‘Django Unchained’ will be released in British cinemas on Friday the 18th of January but it has already stirred up a lot of controversy in America. The film follows recently freed slave, Django (Jamie Foxx) team up with the eloquent dentist cum bounty hunter Dr. King Schultz (Christopher Waltz) as they track down and free Django’s wife. Waltz turns in another dazzling performance, audience and director alike are wooed by his eccentric sense of humour which slightly overshadows Foxx, who, for the most part goes for more of a laconic tough guy caricature. The balance works well and helps Tarantino deal with the issue of slavery in smart ways as Schultz teaches Django how to read and shoot to further his emancipation. However it is DiCaprio who steals the show as the southern debonair, Monsieur Candie, who couples charming wit with sadomasochistic racism in a captivating performance. DiCaprio has been stifled in recent years as he constantly returned to psychologically disturbed roles in an attempt to pick up an Oscar that to this day eludes him, but he seems rejuvenated playing out of type as the Southern gothic villain with high energy and a dandy flair.
Quentin Tarantino has made a name for himself by taking forgotten, worn out relics and breathing new life into them. He salvaged the careers of John Travolta, Pam Grier, Robert Forster, David Caradine and put them back in front of the camera with a renewed hunger to lay down the performance of their careers (in the case of Travolta, he came up against fierce opposition with the Weinstein Company, almost jeopardizing the completion of Pulp Fiction). He took expired genres like the 70s Hong Kong revenge film, grind house and the ‘dirty dozen’ and charged them with his witty dialogue and vivid violence. The only misstep in ‘Django’ is the fact that the western genre has already been updated for modern audiences and once again exhausted by shows such as Deadwood, games like Red Dead Redemption, and films like Cowboys vs Aliens. So the awkward scrolling inter titles and long shoot-outs are a part of a ready-made style as opposed to one unique to Tarantino.