Anxious anticipation with this film, as I expected, ended in emotional catharsis when watching it.
Now, Quentin Tarantino, who is an authentic author, one of many greatest directors and screenwriters of our time, followed a path somewhat similar to the one he followed last time with Inglourious Basterds – in both cases as a basis taken a particular time frame from history. At the same time frame, in both works of the master there’s an alternative development of these events, and the historical component is included for the sake of entourage, shell, clues, but no more. These films don’t show any definite position of the director regarding the events in certain period of time (like,’I am for Jews ‘, or’I am for blacks’), and exact adherence to historical facts could be absurd for these films. But’Django Unchained’is also a Western that our true movie lover has long wanted filming. The theme of slavery is traced in the film quite sharply, in more detail and essentially original because of the genre. Take, like, the key character – a former black slave for a few days transforms in to a full-fledged cowboy (the action takes place ahead of the civil war). I have not seen anything similar to this in virtually any Western. And, at the same time, the film in its genre looks solid and atmospheric; you can see some allusions to the classic spaghetti westerns loved by the director. Artistic techniques corresponding to the genre were used (what is the look of the titles). But, i think, it is still not worth considering the film in the framework of merely a spaghetti western. By and large, each creation of Tarantino is really a movie of only one genre, which can be characterized only by the director’s name and where only Tarantino himself can shoot. A’western ‘,’war film’as well as’slasher’are a few of the components of his style, that may change or repeat in one film to a different, and all of this with taste and with a lion’s share of irony, but always in a brand new way. This is the peculiarity of Tarantino as a director – he makes films in accordance with his own rules and with his own handwriting, and also contrives to pay tribute to the cinema therefore by means of his creations in several ways.
Everything in the film’Django Unchained’is in harmony with each other. The dialogues are dynamic and interesting, so despite their obligatory duration, they are perfectly balanced and linked to all sorts of spectacular gunfights and action in general. Generally speaking, as always with Tarantino. All of this occurs from the backdrop of excellent landscapes and scenery: saloons, dusty streets of a border town, plantations and farms, along with all sorts of picturesque and not landscapes. The atmosphere of the time in that your events take place is conveyed very richly as a result of same decorations, costumes, make-up (it seemed if you ask me that here, and the smell will blow). At the same time, the music used in the film may also be very modern, which is often called a funny anachronism, but which does not spoil the film at all and only emphasizes its style. The camera work enables you to savor every shot, 123 movies which will be flawless, along with the editing of the entire picture.
With regards to the plot, the film is intriguing, captivating, the narration rivets to the screen and does not let go, which will be the merit of the actors as well. I don’t even want to fairly share them, since it is better to see and appreciate their play, the quantity and significance of the images. All the actors shine in their roles, which are spelled out colorful and played in exactly the same way. Christoph Waltz correctly said about Tarantino’s work with actors that he, as a sculptor, «cuts off all that’s unnecessary, consequently of which every actor becomes a part of the sculpture, without even noticing it&rdquo ;.By the way, such things inherent in Tarantino’s creations as black humor and violence also played their roles, as always gracefully complementing the structure of the picture.
There is a certain semantic load in the film, but, as I wrote earlier, there is no position or morality which can be conceptually formalized. If you’re really passionate about watching this film with interest, imbued with it, then, almost certainly, you will feel anything that mcdougal wanted to state, which is involving the lines of the whole narrative. Many scenes are very symbolic, many are emotional. I would even call’Django Unchained’some sort of ode to freedom and love. But that is just my impression.
Quentin Tarantino once again released a very strong and stylish film, the director himself didn’t change himself. He does not have any job better or worse, they are many different and all beautiful and unique. Tarantino is madly in deep love with making films as much as he loves cinema generally speaking (and this is actually visible in his films), so we are unlikely to ever see the director fall.