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In the desolate Texas winter, Dr. King Schulz (Christoph Waltz) has a flair for theatricality. A German bounty hunter posing as a dentist, Schulz frees the slave Django (Jamie Foxx) from his captors, and after Django helps Schulz identify a lucrative bounty, the pair forms an unlikely partnership. They work as bounty hunters until the winter is over - Django has perfect aim, naturally - and in the spring they head to Mississippi to save Django's wife Broomhilda (Kerry Washington) from Calvin Candie (Leonard DiCaprio), a pretentious plantation owner. Schulz must help Django because he cannot get over the coincidence that saving Broomhilda would amount to an American update of a classic German fairy tale.
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Until Django and Schulz head to
Mississippi, Django is essentially a comedy with flashes of over-the-top
action. The bounty hunters enter a dangerous area, outsmart racist
white people, and leave without a scratch on them. Posing as investors
in mandingo wrestling, their first encounter with Candie is genuinely
shocking. Schulz and Candie watch as two large black men beat each other
to death and the controlled camera-work forces us to take the
blood-battered, torn flesh. The scene is all the more disturbing because
Candie is having a great time while Schulz must pretend to (Django
hangs out at the bar). So when Django finally exacts his revenge,
Tarantino puts the audience in Candie's position: we're meant to be
entertained by the violence even though we recoiled earlier. We're
culpable in a world of brutality, just like his characters.
Django
Unchained is at its best when Tarantino builds suspense through coiled,
"civilized" conversation. There is a long dinner scene where the heroes
must hide their intentions from Candie, and it's complicated by
Broomhilda and Stephen (Samuel L. Jackson), the plantation's head slave.
Stephen is arguably the movie's true villain: he immediately resents
Django's freedom, and buys into the slavery system as much as Candie, if
not more. Still, Tarantino only has enough to room consider slavery as a
binary. The characters are either progressively-minded abolitionists,
or they take slavery to its cruel logical conclusions. His characters
may say "nigger" all the time, yet the epithet adds more rhetorical
rhythm than it does historical context. The most suspenseful scenes are
also the most superficial, so Tarantino essentially co-opts a classic
American genre so that his characters can pretend to be polite to each
other. His approach is terrific fun and not much else.
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Tarantino's kooky dialogue always
resonates with the right actor, and there is little surprise that those
who worked with him before have the least amount of difficulty sinking
into their roles. Minus the anti-Semitism, Schulz is similar to
Inglourious Basterds' Hans Landa. Both men share a delight in precise
language, and are guided by their convictions, which they hide through a
sense of propriety. When Schulz finally acts with his conscience, the
moment is abrupt and weirdly satisfying. Samuel L. Jackson, on the other
hand, is terrific as heartless Uncle Tom with a sadist streak. His
scenes with Django and Candie are uncomfortable because Jackson
disappears into the character; it's his best work since Black Snake
Moan. Given the competent, unremarkable work of the newcomers, Foxx
included, the only surprise is Leonardo DiCaprio. This is his first time
as a villain, yet he plays Candie as if he's the only true gentleman on
his plantation. He's wholly convincing as a slick monster, and DiCaprio
has a future with character roles as opposed to leading ones.
As
of this writing, IMDb lists Django Unchained 59th on its top 250 list.
Clearly Tarantino's fans are zealous, and after the uneven complexity of
his latest, I can't help but wonder if he's frustrated by that fact.
Django Unchained is a deceptive movie, one that uses a simple revenge
arc to challenge us into questioning why, exactly, exploitation is so
entertaining. Once again, Tarantino subverts and upholds genre better
than any other working filmmaker. The only pity is that he doesn't
explore our ugliest history with the same feverish depth.
