Django Unchained

This is Tarantino’s best movie since Pulp Fiction. It’s Kill Bill violent. Blood drips and splatters. The dripping is more disturbing than the splattering.

After me & the missus saw it a couple weeks ago, I said, “This movie is going to get people killed.”

Louis Farrakhan just made sure of it yesterday. I hope somebody kills him.

After the movie, I wanted to kill white people and I’m as white as it gets. Well, I’m not Conan O’Brien white, but close.

A lot of people are mad at Tarantino over this movie. I kind of like the direction he’s taken. I saw him on Charlie Rose. He criticized Roots because at the end the slaves had mercy on the slave-owners. Tarantino says, fuck no, unleash hell on them!

Inglorious Basterds unleashed hell on Nazis. Tarantino re-wrote history about Nazis and nobody had a cow about it. It was cathartic. Django Unchained rewrites more unleashed history, on slave owners.

The South was a horrible place, before the Civil War, because of slavery. This fight had been brewing since 1776, and the South didn’t step up and clean up their own shit until the North made them do it. How cool is America that we tried to make this stop by peaceful means, and when it didn’t, we eventually stopped it? The South wasn’t just wrong, it was evil. Fuck all y’all who slice and dice and claim that the war was about this and that. It was about good people opposing slavery and bad people defending it. Without slavery, there would have been no war.

Tarantino’s new movie is absurdly violent and fantastic but he’s done for slave-owners what he did for Nazis in Inglorious Basterds.

I love this movie and people will die because of it. Try to pry my Blu-Rays out of my cold dead hands, Obamanistas!

2 Responses to Django Unchained

  1. q335r49 says:

    Ohhh Jeez… Django Unchained was a horrible movie. And Tarantino’s gone way downhill.

    I actually got here because I suddenly had the notion that Trayvon Martin should win a Darwin Award and your blog came up.

    Tarantino has become an idiot who has bought into all that post-modern self-referentiality crap. “My movies are going to refer to themselves… they are going to channel those old pulp movies. And what is pulp? That which panders to the audience. Pulp is, basically, the equivalent of romance novels for guys, it is pornography dressed as literature. And my movies are going to pander to those tastes.”

    Writing self-aware porn is just that — playing with yourself, masturbation, and involving the audience. it’s like a jerk-off encouragement video, it panders to the audience and knows it panders to the audience, but, again, that doesn’t make it somehow MORE intellectual. Tarantino is washed out and has basically forgotten entirely what was so challenging about his earlier films, and about movies in general.

    Just as an example — and I (claim to, at least) hate to quote myself, I wrote a mini-review on a pulpy, slasher flick the other day — a film that could very well have been in the intermission for “Deathproof”, like that one about Thanksgiving:

    Sleepaway Camp is one twisted movie… There is a strong suggestion, as in all slasher movies, and all movies in general, that the killings are MORAL, as if the murders were in fact a strong-headed preservation of traditional values, albeit twisted, carried to an extreme, a victim of circumstance, noblesse oblige. This isn’t limited to genric trope but also how we go about understanding life in general — are terrorists, for example, “fundamentalists” — ie, MORE MORAL than us? More literal? Less thoughtful? More childlike, more innocent? More radical, more faithful, more primitive? But the bottom drops out of all this at the end — in the final scene the killer, figuratively and literally naked, stands before us and utters a horrifying, inhuman hiss, but this hiss also comes from someone — something — who fully understands, and regards with utter contempt, what we think it means to be human. There is a terrifying feeling of vulnerability at that moment — since the only way, perhaps, to truely evoke the inhuman is to be seen and understood in such a way, since all the tropes of movies, demons, monsters, etc., are only extensions of the human. Very few movies are aware of, and play so expertly on, the way in which our understanding and complicity with film relies so much on the concept of “the human”.

    So here, there is mention of self-reference, a hyper-aware genre, Sleepaway Camp is a slasher flick about slasher flicks, a pulp movie about pulp movies. And Tarantino might have even mentioned it as one of his favorite movies, I forget. But the direction it takes is radically different and far more interesting. Instead of reestablishing the human as human, instead of self-celebration and affirmation of the human — “Which basically comes down to saying, I’m CRAZY!” — it tells a story at our expense — it plays upon our understanding of the genre, and all our implicit assumptions about what it means to see a movie. There is a hint of this in his earlier films — but I won’t go into details here. The key is that there is something very cerebral here, as it attacks the very moment of seeing — which is never merely “perception”, as people think, but always involves the human and an awareness of the complicity of humans, even though we never acknowledge it. In Sleepaway Camp, we, of course, continue to see — but not in the sense that the veil has been torn, but rather, we see new agencies at work, a new, undeniable reality forming before us — which is what the psycho killer represents.

    • Scipio says:

      You definitely have a different take on Django than I did. Sounds like you know a lot more about the craft of movies than I do. I saw Django as Inglourious Basterds Part Deux. Both are over-the-top revenge fantasies. In any case, both are better revenge fantasies than are any of mine.

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