph Waltz (Schultz) and Jamie Foxx (Django) are a good team, and while making mince meat out of their targets, the bloodshed is something to marvel.

    But Tarantino throws in awkward bouts of humor, derailing the intensity of the moment. One particular scene where a group of rednecks complain about not seeing through masked eyeholes (including a very distracting cameo by Jonah Hill) feels like Mel Brooks clumsily intruding Sergio Leone.

    After Django helps Schultz with his job, it's time for the doctor to aid his more-than-capable partner rescue Django's wife Broomhilda, who resides at "Candyland," an infamous Antebellum plantation run by the sinister though much too youthful Calvin Candie.

    While Leonardo DiCaprio has more than capable acting skills, and savors the gloriously tyrannical racist dialog, there could have/should have been a backstory on why the owner of a plantation looks fresh out of finishing school.

    For a man who's supposed to have a lifetime of seething venom oozing from his veins, those desperately piercing blue eyes seem more confused and frustrated than cold and calculating, making Tarantino's purposely overboard racism more of a crutch than weapon for the DiCaprio character (perhaps Don Johnson, who played a wily brothel owner in a previous scene, could have taken this role… he had the age going for him and with that, soulless eyes that look like he's seen – and been through – pretty much everything).

    But Leo's not alone. He's helped along by the most wicked of Uncle Tom's played by Samuel Jackson, whose spitefully cantankerous Stephen figures things out before his boss. This is a nice role for the QT stock actor, who has sleepwalked through many roles post PULP FICTION and JACKIE BROWN. Although his feeble mannerisms often slow down the performance.

    The main problem with UNCHAINED is how long Tarantino stretches scenes with dialog. While the actors, especially Waltz and DiCaprio, have a blast with colorful monologues, you'll often forget there are other characters on board – and most of the speeches fail to serve the plot. That being: the duo pretending to buy Mandingo slave fighters when they really want the girl.

    With all the deals and discussions going on, the much-anticipated reunion of Django and Broomhilda is lost in the mix. Not even Django's surreptitious trigger finger (whenever she's treated badly) adds worthy suspense, which, during this overlong stint at Candyland, is very much needed.

    But there's not all downtime at the mansion: a particular Candie lecture involving a slave's skull does successfully perk things up, providing DiCaprio a good five minutes of sheer unapologetic villainy. Then, after a shocking twist, it's Django alone who must save his girl.

    Jamie Foxx, having played a quietly brooding second fiddle to Waltz so far, makes up for lost time with heated gusto. This third and final act involving a group of Australians being duped by Django, who's learned the art of waxing poetic, is replete with the bare-knuckle action we've anticipated all along: although the large chunks of bloody guts flying off each gunshot victim seems like Tarantino doing an imitation of himself.

    There are some really neat montage sequences and beautiful locations, but some of the music, especially that of the rap nature, seems too modern for the time portrayed. And the editing feels somewhat limp without QT's longtime collaborator Sally Menke, who died a few years back: Particular flashbacks and hallucinations are often confusing and awkward.

    A pretty good ride, much better than Quentin's last two films (BASTERDS and DEATH PROOF), yet there needed a much tighter/sharper vehicle for our title hero to deserve the fanfare of the literally explosive finale.

    For More Reviews: www.cultfilmfreaks.com
  • comment
    • Author: Ghordana
    Quentin Tarantino's 8th film "Django Unchained" is one hell of a movie. A brutal, bloody, terrifying, hilarious and awe-inspiring western disguised as a buddy movie that is so great that if John Wayne and Sergio Leone were alive now, they would've approve of this movie. It's designed to shock you, polarize you, test you and maybe even surprise you. But let me clear on this: If you are not a fan of bloody violence and the running length of 165 minutes, see a shorter movie. But if you love to see what Tarantino can do with movies like this, then you're in for a treat. Set during slavery in 1858, the movie follows Django (Jamie Foxx), a slave who is found by a bounty hunter disguised as a dentist named Dr. King Schultz (The always reliable Christoph Waltz) who hires him as a bounty hunter and a free man to find the Brittle Brothers. After finding them and hunting them down at a plantation run by Big Daddy (a remarkable Don Johnson), they relax for the winter only for them to go on a mission to find and rescue Django's wife, Broomhilda (Kerry Washington) who is owned by Calvin J. Candie (Leonardo DiCaprio) a man who runs a plantation known as Candieland. He even has a renegade slave as a servant named Stephen (A nearly recognizable Samuel L. Jackson, hidden in makeup and some prosthetics), who will have a part to play in the last half of the movie. I think Quentin Tarantino has outdone himself once again. Being in the filmmaking game for 20 years now, you can't deny and even reject his style in what he is bringing to the screen (He also has a cameo in here as well). His dialogue is like reading a book that grabs you and makes you want to know what happens next. The look and scope of the film is magnificent, thanks to a brilliant Oscar-winning cinematographer Robert Richardson and the late production designer J. Michael Riva. The performances in this film are brilliant. Having won an Oscar for "Ray", Jamie Foxx continues with his breathtaking performances that wows us. Here as Django, he is certainly fearless, baring his soul (and body) playing a man who is free from slavery, but can't be free by the rules and limitations of slavery. Christoph Waltz looks like he was born to be a part of Tarantino's entourage after his Oscar-winning performance for "Inglorious Basterds". Here, once again he brings humor and vulnerability to Dr. King Schultz. Never before have I ever seen an actor go that far and doesn't go over-the-top like Leonardo DiCaprio. As Calvin Candie, DiCaprio is certainly Oscar-worthy as a man who runs a tight ship by running a place where male slaves fight to the death and female slaves are being prostitutes and he seems to be the kind of guy to like even though he is a villain and he speaks Tarantino's dialogue like a pro. When he has a scene in which he reveals three dimples from a skull that belongs to his father, he is literally terrifying. Kerry Washington is superb as Broomhilda and Samuel L. Jackson is the real scene-stealer. The supporting cast is great from Walton Goggins, Jonah Hill, Michael Bacall, Michael Parks, James Remar, Robert Carradine to a small cameo by Franco Nero. "Django Unchained" has a lot of things to say about slavery and how cruel it is. But at the same time, it provides the fact that if Tarantino rearranged history by shooting Adolf Hitler to a pulp while everything blows up at a movie theater, he can do it again by having a former slave whipping a man who used to beat him and his wife. Now, that's entertainment. This movie really is off the chain. It's not only one of the most captivating films of the year, it's one of the best films of the year. Go see it, it will be worth your time. Keep in mind though, there are characters, especially Django, Stephen, Candie and Schultz that uses the N-word numerous times in this movie. That seems relevant to the time period, don't ya think?
  • comment
    • Author: Vrion
    Let me make it clear. I did enjoy most of it, but I also found myself looking at my watch and hoping it would end sooner. If there was a film this year that more than deserves the adjective excessive, this is it. It's a decent film, with plenty of action, some very funny scenes, and three of the best performances of the year: Jackson's house slave is almost as good as Washington's performance. He's an interesting and complex character, somehow who we can't even imagine existed. He's the darker twin of Scarlet's mammy in "GWTW", way darker and just as fascinating. There's of course, another star turn by De Caprio, puzzling, magnetic, depraved, and ruthless, and Waltz creates another memorable character, a foreigner who can't comprehend what's going on in his world, but who doesn't stop from taking advantage of the situation without losing his soul.

    "Django" is a hybrid of Westerns? and a very strange take on slavery, looking at it through Tarantino's special lens. He's unable to edit himself, and while he builds the tension and almost never loses our interest through Django and Schultz quest to rescue their "lost princess", I kept wondering why he overindulges all the time. Things don't clash here, they explode with such magnitude that I was wondering why wasn't 3-D involved in the process. I kept looking for guts flying and what happened to the NC-17 rating.

    There is much praise to give to the fact that he takes risks with his use of language, and there is not a boring conversation in the entire film, but when there is confrontation, you almost feel like ducking or you'll be hit by some of the flying organs. Much of the praise here should go to the way the Old West comes alive with the costumes and art direction. There is also the amazing job Robert Richardson does with his camera, making the film look and feel like one of those Spaghetti Westerns he's paying tribute to. I loved the way he brings in Franco (the original Django) and interacts with this movie's hero. There's of course, some Ennio Morricone, and a few other touches that show Tarantino's adoration of the genre.

    Is there a story? Well, barely. A lot of the film is about the feel of it, like getting on a ride without expecting much depth, and to be fair, there shouldn't be a IQ test or some confusing plot twist to ruin the entertainment, but I think Spielberg knew how to control himself in "Saving Private Ryan" by limiting the massacres to the first 20 minutes. A little restraint would have helped here. Who knows? Tarantino might have achieved his masterpiece.

    Another detail that is puzzling me. We're hearing all this praise for the movie, like it's the second coming of Peckinpah or the latest collaboration between Benton, Penn, and Carpenter. It's as much fun as the best '60's B movie, but I am not sure about those accolades out there. Where was all this praise for the "Indiana Jones" films? Maybe they should have included more flying body parts and some more colorful language? Still enjoy it for what it is... a ride that has plenty of movie syrup in it.
  • comment
    • Author: spark
    In Quentin Tarantino's Django Unchained, there is a scene in which Django (Jamie Fox), soon after being freed by the incredibly likable dentist turned bounty hunter, Dr. King Schultz (Christoph Waltz), shops for new clothes to wear.

    Schultz tells Django to pick out whatever he likes. Django looks at the smiling white man in disbelief. You're gonna let me pick out my own clothes? Django can't believe it. The following shot delivered one of the biggest laughs from the audience I watched the film with. After the white man confirms that yes, he is indeed letting the black man pick out his own clothes, we cut to a wide shot of Django riding his horse, now decked out in his very own (outlandish) cowboy outfit—an all blue with white ruffle get-up.

    It's a great little scene that provides humor and allows the viewer to further warm up to the two main protagonists. But it also does more than that. It's a simple scene that speaks for the whole film. It's an affirmation that this man of color is now free and able to make his own decisions. The choice he made concerning his extravagantly loud outfit acts as a warning to those that plan to stand in his way—watch out, here I come, I ain't gonna be quiet no more.

    And the humor the scene provides echoes the entire film—it wants us to get comfortable with our hero. Tarantino knows that a man of color makes an unconventional hero in a revenge- flick—that's why he made the film. When was the black man going to get his revenge film? It's been long overdue. With Django Unchained, that film has finally arrived and it has arrived in style. Beautifully shot, wonderfully acted, and meticulously written, it's Tarantino at his most epic.
  • comment
    • Author: Malara
    At first I didn't want to see this movie because of some political remarks made by Jamie Foxx and Samuel Jackson, two of my previously favorite actors, but Quintin Tarentino is a great director, so I broke down and saw it. Glad I did. This was absolutely one of the best movies of the year. Although Jamie Foxx has top billing, this film would not have been anywhere as good without Christoph Waltz. He stole every scene he was in. Brilliant acting and great comedic delivery. Leo was great too. Lots of blood, something expected in most of Quintins movies, but a great story. Also expect to hear the N word about 2000 times. Cristoph Waltz should get the Oscar for his performance. Should get nominated for best picture. This is absolutely a must see.
  • comment
    • Author: Kale
    Tarantino's name was enough to get me to the theater. And his trademarks are noticeable throughout--from the spaghetti western style opening to the use of varied musical styles. I was let down, however, by the film as a whole. There were multiple instances of long, drawn out scenes that seemed to be intended for style and emotion, but resulted in a pointless, tiresome straying from purpose. And character development was sorely lacking. Chris Waltz's cold, methodical, calculating, bounty hunter is all-of-a-sudden nauseated by witnessing death at the teeth of dogs. But he shouldn't have been. His character should have seen it coming. And he certainly shouldn't have so openly quivered. I think the intent was to strengthen the Django character at that time, but it wasn't believable. Also unbelievable was the ultimate climactic scene where DiCaprio and Waltz barter for Django's wife. The movie hinges on this conflict, but it was a farcical clash since either party could/would have gladly resolved the dispute. Candie would have gladly taken $12k for the "$300" girl. And the Dr. would have gladly paid for what they came there for in the first place! I understand that pride and besting one's opponent comes into play, but it's not believable that either man would have sacrificed themselves at that point of limited personal investment. The scenery and costumes were as good or better than other Tarantino ventures, but I felt the lack of the signature Tarantino dialogue. Maybe the argument over the eye holes cut into the masks of the raiding party approaches the Reservoir Dogs argument over tipping waitresses, but that was sadly about all.
  • comment
    • Author: Thofyn
    I rarely bother to give reviews after watching a movie. But holy crap this was a good movie. I'm pretty sure it is the best movie i've seen all year. and yes i saw dark knight rises, avengers, flight, Argo, hobbit, etc... Tarantino delivers and then some.. Every actor is on point. Awesome performances, great story, it will definitely take you on a ride full of surprises. I would recommend everyone to go watch this film, it is truly a great film.. unless you're a little kid.. don't go watch this movie if you're a little kid. I've seen all of Tarantinos movies and I have to say this has been my favorite. It is just awesome in every way. I'm usually very harsh on movies. I mean ill watch just about anything, but for me to think a movie was actually "good", takes a whole lot. DiCaprio was like i've never seen him before, and being one of my favorite actors, it was a little weird at first. But he does an outstanding job at selling his role within seconds of his first appearance. Waltz delivered as i knew he would. and Jaime Foxx, well he did not fall behind. Last but not least Jackson was hilarious and also did an amazing job... Go watch the movie, it is worth it.
  • comment
    • Author: Yramede
    I have never been a fan of Quentin Tarantino, but I know that other people think he's great so I decided to give him another chance and actually paid $3 to see "Django Unchained." I was surprised to find that I liked the first part of the movie. It was interesting, funny, suspenseful, and actually seemed to have a point. Some of the story strained credulity (look it up), but it stayed within the bounds of believability... until the German bounty hunter shot DeCaprio. Then believability went out the window.

    The movie didn't even make sense within itself. The entire film built up Dr. Schultz as not only a great shot, but also an extremely cunning strategist. And yet, he shot DeCaprio and then just stupidly said, "I couldn't help it!" and stood there waiting to be killed. (Which he was.) But his derringer had two barrels, which presumably means two bullets, so why didn't he whirl around and shoot the guy who was standing there with a gun?

    He could have, but then there wouldn't have been the bloodbath that follows, which I guess is Quentin Tarantino's "signature." The movie quickly degenerates into a stupid, pointless bloodbath. White guys come out of nowhere to be shot, blood gets spattered everywhere, and so what?

    Then the film gets even worse! The black guy who killed so many white people is in the hands of his oppressors, yet instead of torturing and killing him, they decide to send him off to a (allegedly horrible) mine, thus giving him the opportunity to escape and wreak his horrible vengeance. Does this seem believable to ANYONE?

    After that, it's completely predictable. I don't need to tell you what happens because you can figure it out for yourself. But think about this: the movie makes a big deal about how nobody in the South back then was used to seeing a black person on a horse. For most of the film, the white Dr. Schultz accompanied Django and helped smooth the way. But at the end of the movie, Django and his (black) wife ride away on horses -- in Mississippi before the Civil War! So they'll just wander through the South to freedom? Really?? What a great happy ending! I could criticize this piece of sh*t on many more levels, but I've wasted enough time on it.

    I actually liked the first 3/4 of this film. I absolutely HATED the last section. And ultimately, Quentin Tarantino's popularity says something troubling about the state of American culture.
  • comment
    • Author: Geny
    I saw Django Unchained with the expectation of any Tarantino fan. But I left shaking my head in disappointment. This is not a bad film, but I'm not saying it's a good one.

    The length of the film is one of the main flaws. There are many scenes that do not serve a purpose to its characters and story. Which leads to its pacing problem. These irrelevant scenes exist in the film that often slows it down. It is very unbalanced.

    Mostly, it's the characters and performances. Many are giving praise to Christoph Waltz and Leonardo DiCaprio. Waltz, first of all, is in similar territory when he was in Inglorious Basterds. He and his character served their purpose and Waltz was just fine in the role, but nothing to highly praise. DiCaprio as Calvin Candie was nothing worth noting. Either its in the performance or the script, I never really invested in him. It's as if Tarantino wanted to write a great movie villain and that's what DiCaprio took as his only direction. There is a scene where he gets the evil monologue, but it comes very forced with ultimately ends up destroying the character.

    Jamie Foxx, first of all, was the right choice for Django, but I believe that Tarantino did not trust his protagonist. It takes a long while to get invested in him, but at that point, why bother? BUT, the standout for me was Samuel L. Jackson. He takes his character Stephen is able to go beyond the material that is given. There is fun in his performance which is what the film should be.

    I am well aware that I will be in the minority, when it comes to disliking the film. How people will try to tell me that there was more to the story than meets the eye, how it's a great revenge tale, how the characters were great and well written etc. But this is not a good Quentin Tarantino film.

    The film is too long, with characters that hold the most minimal of interests. I will be really dishearten to see this film receive awards and praise. Maybe it's the love of Quentin that will jade people. I know it will. But after coming out of a strong year for film, Django falls flat.

    The movie lacks the confidence of character(s) and story in a hyper active world. It loses it's identity somewhere along the line and the little scenes of greatness cannot save it. Most of all it does not have the joy of film that often add life to Tarantino films.
  • comment
    • Author: Delan
    I know there is a law against talking about internal logic with regard to QT-movies. But I'm quite a bit fed up with sloppy, dyslexic screen writing and I'm feeling kind of outlawish, so here I go: Initially Schultz (Christoph Waltz) asks for Django's help, because Django is an acquaintance of three fugitives, the bounty hunter Schultz is after. A "Dead or Alive"-handbill with its sketchy description and drawing is not very reliable and shooting the wrong guy can easily happen and it will just as easily get yourself hanged. Therefore the recruiting of Django does make perfect sense. Looking for another wanted man Schultz enters the next town, where he's never been, meets him, who is now the sheriff of this town and whom he's never seen, and kills him after a few seconds, without even talking to him. This is the moment "Django Unchained" stops making sense.

    Schultz is a cold blooded serial killer who murders people because some sheet of paper tells him that he's got the right to do so. He is a hypocrite, he gets mad at someone who also executes his state approved right to kill, but with sadistic pleasure. Murder is fine as long as the state tells you so and you do it for business, not for fun. In the original Spaghetti Western a guy like that would have always been the villain, many of the heroes were "Wanted Men" themselves. In "Django Unchained" he is the only human and sympathetic figure and without any doubt the main character. In many ways the spirit of "Django Unchained" is the exact opposite of that found in the movies Tarantino tried to emulate.

    The story of the bland eponymous Django's development from slave in chains and rags to sharp dressed gunslinger with sunglasses is above all ridiculous and boring. So after Schultz's exit this excessively overlong movie becomes even more of an ordeal, although you get to see the explosion of a queer, ugly old geezer, who really deserved to die. He is played by QT himself and that's only something to look forward to and no spoiler, because naturally it has little plot relevance.

    "Django Unchained" is about hating a whole ethnic group, just like "Inglourious Basterds", where Tarantino made sure to avoid the impression that there could be a German (a "Nazi") who wasn't devilishly evil. The nice young Zoller turns out to be a wannabe rapist and the clever detective Landa (Waltz) turns into a monster, strangling a helpless woman to death. After all Tarantino wanted his viewers to enjoy the butchering of hundreds of Germans in a cinema hall. In "Django Unchained" the murderous Schultz is the only decent white guy. All the others are preoccupied with torturing and humiliating blacks, so there is no need to dehumanize them any further. Will some savior please rise and rid the world of this evil?

    "Django Unchained" tells the sentimental education of this savior, Django, that ends with the exit of his teacher. Now the Hate is strong with this one. He uses it for the righteous cause, to kill white people. All of them. The murders of the self-righteous are always cool and justified, right? Hypocrisy is the new religion. Tarantino is one of its high priests, "Django Unchained" is a High Mass. Enjoy!

    "Once Upon a Time in the West", "The Good, the Bad and the Ugly", "Pat Garrett & Billy the Kid" - those are masterworks. "Django Unchained" is the work of a slave, designed to debase its audience.
  • comment
    • Author: Mavegar
    I am a hardcore Tarantino fan and I must say I had great expectations for this movie. I can now honestly say that in my opinion Django Unchained is Tarantino's worst film to this day.

    Lets start with the first major flaw. The soundtrack. Usually Tarantino has great taste for his soundtracks and on most of his movies (pulp fiction, reservoir dogs, kill bill) it actually is a fundamental part and complements the film. On Django it seems that Mr. Tarantino got Lil Wayne to choose some of the tracks. Hip Hop in a western?? Completely ruined the movie for me.

    Second, the length of the movie is ridiculously long... Almost 3 hours. Usually films of such lengths have intricate plot lines and/or are made to tell an exceptionally long story. Not in this case. The movie could have easily been 100 minutes long. If it wasn't for the excessive and unnecessary dialogues, the useless KKK scene, the first 45 minutes of the movie which have almost nothing to do with the main plot line. The last 30 minutes of bloodshed serve to no use and I guess is just a fetish of the director. Mr. Tarantino seems to lose the sense of time and you can never tell where his ego ends and the plot begins.

    Third, bad acting. Jamie Foxx is impalpable. Besides a few punch lines and some dramatic moments Foxx doesn't portray the slave from the pre-civil war era but mostly comes off as a thug from the hood. Di Caprio is too pretty-faced to seriously be the villain in this movie and if it wasn't for the horrors happening around the character (Candie) you could hardly tell he's the bad guy. Waltz and Jackson on the other hand with their excellent performances keep this movie together. I was really hoping Tarantino, with such an all-star cast, could have pulled off a both socially relevant and at the same time entertaining film, but again I was mistaken.
  • comment
    • Author: Jake
    First I must say that I rarely write reviews. Most are already there to help a viewer decide whether to see the movie or not. An experienced moviegoer can always tell if the reviewer knows what he's talking about. But with Django unchained, that was such a horrible flick with sky high ratings, I just felt the urge to write down how disturbingly flawed and deeply deranged this movie is and not in a good way. It's been a long time since I have seen a good Tarantino movie. This era ended with his story and his part in Four Rooms. And after Kill Bill, things went downhill never to crawl back up. Every once in a while, Tarantino's flashy and expensive garbage is being spilled on theater screens all over the world, and the somewhat schizophrenic director surprisingly picks up even more fans along the dodgy way. I expected more from this movie, since I couldn't even sit through that dreary Inglorious bastards, so things had to get better. And yet, even though he had a perfect plot setting in a cruel time and place for black people in American history, he casted the still boyish looking I-must- be-the-bad-guy-in-that-movie DiCaprio who really gives his best to sell it but falls short, and you get yet another long term drug use flashback in a form of give-me-back-my-money drive-in movie, with an hour long boring film within a film - during the visit to Candie Land that starts with what can only be described as the first MMA fight ever held in a living room. In this openly racist movie, and not because of the excessive use of the n-word, whose star later promotes gun ban while making good money by shooting every white creature in this film that has sudden twists from serious to absurd, from grave to bizarre. Here we get a bad writing, bad music, bad casting, mediocre acting from an all-star cast and awful, awful direction. The dynamic sound makes you jump off your seat when someone slams the door on screen. How cheap is that? Well, the music was OK, but not for one playlist and certainly not for one western. You just can't mix Rio Bravo style songs and Elvis impersonator with modern rap music and get away with it. Unless your main character can spill buckets of blood with just one bullet or massacre crowds of armed rednecks just after practicing his gunslinger skills by shooting down a few bottles. We also see a drawer slide mounted Derringer save the day one time too many. We see black slaves speak fluent German. But this is a love story, and yet these extreme action scenes are the high tide here with tons of ketchup spills all around, with over the top gore that would make a B-slasher-movie look like British rom com, and the drab dramatic part will bore you to death and make you consider leaving the theater. Twice. What Quentin tries to achieve here, style wise, is the bleak mix of Gibson's The Passion of the Christ and Jesus Christ Superstar. But someone should've told him both movies are bad. Also, Samuel L. Jackson's pathetic make-up as well as his cartoonish role do not make things any better. I didn't expect to see Open Range, but this charade is a kind of rich gumbo, made out of all the bad ingredients from previous hyped Tarantino grindhouse style obsession movies or his dull WWII affirmative action fairy tale, that was oddly not enough spiced with finger licking good hot sauce from Leone, Hawks or Peckinpah, hence completely ruining this bad taste cinema and rendering it inedible. Now seeing these ratings, no wonder Gangnam style is the most viewed YT video ever. No wonder Hobit, Harry Potter, Batman, Spiderman and Lord of the Rings top the Best 250 list.
  • comment
    • Author: Buzatus
    Jesus, where to begin. Completely juvenile, rabbit trails galore, slow moving, get to the firkin point. The way the scenes drag and the endless explaining and talking. This movie was so distasteful, predictable and irritating. First of all, Foxx was miscast, he does not do period well, at all, totally unbelievable here, after years of slavery he's suddenly the fastes gun in the west, PLEASE!

    The music, what are we to make of the modern day music with the period events here, you can't take any of it seriously. I had to laugh was so absolutely silly and out of place. I have lost all respect for writer/director, the actors I can only hope were in it for the money, but they lose my vote now too.

    Open your EYES folks, for god sakes this is all about bringing division, "I wanna shoot white people and get paid for it". WOW, talk about the globalist elite wanting to distract and divide, this is one of their vehicles. Good for you Hollywood and Washington DC, add another notch to your ugly crown.
  • comment
    • Author: Joni_Dep
    In his previous film "Inglorious Basterds" Tarantino presents two worthy scenes - the one with the Nazi officer in the French farmer's house, and the one in the bar where the British and American spies are in German uniforms talking to a suspicious SS German officer and a shootout follows.

    In the first mentioned scene the Nazi officer explains how one has to think like a rat in order to find "rats." The offensive reference is to Jewish families trying to escape Nazi extermination (whom the Nazi officer chases in the movie).

    In that scene the Nazi officer, maybe inadvertently, describes himself as a rat, trying to play wise guy. So does Tarantino.

    "Django" is actually proof that Tarantino is a talented Hollywood "rat" that feeds on popular trends packaged in politically correct radicalism. The mixture is gratuitous violence, popular concepts of "just revenge" and butchering of history and the importance of historical fact. Jews killing Nazis in "Inglorious..." Black man killing whites in "Django..." Tarantino is a torture-porn specialist, hiding behind badly disguised ridicule of the magnitude of human suffering in historical dramas like the Holocaust or the issue of slavery in America. One just has to remember his "Hostel" achievements and it all comes home.

    The Tarantinonites can knock themselves out with Django - another trashy movie with a spice of genius in it, to excite the perverted tastes of Hollywood. Evil genius. That smells like a rat to me.
  • comment
    • Author: Blueshaper
    The biggest thing here is Tarantino's ego. Wow! A very clever, even gifted, filmmaker with nothing to say, nothing original that is. I'm not going to subscribe to Spike Lee's objections because that would imply taking this seriously. Mr. Tarantino's ignorance is just monumental, mo-nu-men-tal! but, I'm afraid, very much the sign of the times. Let's make it about nothing with super violence to keep the crowds cheering. What about taking a little responsibility sir? Jamie Foxx, Christoph Waltz and the rest of the cast do a credible job, inhabiting Tarantino's makeshift universe. Sergio Corbucci is your hero, but not John Ford, okay, that makes sense in your world, Mr Tarantino but please, stop preaching. Make movies but don't pretend that there is depth in your shallowness. I must say I wasn't bored, in spite of its length, I was just annoyed.
  • comment
    • Author: Reddefender
    I'll get to the heart of the matter. "Reservoir Dogs" was spot on. It was a realistic (in terms of the outcome) yet highly stylized gangster film. It said to the viewer, "I know you are expecting X, Y, and Z, but isn't it time you 'grew up' already? Do you want to see the same movie over and over again?" 'Bad guys' do bad things and usually self-destruct in one way or another at a young age. We saw that no matter how hard one might try, you cannot polish a turd, as they say.

    Despite the cute dialogue, these guys are bad, do bad things, and the results are bad. If that heist would have 'succeeded,' they just would have gotten themselves killed or jailed some other way. it was a 'wake up call,' an inversion, or perhaps the best way to think of it is that it wasn't what it seemed to be. It was just a bunch of 'simulacra' thrown together to resemble a feature-length film. It succeeded brilliantly, but Tarantino had nowhere to go after that, other than to stylize and fabricate as much as possible, creating ludicrous, absurd movies that had no point. If you saw one you didn't need to see another.

    "Django Unchained" is more of a postscript. It's not as ridiculous or as historically inaccurate as it could have been, but even it if had been, what would it have mattered? He's been there and done that, and apparently can't figure out what to do now other than to repeat the past. He is in the "Woody Allen Zone" at this point (just substitute the "white," rich, self-absorbed complainers for retro and homicidal, yet more "diverse" and colorful characters in Tarantino's last several films), in my opinion, meaning that he's "mailing it in" for the money. The movie is too long and very quickly the viewer can predict the kinds of things that will transpire. I don't play violent video games (or any video games at all), but after watching this I was thinking that it would be much more interesting in every way to just do that; after perhaps twenty minutes (or less) I'd get my fill of this sort of thing and could use the other two hours and change to do something "productive."

    The following is my highly speculative, "inside the mind" history (or is it an anti-history) of Tarantino's "MO:" After "Reservoir Dogs," he had one last idea, essentially the end of the "Hollywood Blockbuster" disguised as a Hollywood Blockbuster (an anti-Hollywood Blockbuster?). It would be a highly stylized, very violent move that would appear to have several compelling "back stories." The reality is that it had none, and once the viewer figures this out, he or she should tell himself/herself that there is no reason to watch such films any longer, other than as some sort of "cheap chill," basically "violence porn." That blockbuster, of course, was "Pulp Fiction."

    The title "gave away" the director's thoughts: "stop watching my films if you are an intelligent, empathetic person." Of course you may have watched one or two more because you couldn't be sure, but at this point his movies are some sort of "post-modern," anti-film, non-story. Watch them, expecting something different, and as they say, the joke is on you. Instead, I suggest you consider taking a course on the history of film, film criticism, or something along those lines. Seeing "Django" is like being the "best" guest at a "dinner for schmucks." So, I guess the most interesting question now is, what do we make of a reviewer who realizes what is occurring yet still feels compelled to watch these anti-films in order to tell others not to be the butt of a joke? Is this an anti-review? A "pulp" review?
  • comment
    • Author: Nothing personal
    To put it short Quentin tarantinos latest venture is a self indulgent ego fest, it showcases his deluded view of filmmaking where when Tarantino makes a movie that it's an instant classic. It doesn't matter how overlong, boring, poor comedic timing, uninspired script devoid of quips or intelligence and how much over the top, gratuitous violence that is involved.

    First of all let me mention the overtop, gratuitous violence that is in Django. Filmmaking 101: Just because you throw galleons of blood on the screen, doesn't make it dramatic. In fact during some of the shoot out scenes I thought I was watching a parody/spoof of a western film! In tarantinos earlier films he balances violence with great filmmaking however he overdoes it and makes it look as if he was watching SAW on set.

    Secondly the script is bland, cringing and aching to watch unfold, just hearing the the characters spew out line after line of cheese devoid of quips, wit or intelligence. The touches of comedy throughout the film are misplaced as well, and left me squirming in my seat. However I give credit to the actors who really tried their best with the script especially Samuel L Jacksons 'Steven' who is evil personified, but I feel Christoph waltz's character was underwhelming and after seeing his role in inglorious bastards was a letdown. Jamie foxx tried his best to bring life to the poor script with Django but, left me checking my watch as Django was godawful boring to watch and un charismatic as a protagonist.

    Lastly the film is way overlong, coming in at a staggering 180 minutes it seems Tarantino could not resist indulging himself in his own ego fest. Many scenes could have been cut out completely or at least edited properly. I was left checking my watch multiple times throughout the movie (something I hate doing in a movie). The story was bland and uninspired, a clichéd tale of revenge where Goodguys vs Badguys! Surprise Goodguys win! The plot was predictable from the first 10 minutes but I still had another 170 minutes to go.

    It still stumps me how this is 96 on IMDb's top 250# list, it makes me wonder if people rate this high as it has Quentin Tarantino in the directors chair. This movie really showcases a classic example of just because you are successful doesn't mean you have a god given right to make anything you want without thought and consideration and still make a good movie. In my opinion one of the most overrated fims of 2012.
  • comment
    • Author: Kezan
    Quentin Tarantino's Django Unchained is, among much else during its leisurely 165-minute running time, an adolescent male revenge fantasy about an omnipotent mass shooter wreaking carnage upon dozens of victims. I suspect the film would have appealed profoundly to the late Adam Lanza.

    You might think that this wouldn't be the best time for a quasi-comic daydream/bloodbath about a deadeye gunman who always fires first and is immune to the thousands of bullets shot at him. But the recent unpleasantness in Sandy Hook has gone almost unmentioned in the critical hosannas greeting Django…because, you see, the invulnerable hero is a black gunman shooting bad (i.e., Southern white) people.

    It's not much more complicated than that.

    For example, in the The New York Times, the scholarly and mild-mannered A. O. Scott declares Django:

    "a troubling and important movie about slavery and racism."

    According to Tarantino lore, the former video-store clerk is a dyslexic with a 160 IQ. It's hard not to be amused by how easily this semi-literate junior high school-dropout dupes 21st-century intellectuals.

    The reason Tarantino has had the time to watch so many bad movies is because he doesn't like the written word. Most people of Tarantino's intelligence discover that reading is a higher bandwidth way of finding out about the world than watching straight-to-video dreck. But the auteur's learning disability has left him defensively proud that he's ill informed about everything other than movies.

    Slavery is a potentially fascinating topic, but to have something interesting to say about it would require Tarantino to read a book. And that was never going to happen. After all, white men were the only men to abolish slavery but who cares about that little tidbit of truth?

    Tarantino may not know how to spell, but he knows how you are supposed to think: solely in terms of Who? Whom? The only thing that matters anymore is whose side you are on.

    Just as Tarantino is being praised today for empowering blacks by having them slaughter whites, he was praised for empowering Jews by having them slaughter Nazis in Inglourious Basterds and empowering women by having them slaughter men in Kill Bill.

    As you may have noticed, Tarantino isn't black, Jewish, or female. Nor has he shown much genuine interest in those designated victim groups. Instead, Tarantino's favorites have always been middle-aged movie tough guys.

    A cynic might suggest that what Tarantino really likes is the slaughtering. He's happy to make the details of who slaughters whom conform to the current prejudices, just as long as he gets to keep up the gore level. All Tarantino has had to do to critic-proof himself is identify the zeitgeist's sacred cows (so far, women, Jews, and blacks, but not gays) and have them massacre their foes. (Someday we may be treated to a Tarantino ABC Afterschool Special about the plague of bullying in which a CGI version of Charles Bronson show up at school to take out the homophobic trash.) The premise of Tarantino's latest film is that "young Django," a slave played by 45-year-old Jamie Foxx, teams up with the loquacious Christoph Waltz, 56 (once again dripping with Gemütlichkeit before he suddenly guns everybody down) to kick white butt. In 2009's Inglourious Basterds, Waltz played a Nazi bad guy, while in Django he's a Viennese anti-slavery good guy, but he's always the same character, Tarantino's talkative alter ego.

    Indeed, Basterds' Jewish revenge plot was essentially a front to allow Tarantino to indulge his fascination with National Socialist (Nazi) cinema. What would it have been like, Quentin wondered, if he had been Goebbels to Harvey Weinstein's Hitler? In Django, a similarly vast amount of the dialogue is turned over to Waltz. Unfortunately, Tarantino's Teutonophilia can't get much traction in Django. He has a vague notion that in 1858 Richard Wagner was contemplating The Ring cycle—thus Django's wife is named Broomhilda—but has no idea what Waltz ought to do with that. (The excessively articulate Waltz would be better suited to playing Wagner,but the composer never killed anybody and lived before the invention of movies, so don't look to Quentin for biopic ideas.) All these distractions leave poor Foxx with little to do except shoot white people.

    In 2013, is the black gun violence Tarantino espouses really such a fascinating new phenomenon? For generations now, American media have been encouraging blacks to take violent retribution. We're coming up on close to a half-century of whites in the media egging on black badassery.

    How's Tarantino's macho minstrel show working out for black males, anyway? According to a 1967 government report sponsored by the Surgeon General, the black homicide rate began to rise in 1962 after a long decline. Mostly, though, whites just move out of the way and blacks kill each other. The federal Bureau of Justice Statistics reports that for the 30 years from 1976-2005, there were 276,000 African-American homicide victims, 94% of them murdered by other blacks. They also hold the title in interracial rape with an average of 37,000 black on white assaults per year while the white on black is listed as "less than 10," which we all know means zero.

    But who cares about a quarter of a million murdered black people and interracial rape? What matters is white-on-white moral status striving. And in that eternal war, even Quentin Tarantino is a welcome recruit. Enjoy.
  • comment
    • Author: blac wolf
    Quentin Tarantino is a case of arrested development at 12 who keeps on making revenge fantasy movies, my guess against bullies who picked on him as a child. This film is a combination of spaghetti western and blaxploitation. I know I am odds with others, but I don't find hearing the "N" word at least 100 times entertaining; watching two men fight to the death as "entertainment" (the hammer used to kill one of the two wrestlers); the murder of a black man by a pack of vicious dogs; constant whipping, etc., etc., etc. - and with all that said, my least favorite character, by far, was Django - he's supposed to be "hip" and manly and blah blah blah, but he's really just a despicable macho jerk. I was very disappointed by Leonardo Di Caprio's performance (I didn't see the last 40 minutes of the movie; I had enough of the constant violence).

    I get that others just love guns, violence, the "N" word, and find it oh so funny when the Klu Klux Klan can't see through their sheets (hilarious - not!) - I get that others just love violence against others. Let's see: Aurora, Newtown, Columbine, drone planes murdering innocent children, women and men in countries we are not at war with - hmmm - could there be a connection? A society in love with violence can't quite reconcile the kharmic blowback that inevitably occurs.

    Yes, this film is well-photographed; there is one interesting performance (Christoph Waltz); the music, while weird, has its moments - but that's it as far as I'm concerned.

    Tarantino is always infuriating. If he could get away from his adolescent revenge violent fantasies he clearly has a knowledge of film history and has the money to hire fine movie technicians. But this film is a complete waste of time and money.

    Did you really find all the violence "fun" to watch? It turned my stomach. Films I enjoyed had violent scenes in them but they did not glorify violence.
  • comment
    • Author: Broadcaster
    Just like the previous installment "inglorious Bastaerds (or whatever)", Tarantino indulges himself in just another (did we really need it??) exercise of spaghetti-onanism.

    The main question here is "What's the point?". Someone tries to justify the movie to me as an "authentic" (sic!!) depiction of black's slavery in America, to which I say "...Aaaaaw come on!... I've seen it much better done in the 70's in Alex Haley's Roots TV series!!!"... (and I need to say I'm really supportive of Afroamericans)

    But of course, being a Tarantino movie, nothing is believable here. Everything is "hip". Suspension of disbelief is constantly blown away by that acute sense of being watching another kinky Tarantino tableaux, complete with those trademark Academy Award dialogs...

    And when it comes to violence, oh my, it's impossible not to laugh at the involuntarily comic attempts at being voluntarily comic of all those Quentin's excesses "a la Peckinpah".

    I can only salvage one shot in the whole overlong movie: the one in which Tarantino himself gets blasted to pieces, leaving a dark hole in the ground as only remains. If only...

    A movie strictly for Tarantino fans, Sergio Leone's fans and retarded of all kinds.
  • comment
    • Author: Shalinrad
    *This review contains SPOILERS.*

    I normally read the plot summary on IMDb before I watch a movie despite my feeling that it may give away plot details. With this movie, it was the other way round. Here's why.

    A freed slave in mid 19th century Texas, with the help of a bounty hunter, sets out to rescue his wife who is a slave at a plantation in Mississippi. The story doesn't get to this part till about an hour. I even wondered at some point if there was an angle where Dr.Schultz was going to double-cross Django and sell him off to some white guy. The bounty-hunting part is essential to the story but cut to the chase already! I felt chained to my seat as the movie dragged on forever.

    Christopher Waltz does a good job, but Dr.Schultz was badly written. He comes across as trying too hard to be funny and cool and his elaborate dialogues get annoying at times but despite all that, you end up liking him.

    Leonardo DiCaprio does a convincing job as the arrogant, rich, gore- loving plantation owner. He has evolved to the point where he can ease into any kind of role on screen and it is refreshing to see him as Calvin Candy.

    Watch out for Samuel L. Jackson. He is so good as Stephen that he frightens you, annoys you and makes you want to hate him. He is the highlight of the movie. Jackson and DiCaprio complement each other very well.

    Kerry Washington has a small role but does a decent job and plays Broomhilda well.

    Finally, Jamie Foxx/Django. I still have not been able to separate the actor and the character from each other. He is in a trance for most of the movie and transiently comes out of it in between to say a few words and kill people. His portrayal of a man desperate to get to his wife is just not convincing. His acting needs a lot more polishing, but Tarantino is no help because Foxx's portrayal of Django made me wonder if he is so bad an actor or if Tarantino messed up his acting. Hence, I can't separate Foxx from Django.

    The chemistry between Django and Broomhilda is conspicuous by its total absence. Even the girl who shows Django around when he goes to find the Brittle brothers has a few lines with him. After putting us through 165 minutes of torture anyway, couldn't Tarantino have filmed one scene showing Django and Broomhilda together (before they get separated)? Instead, all we get to see is Django helping Broomhilda escape early on in the movie and then imagining her all over the place. Just one scene of them sharing screen space (instead of the useless KKK scene) would have done the trick. No wonder Calvin doesn't suspect anything between the two of them. There is no show of emotion from Django when Dr.Schultz is killed. He just says a random, unemotional goodbye later when he collects Broomhilda's papers. So much for the man who freed him and helped him find his wife.

    The action scenes are a little too violent, but it is an action flick, so I'll let that pass. The cinematography is very good, editing terrible and music a little too modern for the time in which the movie is set.

    This was a good story with huge potential, but the abysmal writing, direction and editing made it a dud for me. If not for good acting by Jackson, DiCaprio, Schultz and the likes, 'Django Unchained' would have fallen flat. Undoubtedly, they are the saving grace of the film. The only good thing for us was that we checked the running time ahead and bought popcorn. Rent it out on DVD, it's not worth the admission fee.
  • Cast overview, first billed only:
    Jamie Foxx Jamie Foxx - Django
    Christoph Waltz Christoph Waltz - Dr. King Schultz
    Leonardo DiCaprio Leonardo DiCaprio - Calvin Candie
    Kerry Washington Kerry Washington - Broomhilda von Shaft
    Samuel L. Jackson Samuel L. Jackson - Stephen
    Walton Goggins Walton Goggins - Billy Crash
    Dennis Christopher Dennis Christopher - Leonide Moguy
    James Remar James Remar - Butch Pooch / Ace Speck
    David Steen David Steen - Mr. Stonesipher
    Dana Gourrier Dana Gourrier - Cora
    Nichole Galicia Nichole Galicia - Sheba
    Laura Cayouette Laura Cayouette - Lara Lee Candie-Fitzwilly
    Ato Essandoh Ato Essandoh - D'Artagnan
    Sammi Rotibi Sammi Rotibi - Rodney
    Clay Donahue Fontenot Clay Donahue Fontenot - Big Fred's Opponent
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