Quentin Tarantino's favorite films based on the internet pulled from multiple sources.
Django is a 1966 Italian spaghetti Western film directed by Sergio Corbucci and starring Franco Nero in the eponymous role. The film earned a reputation as being one of the most violent films ever made up to that point and was subsequently refused a certificate in Britain until 1993, when it was eventually issued an 18 certificate. Subsequent to this the film was downgraded to a 15 certificate in 2004. Although the name is referenced in over thirty "sequels" from the time of the film's release until the mid 1980s in an effort to capitalize on the success of the original, none of these films were official, featuring neither Corbucci nor Nero. Nero did reprise his role as Django in 1987's Django 2: Il Grande Ritorno (Django Strikes Again), in the only official sequel to be written by Corbucci.
A mildly sluggishly paced first half does almost nothing to dilute one of the all-time great movie heroes (complete with one of the all-time great movie hero theme songs).
What struck me this time around is how bifurcated Django the movie and Django the character are - in the first half, he's almost Batman-like, with his hat pulled over his eyes and dispassionately blowing people away with his pistol and then with (spoiler alert!) his machine gun. Then, he meets up with the Mexicans, his hat comes off, and all of a sudden he's a human being. It's a weird counterpoint to Eastwood's Man With No Name, and a dynamic I'd somehow not noticed before.
The sequence with Django taking back his gold is one of my favorite set-pieces ever, and a great example of the "cinema of process." And the whole movie takes place in a believably (but still entertainingly) scuzzy and evil world. Beautiful!
I don’t know if I can say anything coherent about Django, I’m too caught up staring into Franco Nero’s eyes (seriously, that man is soooo fine). The camera loves his eyes too, using them judiciously, withholding them until the most effective moments.
Django starts with an incredible image - the lone figure trudging across empty land, dragging a heavy coffin behind him, bringing death with him. That figure is an enigma, but the film gives just the right amount of information about him, at the right times.
The energy in the film is raw and explosive. There is a slow simmer that kept me intrigued. The villain is so bad, but not comically bad; rather, pure evil bad. A ballet…
"If you're a coffin maker, you sure did pick a good town to settle."
Really hard to talk about anything but the brilliant visual metaphor of an outlaw dragging his own coffin behind him through the blood-soaked mud of the badlands. Simultaneously symbolic of the burden of mortality and the price of vengeance, encapsulating both the existentialism of the vanishing frontier and the desperate violence of personal ethical codes in a lawless, uncivilized land.
There's an incredible precision in the direction here that translates into tremendously evocative imagery (the famous profile shot of Django with his head low, his hat pulled down over his eyes, as he glances sidelong at the man entering the saloon, as if smelling the evil…
The Italian Western a.k.a Spaghetti Western subgenre was born in the hands in one of (if not) the most important directors in the history of cinema, Sergio Leone, and since then, it has influenced thousands of well-known filmmakers, such as our beloved Quentin Tarantino. Everything that's cool about the subgenre is present in Sergio Corbucci's most iconic film, Django, which is an action-packed western full of wonderful moments to enjoy.
The most important element in Spaghetti Western films might be the new style of editing, which played a crucial role in Sergio Leone's masterpieces and which is also present in Corbucci's Django. The way the film shifts from character to character and from shot to shot is impressive, relying on…
DJANGO! OH-OH-OH, DJANGO!
YOU MUST GO ON! OH-OH-OH, DJANGOOOO!
Coolness on a plate. While the first third of this influential masterwork drags as much as the coffin Django carries with him, the rest of the film is absolute, unadulterated western nirvana. You've got France Nero staring at people in a way that only he and Clint Eastwood can do, you've got a seriously bad-ass machine gun, you've got dynamite, you've got ear-slicing, you've got prostitute mud-wrestling; it's all here.
I was surprised at how influential this actually turned out to be, and I'm fully satisfied. You can see where Tarantino got some of his inspiration for Django Unchained, especially in terms of soundtrack and the appearance of General Jackson's men (bag-heads!)
All in all, just awesome.
"Franco Nero", of course, is Latin for "great justice and impossible badassery".
I was pleased, watching this again in the middle of a hefty research project about trickster mythology, to find that it is, in fact, a trickster story. Many Westerns are about a stranger without a home coming into a troubled town, but few take the pains to make their wanderer as liminal as Django - a blue-eyed white man with a Spanish name coming into a town where the white population are violently persecuting the Mexicans. The side of justice appears to be obvious at first, but Django remains stubborn in his determination to exist in between. He also has elements of the psychopomp, a mythical archetype who…
Sergio Corbucci's Django is a consistently entertaining, well paced and impressive Spaghetti Western, even if it seems blatantly inspired by Leone's Dollars trilogy and as a result, does not have a clear and distinct identity.
Franco Nero as the titular Django, a Clint Eastwood inspired silent gunslinger, and the now iconic music by Luis Enriquez Bacalov are most impressive. Corbucci's Django does suffer somewhat in that the dubbing is a bit too noticeable, taking away from the grit and feel a bit. While it is an issue I have difficulty overlooking, simply because it is too obvious nature, there is a lot to enjoy about Django.
A simple story, with a brilliant and sweeping piece of music and excellent action sequences, Django is a somewhat important film in the Spaghetti Western genre.
Schlamm, heruntergekommene Siedlung, rassistische Yankee-KKK-Clan, nicht weniger bessere Mexikaner noch mehr schlamm und dazwischen ein Antiheld der sehr sehr gerne von seiner Schusswaffe gebracht macht.
Das Internet sagt ein Bodycount von 180.
Wunderbarer Italowestern mit fantastischer Musik und vieeeeel Dreck.
Film #7 of my May 2016 Scavenger Hunt
Task #9 - A pre-1970 Western
Although i was already aquainted with Djangos main theme from Django Unchained, the cinematic value it provides in both the opening and closing sequence here is insane. I mean, the closing sequence alone bumped the movie up a full star for me. The symbolism, the action, the music, the framing. Fucking exquisite.
Im finding it hard to write down something concrete about this, other than that it is amazing. Everything from Django and his coffin, to the red KKKs and their mustaches. A great looking dark gritty western, with real stakes, and fantastic visuals. Definitley one of the best westerns ive seen thus far. I could seruiously look at closeups of Franco Neros dirty fucking face all day long, the amount of charisma man, yeesh.
Wieso habe ich diesen Film erst 50! Jahre nach Erscheinen gesehen? Diese Frage treibt mich um, seit ich gerade den "The End" Schriftzug las. Vielleicht einer der besten Rachewestern, die ich je gesehen habe. Franko Nero ist so charismatisch, dass man Django einfach alles verzeiht. Hier passt vieles zusammen, vom Grenzfeeling über ausgewogene Figuren, die klischeehafter nicht sein könnten bis hin zum Soundtrack, der dem Film eine ganz besondere Stimmung gibt.
Incredibly well shot and interesting if not without problems.
Full review and analysis on GoodTrash GenreCast episode 173.
I take it all back. It's a brilliant, angry political screed. Worthy of pairing with the Dollars Trilogy.
(Django) Django, have you always been alone
(Django) Django, have you never loved again
Love will live on, oh, oh
Life must go on, oh, oh
For you cannot spend your life regretting
Django is one hell of a brutal film. Especially for the 60's. We have a guy forced to eat his own ear before being shot in the back, we have Django's hands getting crushed to just piece of bones, someone got shot in the eye, murdering spree with a machine gun and whiplashes to a woman's back.
(Django) Django, you must face another day
(Django) Django, now your love has gone away
Once you loved her, whoa, oh
Now you've lost her, whoa, oh
But you've lost…
There's probably some interesting ideas of the time at work here, but the godawful dubbing/lip-syncing makes the film difficult to take too seriously. There's obviously a few offensive cultural issues such as the glorification of misogyny, brown face, and even a hint of classism that make this a bit more difficult to appreciate even as an artifact of the time.
As a B-movie western, it works and delivers a fun experience filled with nonsensical action set pieces, bad dialog, an undeniably bad-fun camera techniques. But as a film that contributes meaningful ideas, this film is a relic that should be viewed as such.
All of this aside, Django is a must see for Tarantino fans. Nearly all of his movies draw heavily from the style at work even though his adaptations yield more fruitful and impactful results.
It's bad but I really like it.
Quentin Tarantino's favorite films based on the internet pulled from multiple sources.
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