Yessir. Before we get my excitable thoughts of “Django Unchained,” yours truly would like to personally felicitate director/writer Quentin Tarantino for accomplishing a feat black filmmakers have failed to achieve – concocting a legitimate African-American hero. Quick, somebody uncork the champagne. Tarantino made black history.
Yes, Django is a vehement, uneducated slave on the cusp of freedom. Dude ain’t perfect, okay.
But unlike the inebriated Hancock (Will Smith), the fatuous Meteor Man (Robert Townsend) and infamous transvestite Madea (Tyler Perry), Django (Jamie Foxx) is the type of no-nonsense warrior young black men can finally look up to.
In the opening sequence, bounty hunter King Schultz (Christoph Waltz) claims Django’s rights and makes him his deputy after popping caps in the asses of a pair of vulgar slave-owners.
Afterward, the juxtaposed duo travel the dirty south in a ballsy attempt to extirpate the bad guys on Schultz’s ‘most wanted’ list.
Call it serendipity. But, during their journey, they stumble upon Django’s enslaved wife Broomhilda (Kerry Washington) and attempt to purchase her from malevolent plantation-owner Calvin Candie (Leonardo DiCaprio) – who, for sport, makes Mandingos fight till death like a pair of rabid pitbulls in a ring.
Must say, the conception is exactly what you’d expect from Tarantino. The 1850s Western contains an array of compendious, pre-civil war humor. The fight scenes are well-choreographed. And the cinematography is stewed to perfection.
The acting isn’t too shabby either.
DiCaprio, who played the valiant Jack Dawson in James Cameron’s 1997 film classic ‘Titanic,’ shows his ass in portraying an odious cur. His sidekick, an elderly ‘Uncle Tom’ crusty-black, snitching house-Negro played by Samuel L. Jackson, is both hilarious and loathsome.
Foxx, of course, plays one hell of a vindictive slave. His character is surprisingly lovable and reeks of deference. Django’s no chump. He’s a real man. There’s nothing he wouldn’t do for his wife.
The story of a black man and black woman actually getting along on film is long overdue.
Tarantino also does an admirable job of taking us into the dark stages of black history.
You can tell enslaved damsels were raped by viewing the sundry of skin pigmentation on the plantation. The perturbing sight of beautiful young sistahs calling Caucasian slave masters ‘big daddy’ is certainly enough to tick off any brotha.
Furthermore, the high number of light-skinned blacks in the movie is a direct sign slave traders impregnated their property.
If you’re easily offended by the N-word, don’t watch this film. Tarantino’s characters spew the term like Richard Pryor live on the sunset strip – enough to make the bigoted David Duke and his fellow Ku Klux Klansmen blush.
The film also exudes a plethora of sanguineous executions through fanatical gun violence.
Call him psycho. But Tarantino made sure bullets and bloodshed are on display early and often.
All that said, ‘Django Unchained’ is a bicentennial thriller. It’s certainly music to the eyeballs to see that old, decrepit, house marionette Samuel L. Jackson murdered last.
Personally, I can’t stand Uncle Toms.
Can’t stand the bastards.
Sometimes I wish I could join the Ku Klux Klan to help get rid of ’em. ‘Django Unchained’ rocks the boat. Literally.