“ONCE UPON A TIME . . . IN HOLLYWOOD” (2019) Review

“ONCE UPON A TIME . . . IN HOLLYWOOD” (2019) Review

When I had first learned that producer-director Quentin Tarantino had plans to make a movie about “Old Hollywood”, I assumed that it would be set during the early 20th century – at least sometime between the 1920s and the 1940s. I had no idea that the movie would be set near the end of the 1960s.

The reason behind my initial assumption was that I have never considered the 1960s decade to be a part of . . . “Old Hollywood”. For me, that era in film history had ended by the late 1950s. I eventually learned that a good number of movie stars – Rock Hudson being one of them – had retained contracts with the industries movie studios even during the Sixties. Even those who had transferred from movie to television productions. Then . . . I heard that the movie would be about the LaBianca-Tate Murders from August 1969. Familiar with the level of violence featured in past Tarantino movies, I was pretty determined to avoid this movie. I am used to the violence featured in the director’s past movies. But I really could not see myself sitting in a movie theater and watching a re-creation of the murder of actress Sharon Tate, Hollywood hairdresser Jay Sebring and a few other friends at the hands of Charles Manson’s Family. I had seen the 1976 movie, “HELTER SKELTER” when I was a kid. Once was enough and that was only a two-part television movie. But when I had eventually learned that “ONCE UPON A TIME . . . IN HOLLYWOOD” was a revisionist movie like his 2009 film, “INGLORIOUS BASTERDS”, I decided to give it a chance.

“ONCE UPON A TIME . . . IN HOLLYWOOD” covered a six month period near the end of the 1960s – from February to August 1969. To be honest, the movie is divided into two time periods. Two-thirds of the movie is set during a 36-hour period in early Februrary 1969. The last third of the film is set during the afternoon and evening hours of August 8-9, 1969. The movie is about the experiences of two men – Hollywood television actor Rick Dalton and his friend/stunt man/chauffeur Cliff Booth. Following the cancellation of his television series, “Bounty Law”, Rick had been making guest appearances in various television shows as villains. Casting agent Marvin Schwarz warns Rick that the longer he continues appearing in television episodes as the villain, his career will eventually die and no one will remember him from “Bounty Law”. The agent suggests that Rick consider going to Europe to star in an Italian western or two. And Cliff find his career as a Hollywood stuntman over due to rumors that he may have killed his wife and an altercation with Bruce Lee on the set of “THE GREEN HORNET”. Only his job as Rick’s chauffeur/handyman has allowed Cliff to earn any cash, thanks to the actor’s alcoholism and collection of DUIs that led to the removal his driver’s license.

Rick has also acquired new neighbors – Polish-born director Roman Polanski and his actress wife Sharon Tate – both with Hollywood careers that seemed to be on the upswing. The couple had just began leasing the home of music producer Terry Melcher. Rick has dreams of befriending them as a means to revive his career. Meanwhile, he contemplates accepting Marvin’s suggestion, while he begins work on his current job – a guest appearance as another villain in the pilot episode of the TV western called “LANCER”. As for Cliff, he becomes acquainted with a beautiful hitchhiker named Pussycat. She turns out to be a member of the Manson Family, who are staying at Spahn Ranch, where he and Rick used to film “Bounty Law”. Cliff’s encounter with the ranch’s owner, the blind and aging George Spahn and members of the Manson Family foreshadows a later encounter on that infamous night, six months later.

While contemplating his career, I noticed all of the four movies made by Quentin Tarantino in the past ten years were period pieces. All of them . . . from “INGLORIOUS BASTERDS” to this current film, “ONCE UPON A TIME . . . IN HOLLYWOOD”. I would never consider the other three films as nostalgic, but a part of me cannot help but wonder if I could say the same about this latest one. The pacing for “ONCE UPON A TIME . . . IN HOLLYWOOD” struck me as a lot more detailed, relaxed and reflective than any of his previous movies. It almost seemed as if Tarantino was paying some kind of loving tribute to the end of the old Hollywood studio system. For me, this seemed like both a good thing and a bad one.

Tarantino always had a reputation for scenes that featured long stretches of dialogue or detailed action sequences. And yes, the pacing in his films – with the exception of scenes featuring action or revelations of previous mysteries – can be a tad slow upon first viewing. But “ONCE UPON A TIME . . . IN HOLLYWOOD” marked the first time I can recall such a small amount of violence or action. Tarantino seemed more evoking a sense of the past than in any other of his period films. For “ONCE UPON A TIME . . . IN HOLLYWOOD”, it was a good thing for the film managed to permeate the end of the 1960s in Los Angeles and the Hollywood Studio system thanks to Tarantino’s direction, Barbara Ling’s superb production designs, Arianne Phillips’ costume designs and the art direction led by Richard L. Johnson.

On the other hand, Tarantino’s in-depth peek into Los Angeles 1969 also had a negative impact . . . a minor one, if I must be honest. This slow exploration also included a look into actress Sharon Tate’s life . . . at least in the first two-thirds of the film. Basically, the movie reflected a peek into the daily life of the actress – attending a party at Hugh Hefner’s Playboy mansion, visiting a bookstore in the Westwood Village, and watching her latest film (“THE WRECKING CREW”) at the theater. I realize that Tarantino was trying to pay some kind of homage to Tate, but I found this . . . homage rather dragged the film’s pacing.

There were two other aspects of “ONCE UPON A TIME . . . IN HOLLYWOOD” that I found troubling. One brief scene early in the film featured an appearance by Charles Manson at the Polanski-Tate home, searching for music producer Terry Melcher, who owned it. In real life, Manson had visited the house on several occasions, searching for the music producer. These visits had led to the Tate-LaBianca murders. But the movie only featured one visit by Manson and it happened early in the film . . . six months before the night of August 8-9. I believe this is where Tarantino’s narrative structure for the film had failed. I belief the film’s second act, which is set during that very night, should have began at least a few days or a week or two earlier, allowing one or two more visits by Manson to 10050 Cielo Drive and setting up his plan to send some of his followers to kill its inhabitants.

And there was Cliff’s infamous fight with Bruce Lee that outraged a good number of critics and moviegoers and led them to accuse Tarantino of disrespct toward the actor/martial artist and racism. Many took umbrage at Tarantino’s portrayal of Lee as a braggadocio who needed to be taken down by a white man in a fight – namely Cliff. If I must honest, I felt the same. I still do . . . somewhat. I recently discovered that one of the production companies backing the film is Bona Film Group, a Chinese organization controlled by Yu Dong and Jeffrey Chan. As producers and co-financiers of the film, why did Bona Film Group fail to protest against the Booth-Lee encounter? Did the company’s executives have a personal grudge against the late martial artist? Was this lack of protest due to some unpopularity of Lee in mainland China? Or did the production company simply not cared? One minor nitpick . . . actor Mike Moh’s hairstyle for Lee was a bit too long for that 1966 or 1967 flashback. Personally, I think Tarantino should have never added that scene in the first place. It was not that relevant to the film’s overall narrative. Or he could have easily allowed Cliff to have a fight with a fictional character, instead of Lee . . . anything to avoid the unnecessary controversy that followed.

Despite these flaws, I really enjoyed “ONCE UPON A TIME . . . IN HOLLYWOOD”. As I had stated earlier, I really enjoyed the film’s atmospheric setting of the Hollywood community at the end of the 1960s. The movie also did an excellent job in conveying Tarantino’s talent for creating a narrative structure for his films. The director allowed moviegoers a peak into a Hollywood industry that was in the process of change from the old studio system to the industry’s American New Wave era between the mid-1960s and the early 1980s. This transistion was conveyed in the film not only marked by Rick Dalton’s anxiety over his foundering career, but also capped by the Manson Family’s attack upon Cielo Drive. However, Rick was not the only one anxious about his future. Cliff Booth faced professional oblivion following Rick’s marriage to an Italian actress in the film’s second half. Despite their close relationship, Rick made it obvious that he could not afford to keep Cliff in his employ. The night of August 8-9 was supposed to be his last night in Rick’s employ. What is also interesting about this film is that like “THE HATEFUL EIGHT”, it ended on an ambiguous note. Was Rick’s career ever salvaged? Also, many have forgotten that on the following evening, Charles Manson himself led a second attack upon Leno and Rosemary LaBianca in Los Angeles’ Los Feliz neighborhood. Did the revisionist ending of “ONCE UPON A TIME . . . IN HOLLYWOOD” prevent these murders? I wonder.

The movie also featured many sequences that I found very enjoyable to watch. They also help set up and maintain the film’s narrative. These scenes included Marvin Schwarz’s frank assessment of Rick’s career, Polanski and Tate’s appearance at a Playboy Mansion party, Rick’s delightful interactions with an eight year-old actress named Trudi Fraser on the “LANCER” set that helped him turn in a memorable performance, Rick’s breakdown in a trailer after flubbing his lines, and Cliff’s meeting with Pussycat. But there were two scenes that really stood out for me. One of those scenes were Cliff’s encounter with the Manson family at Spahn’s Ranch seemed like Tarantino’s take on what happened between “the family” and a stuntman named Donald Shea in late August 1969. I thought Tarantino did a superb job with this scene. It was well-paced, filled with a great deal of tension.

I can say the same about the movie’s last sequence that featured the Manson Family’s attack upon Cielo Drive during the night of August 8-9. This is where Tarantino’ use of historical revision came into play. The director-writer used Rick’s constant complaints about “hippies”, his celebrity as a former television star and Cliff’s previous encounter with the Manson Family to re-direct the latter’s attack from the Polanski-Tate household to the Dalton household. And what unfolded was chaotic, occasionally funny and yes, very scary. It truly was a well shot and well-acted sequence.

“ONCE UPON A TIME . . . IN HOLLYWOOD” featured a good deal of cameos – probably a lot more than any previous Tarantino film (I could be wrong, since I have not seen all of his films). Making solid cameos were Damian Lewis, Michael Madsen, Timothy Olyphant (as actor James Stacy), Luke Perry (as actor Wayne Maunder), Damon Herriman (as Charles Manson), Ramón Franco, Lena Durnham, Rumer Willis, Martin Kove, Clu Galagher, Rebecca Gayheart, Brenda Vaccaro, Scoot McNairy, Clifton Collins, Jr., James Remar, and Toni Basil. The movie also featured some very memorable supporting performances – especially from the likes of Al Pacino, who delightfully portrayed casting agent Marvin Schwarz; an entertaining Kurt Russell who not only portrayed stunt gaffer Randy Miller, but also served as the film’s narrator; Zoë Bell, who was equally entertaining as Randy’s stunt gaffer wife Janet; Mike Moh, who gave a colorful performance as Bruce Lee; Lorenza Izzo, as Rick’s wife Francesca Capucci; a rather frightening Dakota Fanning as Lynette “Squeaky” Fromme, Manson family member; Austin Butler as the very intimidating Manson family member “Tex”, Maya Hawke as “Flower Child”; Nicholas Hammond as actor-director Sam Wanamaker; Rafał Zawierucha as Roman Polanski; Julia Butters as the delightful child actor Trudi Fraser; a very charming Emile Hirsch as Jay Sebring; the always entertaining Bruce Dern as George Spahn; Damian Lewis, who was surprisingly effective as a witty Steve McQueen; and Margaret Qualley, who was very memorable as Manson Family member “Pussycat”.

I will be the first admit that Tarantino made little use of Sharon Tate in this film. It was quite clear that her presence really served as a catalyst for Tarantino’s story and possibly a muse. But I cannot deny that Margot Robbie gave a very charming and ellubient performance as the late actress. Brad Pitt, on the other hand, gave a very subtle yet memorable performance as former stuntman Cliff Booth, whose career had seen better days. This was due to the mysterious circumstances behind the death of Cliff’s wife. Many believe he may have killed her and got away with the crime. And Pitt managed to reflect this ambiguity in his performance and in his eyes. There were times when it seemed there was a bit of a “cool superhero” element in the character that at times, made it a bit difficult for me to relate to him. But thanks to Pitt’s natural screen persona and a very subtle performance, I was able to do so in the end.

If I had to choose the most complex character in the entire movie, it would have to be former television star Rick Dalton. And I cannot deny that Leonardo DiCaprio did an exceptional job of conveying this character to the movie screen. Thanks to DiCaprio’s performance and Tarantino, Rick is such a conumdrum. One could label him as one of those actors from the late 1950s and early 1960s, who became television stars and later tried to make the transition to film. I have read many comments that Rick has a conservative outlook on his tastes and acting skills that will forever limit him from becoming a star in Hollywood’s New Age in films. This is very apparent in Rick’s pompadour hairstyle in the film’s first half, his occasional rants against hippies and his reluctant to adapt to the new Hollywood. And yet . . . Rick eventually concedes to Schwarz’s suggestion that he try Italian westerns, he changes his hairstyle and wardrobe to reflect the fashions of the late 1960s and early 1970s, and he seeks to make social connections with Polanski and Tate to further his career. Rick is also an alcoholic and might be bipolar. DiCaprio did an excellent job in conveying Rick’s emotional state that reflect these traits.

“ONCE UPON A TIME . . . IN HOLLYWOOD” is not my favorite Quentin Tarantino film, it has became my favorite film of 2019. I do not think it has a chance of winning any of the big prizes during the awards season of 2019-2020. I have a deep suspicion that the media and the Hollywood community is not as enamoured of it as I am. Which is okay . . . to each his or her own. But damn it, the movie was superb. I have heard rumors that Tarantino plans to retire from filmmaking. Personally, I think this is a mistake on his part. Perhaps he wants to end his career on a high note. And “ONCE UPON A TIME . . . IN HOLLYWOOD” is certainly a reflection of it, thanks to Tarantino’s direction, his screenplay, the movie’s production values and especially the cast led by Leonardo DiCaprio and Brad Pitt. But I hope that Tarantino continues to make movies.

 

“THE HATEFUL EIGHT” (2015) Review

 

“THE HATEFUL EIGHT” (2015) Review

Following the success of his 2012 movie, “DJANGO UNCHAINED”, Quentin Tarantino set about creating another movie with a Western theme that also reflected today’s themes and social relationships in the United States. However, due to circumstances beyond his control, Tarantino nearly rejected the project. And if he had, audiences would have never seen what came to be . . . “THE HATEFUL EIGHT”.

The circumstances that nearly led Tarantino to give up the project occurred when someone gained access to his script and published it online in early 2014. The producer-director had considered publishing the story as a novel, until he directed a reading of the story the United Artists Theater in the Ace Hotel Los Angeles. The event was organized by the Film Independent at Los Angeles County Museum of Art (LACMA) as part of the Live Read series. The success of the event eventually convinced Tarantino to shoot the movie.

“THE HATEFUL EIGHT” is at its heart, a mystery. I would not describe it as a murder-mystery, but more like . . . well, let me begin. The story begins in the post-Civil War Wyoming Territory where a stagecoach rushing to get ahead of an oncoming blizzard, is conveying bounty hunter John Ruth aka “The Hangman” and his handcuffed prisoner, a female outlaw named Daisy Domergue. The stagecoach is bound for the town of Red Rock, where Daisy is scheduled to be hanged. During the journey, an African-American bounty hunter named Major Marquis Warren, who is transporting three dead bounties to the town of Red Rock, hitches a ride on the stagecoach. His horse had died on him. Several hours later, the stagecoach picks up another passenger, a former Confederate militiaman named Chris Mannix, who claims to be traveling to Red Rock in order to become the town’s new sheriff. The stagecoach passengers are forced to seek refuge at a stage station called Minnie’s Haberdashery, when the blizzard finally strikes. The new arrivals are greeted by a Mexican handyman named Bob, who informs them that Minnie is visiting a relative and has left him in charge. The other lodgers are a British-born professional hangman Oswaldo Mobray; a quiet cowboy named Joe Gage, who is traveling to visit his mother; and Sanford Smithers, a former Confederate general. Forever paranoid, Ruth disarms all but Warren, with whom he had bonded during stagecoach journey. When Warren has a violent confrontation with Smithers, Daisy spots someone slip poison into a pot of coffee, brewing on the stove. Someone she recognizes as a fellow outlaw, who is there to spring her free from Ruth’s custody. And there is where the mystery lies – the identity of Daisy’s fellow outlaw.

“THE HATEFUL EIGHT” marks the sixth Quentin Tarantino movie I have ever seen. I also found it the most unusual. But it is not my favorite. In fact, I would not even consider it among my top three favorites. And here is the reason why. “THE HATEFUL EIGHT” struck me as being too damn long with a running time of two hours and forty-seven minutes. I realize that most of Tarantino films usually have a running time that stretches past two hours. But we are talking of a film that is basically a character study/mystery. Even worse, most of the film is set at a stagecoach station – a one-story building with one big room. Not even Tarantino’s attempt to stretch out the stage journey at the beginning of the film could overcome this limited setting. And due to the limited setting and film’s genre, “THE HATEFUL EIGHT” is probably the least epic film in his career, aside from his first one, 1993’s “RESERVOIR DOGS”. At least that film did not stretch into a ridiculously long 167 minute running time.

I also thought Tarantino made too much of a big deal in the confrontation between Major Marquis Warren and General Sanford Smithers. Apparently, Warren had a grudge against Smithers for executing black troops at the Battle of Baton Rouge. I find this improbable, due to the fact that there were no black troops fighting for the Union during that battle, which was a Union victory. There were no black Union or Confederate troops known to have taken part in that particular battle. Tarantino should have taken the time to study his Civil War history. But what really annoyed me about the Warren-Smithers confrontation was that Tarantino thought it was necessary to include a flashback showing Warren’s encounter with Smither’s son, which resulted in the latter’s death. I realize that the Warren-Smithers encounter allowed Daisy’s mysterious colleague to poison the coffee. But a flashback on Warren and Smithers Jr.? Unnecessary. I also found Tarantino’s narration in the film somewhat unnecessary. Frankly, he is not a very good narrator. And I found one particular piece of narration rather unnecessary – namely the scene in which Daisy witnessed the coffee being poisoned. Tarantino could have shown this on screen without any voice overs.

Despite these flaws, I must admit that I still managed to enjoy “THE HATEFUL EIGHT”. It featured some outstanding characterizations and dialogue. And it seemed the cast really took advantage of these well-written aspects of the script. I am not surprised that the film had received numerous nominations for Best Ensemble. Although the running time for “THE HATEFUL EIGHT” might be longer than it should, I have to give Tarantino kudos for his well-structured screenplay. He took his time in setting up the narrative, the mystery and his characters. And although he may have overdone it a bit by taking his time in reaching the film’s denouement, Tarantino delivered quite a payoff that really took me by surprise, once he reached that point. Unlike many movie directors today, Tarantino is a firm believer in taking his time to tell his story. My only regret is that he took too much time for a story that required a shorter running time.

But what I really liked about “THE HATEFUL EIGHT” is that it proved to be a new direction for Tarantino. In this age filled with lack of originality in the arts, it was refreshing to see there are artists out there who are still capable of being original. After viewing the movie at the theater, it occurred to me that is was basically an Agatha Christie tale set in the Old West. Tarantino utilized many aspects from various Christie novels. But the movie resembled one movie in particular. Only I will not say what that novel is, for it would allow anyone to easily guess what happens in the end. Although many of Christie’s novels and Tarantino’s movies feature a good deal of violence, “THE HATEFUL EIGHT” featured very little violence throughout most of its narrative . . . until the last quarter of the film. Once the Major Warren-General Smithers confrontation took place, all bets were off.

I wish I could comment on the movie’s production values. But if I must be honest, I did not find it particularly memorable. Well, there were one or two aspects of the movie’s production that impressed me. I really enjoyed Robert Richardson’s photography of Colorado, which served as Wyoming Territory for this film. I found it sharp and colorful. I also enjoyed Yohei Taneda’s production designs for the movie . . . especially for the Minnie’s Haberdashery setting. I though Taneda, along with art directors Benjamin Edelberg and Richard L. Johnson, did a great job of conveying the Old West in that one setting.

Naturally, I cannot discuss “THE HATEFUL EIGHT” without mentioning the cast. What can I say? They were outstanding. And Tarantino did an outstanding job directing them. As far as I know, “THE HATEFUL EIGHT” marked the first time at least three members of the cast have worked with Tarantino – Jennifer Jason-Leigh, Channing Tatum and Demián Bichir. Otherwise, everyone else seemed to be veterans of a Tarantino production, especially Samuel L. Jackson. “THE HATEFUL EIGHT” marked his sixth collaboration with the director. It is a pity that he was not recognized for his portrayal of bounty hunter, Major Marquis Warren. As usual, he did an outstanding job of portraying a very complex character, who not only proved to be a ruthless law enforcer, but also a somewhat cruel man as shown in his confrontation with General Smithers. Actually, most of the other characters proved to be equally ruthless. Kurt Russell’s portrayal of bounty hunter John Ruth struck me as equally impressive. The actor did an excellent job in conveying Ruth’s ruthlessness, his sense of justice and especially his paranoia. Walton Goggin’s portrayal of ex-Confederate-turned-future lawman seemed like a far cry from his laconic villain from “DJANGO UNCHAINED”. Oddly enough, his character did not strike me as ruthless as some of the other characters and probably a little more friendly – except toward Warren. Jennifer Jason-Leigh has been earning acting nominations – including Golden Globe and Academy Award Best Supporting Actress nods – for her portrayal of the captured fugitive Daisy Domergue. Those nominations are well deserved, for Jason-Leigh did an outstanding job of bringing an unusual character to life. Ironically, the character spent most of the movie as a battered prisoner of Russell’s John Ruth. Yet, thanks to Jason-Leigh, she never lets audiences forget how ornery and dangerous she can be.

Tim Roth, who had not been in a Tarantino production since 1995’s “FOUR ROOMS”, gave probably the most jovial performance as the very sociable English-born professional hangman, Oswaldo Mobray. Bruce Dern, who was last seen in“DJANGO UNCHAINED”, had a bigger role in this film as the unsociable ex-Confederate General Sanford Smithers, who seemed determined not to speak to Warren. Despite portraying such an unsympathetic character, Dern did an excellent job in attracting the audience’s sympathy, as his character discovered his son’s grisly fate at Warren’s hands. Michael Masden gave a very quiet and subtle performance as Joe Gage, a rather silent cowboy who claimed to be on his way to visit his mother. And yet . . . he also projected an aura of suppressed danger, which made one suspect if he was Daisy’s collaborator. A rather interesting performance came from Demián Bichir, who portrayed the stage station’s handyman, Bob. Like Madsen’s Gage, Bichir’s Bob struck me as a quiet and easygoing man, who also conveyed an element of danger. I was very surprised to see Channing Tatum in this film, who portrayed Jody Domergue, Daisy’s older brother. Although his role was small, Channing was very effective as the villainous Domergue, who could also be quite the smooth talker. “THE HATEFUL EIGHT” also featured excellent supporting performances from the likes of James Parks, Dana Gourrier, Lee Horsley, Zoë Bell, Keith Jefferson and Gene Jones.

Yes, I found “THE HATEFUL EIGHT” too long. I feel it could have been cut short at least by forty minutes. And I was not that impressed by Quentin Tarantino’s voice over in the film. I could have done without it. But despite its flaws, I cannot deny that I found “THE HATEFUL EIGHT” to be one of the director’s more interesting movies in his career. With a first-rate cast led by Samuel L. Jackson, Kurt Russell, Walton Goggins and Jennifer Jason-Leigh; and a screenplay that seemed to be an interesting combination of a murder mystery and a Western; Tarantino created one of his most original movies during his career.

 

“DJANGO UNCHAINED”: Controversy and Myth

 

“DJANGO UNCHAINED”: CONTROVERSY AND MYTH

Ever since the release of the 2012 Academy Award winning film, “12 YEARS A SLAVE”, Quentin Tarantino’s 2012 film,“DJANGO UNCHAINED” has been the target of a good deal of backlash and derision. Wait . . . I take that back. The film has received a good deal of derision even when it first reached the movie theaters during the early winter of 2012-2013.

Normally, I would have dismissed these negative comments. After all, “DJANGO UNCHAINED” became one of my favorite movies for the year 2012. It also proved to be a box office hit and won two Academy Awards – a Best Supporting Actor award for actor Christoph Waltz and a Best Original Screenplay award for Tarantino. So, why am I bothering to write this article about the film? If I must be honest, I recently read a few articles about the movie. Several accused Tarantino of writing a revenge fantasy on the topic of American slavery. I also came across one or two that compared it to the recent Best Picture Oscar winner, Steve McQueen’s “12 YEARS A SLAVE” . . . to the detriment of the former film. And I found myself becoming confused and rather annoyed. And when I get pissed off – even in regard to arts and entertainment – I have a tendency to react. This article is my reaction.

One of the major complaints against the movie was its depiction of violence. Okay . . . this is Quentin Tarantino, we are talking about. I have yet to come across a film of his that did not feature violence. Many of his previous films – including“RESERVOIR DOGS”, “KILL BILL” and “INGLORIOUS BASTERDS” – featured over-the-top violence. After twenty years of this, why did so many film critics raise a stink about the violence in “DJANGO UNCHAINED”? After all, the movie’s plot revolved around American slavery, upon which a great deal of violence was used to sustain it. And the system also produced a good deal of violence from many who tried to resist it. Surely these film critics were aware of this? Surely they were aware of the numerous slave rebellions – at least around 250 of them – that had occurred in North America between the Colonial Era and the eve of the Civil War. And I am not simply referring to the more well-known slave rebellions such as the 1811 German Coast Uprising, along with those planned by Gabriel Prosser and Denmark Vessey and Nat Turner?

A good number of people also accused the movie of being historically inaccurate. Film producer-director Spike Lee put in his two cents and declared that “American slavery was not a Sergio Leone Spaghetti Western. It was a Holocaust. My ancestors are slaves stolen from Africa. I will honor them.” Perhaps Lee’s ancestors never saw the American West. But a good number of slaves and former slaves did . . . even before the outbreak of the Civil War. The movie’s opening scene featured Django as part of a slave coffle being marched across Texas to one of the slave marts of that particular state. And guess what? Such incidents happened – especially during the Civil War, when many slave owners sent their slaves west to Texas to avoid being conscripted by the Confederate government to labor on behalf of its military. Slaves who attempted to runaway were punished in many various forms – including whippings like the one endured by Django’s wife, Broomhilda Von Shaft and nearly endured by one of Spencer “Big Daddy” Bennett’s slaves. The experiences of American slaves are so varied that I find myself wondering why Lee and many like him believed that nearly all slaves had only one particular experience – that of a laborer on a large-scale cotton plantation. Was the idea of a former slave becoming a bounty hunter that hard to believe? Would these same critics have felt the same if they knew about Nancy Gooch, a Missouri slave who had accompanied her master to California during Gold Rush . . . and later became a free woman when that state joined the Union? What would they say if they knew that she and her husband eventually became well off and owners of Johann Sutter’s mill (site of James Marshall’s discovery of gold)? Would they have felt the same if they had remembered the experiences of James Beckwourth, a Virginia-born slave who became a mountain man, explorer and fur trader; following his emancipation around 1824? Considering the varying experiences of Nancy Gooch, James Beckwourth and other slaves throughout U.S. history, why would anyone believe there was only one kind of experience? Former slaves – even before the Civil War – have become social activists, businessmen/businesswomen, authors and even slave owners. So, why would the idea of a pre-Civil War emancipated slave becoming a bounty hunter be dismissed as a fantasy?

Nearly a year ago, I had commented that with the release of “12 YEARS A SLAVE”, many have compared it to“DJANGO UNCHAINED” . . . and to the detriment of the latter. Look, everyone has their own views on what constitutes a good movie. If one prefers the 2013 film to the 2012 one, fine. The problem is that I have great difficulty in accepting the view that “12 YEARS A SLAVE” is superior to “DJANGO UNCHAINED”. Film critics and many others argue that the 2013 film is superior because it is a drama based upon historical fact. The film is a historical film biography about a free black man from antebellum New York, who was kidnapped into slavery and experienced nearly twelve years as a slave in Louisiana. As for “DJANGO UNCHAINED”, it is not biopic about a historical figure. The characters in the film, including Django Freeman, Dr. King Schultz, and Calvin Candie are all figments of Quentin Tarantino’s imagination. And as far as many are concerned, there is only one way to make a film about slavery. – a story based upon historical fact.

I might as well be frank. I noticed that the plot for “DJANGO UNCHAINED” had a few discrepancies. The movie’s narrative claimed that it began in 1858 – Two Years Before the Civil War. Actually, the year 1858 is three years before the war’s outbreak, not two. Also, Tarantino made another blooper with the movie’s time setting. Django and Schultz accompanied Candie to Candyland in early May 1858 . . . at least according to a scene that featured Candie’s head slave Stephen writing out a check for supplies. It is quite obvious that Tarantino got his time frame a little off. Was “DJANGO UNCHAINED” set between the fall of 1858 and the spring of 1859? Or was it set between the fall of 1857 and the spring of 1858? Who knows? Many critics and historians made a big deal about the presence of “Mandingo fighting” in“DJANGO UNCHAINED”. So did I. Like many others, I had claimed that there was no historical evidence of this sport ever existing. Well . . . perhaps we may have all been slightly mistaken. When author Kyle Onstott wrote his 1957 novel,“Mandingo”, he must have heard about the sport called Battle Royal that originated in Ancient Rome and reappeared in 19th century United States, and put his own spin on the sports. Although the sport of Battle Royal had consisted of three or more participants, it featured gladiatorial-style fighting that would be considered very brutal. The sport had originated in Ancient Rome and resurfaced centuries later in the first half of 19th century United States. The interesting thing is that many critics and filmgoers made a big brouhaha over the historical inaccuracies found in “DJANGO UNCHAINED”. I found this attitude very hypocritical, considering that inaccuracies of this kind have been found in every historical drama I have seen, including more highly acclaimed films such as “GONE WITH THE WIND”, “LAWRENCE OF ARABIA”,“GLORY”, “THE KING’S SPEECH” and the recent Best Picture Oscar winner, “12 YEARS A SLAVE”.

But if there is one thing that truly annoys me, it is the critics’ labeling of “DJANGO UNCHAINED” as a revenge tale. The film did feature characters either attempting or achieving revenge. The character “Big Daddy” Bennett tried to get revenge against Django Freeman and Dr. King Schultz for killing the Brittle Brothers, his overseers and wanted fugitives of the law. Dr. Schultz achieved revenge against one of the movie’s main antagonists, Calvin Candie, for the death of a Candyland slave and being cheated out of $12,000. Even Django managed to achieve revenge against the Brittle Brothers, the overseers who once worked for his original owner and some of the inhabitants at Candyland. And I believe it is possible to say that he got revenge against Lara Lee Candie-Fitzwilly, Stephen, Billy Crash and other Candie henchmen, when he returned to Candyland to save Broomhilda. But his main intent was to save Broomhilda and retrieve her freedom papers. I suspect that the revenge attempted or achieved in this film were merely consequences of the main plot. After all, both “Big Daddy” Bennett and Dr. Schultz paid consequences for their vengeful acts. And despite his original intent, Django managed to achieve some kind of revenge. But in the end, I do not believe “DJANGO UNCHAINED” is basically a revenge tale.

If Django had truly been interested in revenge, he would have gone after the very man who had punished and later separated both him and his wife Broomhilda – namely their original owner, Carruthers. And yet, Django never bothered to go after Carruthers for revenge. He never even considered it. Why? Because his main goal was to find and rescue Broomhilda, before fleeing the South. Mind you, he would have never been able to achieve this without Dr. King, who offered $75 and freedom to Django if the latter would help him track down the Brittle Brothers. Django would have never become a bounty hunter if King had not suggested he become a partner in the latter’s bounty hunting operations during the winter in exchange for helping him track down Broomhilda in the South. It was not difficult for me to see that Django’s main interest during the film’s entire narrative was being reunited with Broomhilda and fleeing the slaveholding South for good.

And I cannot help but wonder why many critics and filmgoers were determined to label “DJANGO UNCHAINED” a revenge tale? Why was it so important for them to regard it as such? Their accusations reminded me of the fears that many 19th century Americans – North and South – had about freed slaves. Many of these Americans feared emancipation because they believed those former slaves would turn on their former masters and engage in indiscriminate killings of whites. Was this same fear behind the intent of many critics to label “DJANGO UNCHAINED”? Because the movie featured a black man and ex-slave killing a good number of people – especially whites – to achieve his goal of permanent freedom for both himself and his wife? Is this why the media dumped this crap on the public about it being a revenge movie?

I will not deny that Django Freeman had a vindictive streak within him. The casual manner in which he stepped upon the fatally wounded slave trader Dicky Speck after the latter had insulted him, led me to suspect this. However, Django’s killing of the Brittle Brothers was more about helping Dr. King collect a bounty (and acquire his own freedom) than any revenge . . . even if the former must have felt satisfaction in killing two of the brothers. Django and Dr. King’s violent encounter with “Big Daddy” Bennett and a group of night riders was more about saving their hides. I also suspect that Django had achieved some satisfaction in his killing of some of Candyland’s inhabitants. But I still believe the entire episode was more about saving Broomhilda . . . and ensuring that no one at Candyland would alert the authorities to her disappearance. A part of me cannot help but wonder if moviegoers and critics find it easier to swallow a movie about slavery or any kind of oppression if major non-white characters were to simply endure or resort to non-violent responses. Would they have preferred if Django Freeman had resorted to non-violent means to rescue Broomhilda? He tried . . . upon King Schultz’s advice. But the latter ruined Django’s chances with a violent display of temper that led to his own death and the re-enslavement of both Django and Broomhilda. Django, in the end, had to clean Dr. Schultz’s mess . . . with violence.

Over the years, I have noticed how the American public, media and historians are willing to glorify activists like Martin Luther King for resorting to non-violent methods of resistance against oppression. Yet, at the same, these same people, media and historians glorify this country’s violent resistance to British authority in the late 18th century. And in parts of this country – especially in various Southern states – the former Confederate States of America is still glorified for its violent attempt to break away from the United States in the early 1860s. In other words, when a violent or military resistance is led by elite white males, our country glorifies this action. When non-violent resistance is led by anyone who is from the middle or lower classes, non-white or a woman, our country glorifies this action. When violent resistance is led by anyone who is from the middle or lower classes, non-white or a woman, our society condemns this action. And for certain critics and filmgoers, Django Freeman made the mistake of resorting to violence to win the freedom of his wife and himself.

Let me repeat myself. I do not believe that “DJANGO UNCHAINED” is a revenge tale. Django’s goal in this movie was not revenge. If it was, he would have sought revenge against the character portrayed by Bruce Dern. Ironically, another movie was released near the end of 2012 – “ZERO DARK THIRTY”. What was this movie about? Namely the hunt for Bin Laden in retaliation for the attacks on September 11, 2001. “ZERO DARK THIRTY” was clearly about the U.S. government seeking revenge against Bin Laden for the attack. Even the leading character portrayed by Jessica Chastain became vengeful when another colleague and friend was killed during a meeting set up with a former terrorist. There were some critics and moviegoers who dared to accuse or criticize the movie for being a revenge tale. The mainstream media more or less avoided labeling it a “revenge flick”. Then again, I should not surprised, especially when revenge or retaliation in this film was sanctioned by society and the government. For the past victims of slavery, revenge on their behalf is not tolerated . . . even after emancipation had been achieved over a century-and-a-half ago. And especially not in a work of fiction.

As for the backlash against “DJANGO UNCHAINED”, I realize that whatever negative opinions about this movie will never change. I can do nothing about it. One could also say that this article might be a waste of time. But you know what? I do not think so. For it allowed me to express my own frustrations over the negative responses to this film. And those frustrations were born from some of the criticisms and “revenge” label that was dumped on the film. It felt good to get this article out of my system . . . even if I do not end up changing any minds.

“THE GREAT GATSBY” (1974) Review

 

“THE GREAT GATSBY” (1974) Review

Many years have passed since I last saw “THE GREAT GATSBY”, the 1974 adaptation of F. Scott Fitzgerald’s 1925 novel. Many years. I must have been in my twenties when I last viewed the movie on television. With the release of Baz Luhrmann’s new adaptation, I found myself curious to see how this 39 year-old movie still held up. 

Directed by Jack Clayton and adapted by Francis Ford Coppola, “THE GREAT GATSBY” is a Jazz Age tale about a World War I veteran who becomes rich via bootlegging. His story is told from the viewpoint of another war veteran and Midwestern transplant, Nick Carraway, who happens to be his neighbor. Through Nick’s narration, audiences become aware of Gatsby’s obsessive love for his former paramour and Nick’s second cousin, a Louisville native named Daisy Fay Buchanan. Gatsby became rich, purchased a Long Island estate and befriended Nick in order to be near Daisy, who lived in the more socially elite part of Long Island with her husband Tom Buchanan and their daughter. With Nick’s help, Gatsby hopes to renew his romance with Daisy and convince her to leave the brutish Tom in order to recapture their romantic past.

So . . . what can I say about “THE GREAT GATSBY”? For one thing, it is an elegant looking film. And one can thank John Box’s production designs, which beautifully recapture the super rich of the Jazz Age. Box’s designs were aptly supported by the set decorations of Peter Howitt and Herbert F. Mulligan. Good examples of Howitt and Mulligan’s work can be found in the movie’s opening shot that feature the interiors of Gatsby’s Long Island home. Another aspect of “THE GREAT GATSBY” that contributed to the film’s elegance was Theoni V. Aldredge’s costumes. I must admit that they are gorgeous. Take a look:

 

Aldredge had stiff competition for the Best Costume Design Academy Award, but in the end she won. Did she deserve that Oscar? I do not know. One of her competitors was Anthea Sylbert, who was nominated for her work on “CHINATOWN”. As much as I enjoyed Aldredge’s work, Sylbert’s work struck me as equally impressive. The two designers could have easily shared an Oscar. However, I did discover something interesting – although Aldredge did most of the work for the female leads and supporting characters, producer David Merrick hired designer Ralph Lauren to design the costumes for leading male characters – Jay Gatsby, Nick Carraway and Tom Buchanan. Although Lauren did not receive any recognition for his work, I must admit they looked great, even if I possess a bigger preference for Aldredge’s work.

Douglas Slocombe’s photography also contributed the elegant look and style of “THE GREAT GATSBY”. Mind you, Slocombe’s shots of the film’s locations – New York, Rhode Island and Great Britain – looked beautiful. But his photography also had that soft focus look that practically screamed PERIOD DRAMA!”. It was the kind of photography that was very popular in the 1970s and still annoys me to this day. Nelson Riddle won an Academy Award for the score he wrote for the film. I wish I could say that I enjoyed it and found it very effective. Actually, I found Riddle’s score to be incredibly boring. The music sounded as if it belonged in a television one-hour drama, instead of a Hollywood film adaptation of a classic novel. The only music that I managed to enjoy in the film were the 1920s tunes featured in the Gatsby party scenes.

What can I say about Francis Ford Coppola’s adaptation of Fitzgerald’s novel? Actually, I cannot say a word. According to Coppola, what he wrote and what ended on the screen proved to be two different entities. Even screenwriter William Goldman, who had read Coppola’s original screenplay, seemed indifferent to Jack Clayton’s changes to the script. I have seen at least three adaptations of Fitzgerald’s novel. This is probably the most faithful adaptation I have come across. Unfortunately, this close adaptation did not really help the movie. I have no idea what kind of movie “THE GREAT GATSBY” would have become if Clayton had adhered to Coppola’s script. But judging from the nature of Clayton’s direction, I suspect that it would not have helped in the end. Clayton’s direction proved to be incredibly dull. In fact, he nearly drained the life out of Fitzgerald’s tale. I think Clayton took the concept of period drama a bit too far. I got the feeling that I was watching a “MASTERPIECE THEATER” production that originated on the BBC, instead of a film adaptation of Fitzgerald’s novel. And honestly? I have come across “MASTERPIECE THEATER”productions that proved to be a lot more energetic.

Some of the movie’s scenes turned out well. I was impressed by the party scenes at Gatsby’s house, even if screenwriter William Goldman found them vulgar. The scenes’ “vulgarity” did not bother me, because I found them entertaining and energetic. Those scenes, by the way, featured appearances by future star Edward Herrmann, who eventually starred in his own 1920s opus, “THE CAT’S MEOW” twenty-seven years later. I also enjoyed the party held by the adulterous Tom Buchanan and Myrtle Wilson at their own New York hideaway, even if it was nearly bogged down by Myrtle’s account of her first meeting with Tom. I also thought that Clayton handled the discovery of Myrtle’s death very well. It struck me as especially effective, thanks to a flashback of the hit-and-run that claimed her life. The movie’s best scene proved to be Gatsby and Tom’s confrontation over Daisy at the Plaza Hotel suite. This is not surprising, since this scene has proven to be the best in all of the adaptations I have seen and in the novel. My only complaint is that Clayton or the script cut it short by allowing Daisy to flee the suite before she could say anything or make a decision about her relationships with both Gatsby and Tom.

But the movie’s slow pace and reverent exploration of the Jazz Age wealth featured in the production designs nearly grounded “THE GREAT GATSBY” to a halt. I take that back. The slow pacing and obsession with the 1920s production designs proved to be impediments to the movie. But the Gatsby-Daisy love scenes nearly grounded the movie to a halt. I found them incredibly boring. Mindlessly dull. I had to hit the “fast-forward” button of my DVD remote every time Robert Redford and Mia Farrow appeared in a scene alone. They had no screen chemistry whatsoever. Between Redford’s silent intensity and Farrow’s over-the-top impersonation of Zelda Fitzgerald, there seemed to be no middle ground between them in order to form a believable romance. Daisy Buchanan was supposed to be Jay Gatsby’s “American Dream” – his final rung into the world of the American elite. But I had a difficult time accepting this, while growing increasingly bored over Redford and Farrow’s non-existent screen chemistry. Redford and Farrow are partially to blame, due to their performances. But I place most of the blame on Clayton who did not even bother to rectify this flaw.

“THE GREAT GATSBY” was also sabotaged by one particular scene in which Gatsby confronted Daisy over her decision to marry Tom and not bother to wait for his return from the war and France. I must admit that Redford did some of his best acting in this scene. Unfortunately, I found his efforts a complete waste of time. There was no need for this scene. Why would Gatsby confront Daisy on this matter? He knew why she had dumped him in the first place. Why else would he bother to get into bootlegging in order to quickly acquire a great deal of money and a mansion across the bay from her husband’s Long Island home? Even after Daisy finally admitted that “nice rich girls do not marry poor boys”, either Clayton, Coppola’s screenplay or both failed to explore the consequences of Daisy’s confession. Instead, the movie immediately jumped to the scene featuring the Buchanans’ visit to one of Gatsy’s Saturday night parties. In other words, this scene was a complete waste of time.

I also found the lack of African-Americans in this movie rather puzzling. “THE GREAT GATSBY” is set in Manhattan and Long Island, during the early years of the Jazz Age (although the movie changed the story’s setting to 1925). One would think some of the super rich had black servants. The movie did feature a few black characters in the scene at Wilson’s Garage, following Myrtle’s death in the Valley of Ashes. But that is it. I did not expect any major or supporting black characters in this story. But the servants featured in the Buchanans and Jay Gatsby’s mansions were all white. Even the jazz musicians who performed at Gatsby’s parties were white. Even more incredible, they were white, middle-aged men between the ages of 40 and 55. This sounds plausible in the post-World War II era in which one would find such bands engaged in musical nostalgia at some quaint nightclub or community event. However, we are talking about the 1920s. All white jazz bands seem plausible if the performers had been between the ages of 18 and 30. But these jazz musicians were middle-aged. White, middle-aged jazz musicians in 1925? Perhaps some did exist. But this is the only adaptation of Fitzgerald’s novel in which I have come across this phenomenon.

Jack Clayton’s direction did nothing for most of the performances in this film. As I had earlier pointed out, Robert Redford’s Jay Gatsby spent most of the film looking iconic and acting mysterious. What happened to the hopeful loser from Fitzgerald’s tale? Even Redford managed to beautifully portray a similar character with great success in 1973’s “THE STING”. Perhaps he simply lost interest, thanks to Clayton’s direction. However, I must admit that Redford had at least two great moments. Despite my dislike of the scene in which Gatsby demanded an explanation from Daisy regarding her earlier rejection of him, Redford gave a perfectly intense performance. But I was really impressed by that moment in which Gatsby met Daisy and Tom’s daughter, Pammy. Redford conveyed a perfect mixture of surprise and wariness. In fact, I would say it was his best moment in the entire movie.Mia Farrow has received a good deal of praise for her portrayal of Daisy Buchanan. She will not receive any from me. I found her performance rather strident and grating. Her performance reminded me more like the wild and unstable Zelda Fitzgerald than the seductive and flaky Daisy. Another over-the-top performance came from Karen Black, who portrayed the grasping and adulterous Myrtle Wilson. She had some nice moments. Despite its protracted running time, Black’s best scene featured Myrtle’s account of her first meeting with Tom. I found it very subtle. But most of her scenes found her nearly screaming at the top of her lungs. “THE GREAT GATSBY” featured Lois Chiles’ third screen role, in which she portrayed Daisy’s Louisville friend, Jordan Baker. Honestly? I really do not know what to say about Chiles’ performance other than I found it flat and dull. She looked good. That, I cannot deny. If one wants to see both Farrow and Chiles at their best, I would recommend 1978’s “DEATH ON THE NILE”, in which both actresses gave better performances.

The movie did feature some good performances. Sam Waterston gave a nice, subtle performance as Gatsby’s neighbor and Daisy’s cousin, Nick Carraway. He managed to project a good deal of emotion, while being subtle at the same time. My only complaint is that both he and Redford failed to generate any kind of chemistry as two neighbors who become friends. Scott Wilson gave an emotional, yet textured performance as Myrtle’s cuckolded husband, George Wilson. The actor did a very good job in conveying both the character’s passionate love for Myrtle and whipped personality. I also enjoyed Howard Da Silva’s performance as Gatsby’s bootlegging colleague, Meyer Wolfsheim. Although brief, I found his performance very entertaining and charming. By the way, Da Silva portrayed George Wilson in the 1949 version of Fitzgerald’s novel. If I had to give an award for the movie’s best performance, I would hand it over to Bruce Dern for his portrayal of Daisy’s brutish and elitist husband, Tom Buchanan. Mind you, Dern did not exactly convey the picture of a sports-obsessed ex-jock with a powerful build. But he did an excellent job in portraying Tom’s obsession with social position, warm passion for Myrtle and possessive regard for Daisy. More importantly, he managed to inject a great deal of energy in all of his scenes – especially the one featured at the Plaza Hotel suite. I must admit that I found one of his lines rather funny for two different reasons. Tom’s complaint about Gatsby’s pink suit struck me rather funny, thanks to Dern’s delivery. But I also found it hilarious that Tom would complain about the color of Gatsby’s suit, while wearing a purple one. If you doubt me, take a gander at the following image:

If the purple in Tom’s suit had been any deeper, one would think he was a gauche social climber . . . or a pimp. Frankly, Dern’s line would have been more effective if the actor’s suit had possessed a more conservative color in that scene.

Overall, “THE GREAT GATSBY” is a beautiful looking movie to behold. And I believe it could have become a more energetic and interesting tale if the producers had hired a better director. I realize that Jack Clayton’s reputation had been made due to his work on 1959’s “ROOM AT THE TOP”. But he really dropped the ball some fifteen years later, thanks to his dull and lethargic direction of“THE GREAT GATSBY”. Cast members such as Bruce Dern and Sam Waterson managed to overcome Clayton’s direction. Others failed to do so. This was especially the case for Robert Redford and Mia Farrow, who portrayed the movie’s two main characters. And because of Clayton’s poor direction, this version of “THE GREAT GATSBY” proved to be a big disappointment for me.

“DJANGO UNCHAINED” (2012) Review

“DJANGO UNCHAINED” (2012) Review

Over three years following the release of his 2009 movie, “INGLORIOUS BASTERDS”, Quentin Tarantino courted success and controversy with a new tale set the past. Called “DJANGO UNCHAINED”, this new movie combined the elements of the Old West and Old South and told the story about a recently freed slave-turned-bounty hunter in search of his still enslaved wife. 

The movie begins with a gang of male slaves being transported across Texas by a group of slavers called the Speck brothers. The group encounter Dr. King Schultz, a German-born dentist, who also happens to be a bounty hunter. Schultz offers to purchase Django, whom he believes can identify a trio of murderous siblings called the Brittle brothers, who had worked as overseers for Django’s previous owner. The Specks become hostile and Schultz kills one of the brothers. He then frees Django and leaves the wounded brother behind to be killed by the newly freed slaves. Django and Schultz come to an agreement in which the latter will give the former freedom, a horse and $75 for helping him identify the Brittle brothers. Once the pair achieve their goal at a Tennessee plantation owned by one Spencer “Big Daddy” Bennett, Schultz takes on Django as his associate and over the winter, collect a number of bounties. In the following spring, Schultz offers to help Django track down the latter’s wife, Broomhilda von Shaft. They discover that she is owned by a brutal, yet charming Mississippi planter named Calvin Candie. The pair realize that in order to rescue Broomhilda, they would have to pose as potential buyers of a fighter slave in order to secure an invitation at Candie’s plantation called Candyland.

Even before its initial release in movie theaters in late December, “DJANGO UNCHAINED” managed to attract a good deal of controversy. Producer/director Spike Lee declared the movie as an insult to his ancestors in a magazine article and his refusal to see it. Others have criticized the film for its violence and its use of the word “nigger”. And some have criticized the movie for historical inaccuracy. They claimed that the practice of fighting Mandingo slaves never existed and that Tarantino depicted the Klu Klux Klan a decade before its actual existence. And Jeff Kuhner of The Washington Timescomplained that: “Anti-white bigotry has become embedded in our postmodern culture. Take Django Unchained. The movie boils down to one central theme: the white man as devil — a moral scourge who must be eradicated like a lethal virus.”

Mind you, I have my own complaints about “DJANGO UNCHAINED”. Actually, I have three complaints. One, I found the movie’s chronological setting rather confusing. According to the movie’s opening, it began in “1858 – Two years before the Civil War”. Judging by the weather, Django’s first meeting with Schultz in Texas occurred in the fall. Which probably means that the movie began two-and-a-half years before the Civil War, not two years. Yes, I am being anal about this. However, Django and Schultz accompanied Candie to Candyland in early May 1858 . . . at least according to a scene that featured Candie’s head slave Stephen writing out a check for supplies. It is quite obvious that Tarantino got his time frame a little off. Was “DJANGO UNCHAINED” set between the fall of 1858 and the spring of 1859? Or was it set between the fall of 1857 and the spring of 1858? Only Tarantino can answer this. I also found the character of Broomhilda von Shaft slightly underdeveloped. Some have claimed that her character is passive. I would disagree, considering she was introduced being punished for attempting to run away from Candyland. But aside from a scene or two, I feel that Tarantino could have done a little more with her character. And three, I have mixed feelings about Tarantino’s use of flashbacks in this movie. Some of the flashbacks were well utilized – including those featuring Django’s memories of Broomhilda being whipped and branded as a runaway, Schultz’s trauma over witnessing the mutilation of a Candie slave named D’Artagnan, and Big Daddy organizing a group of night riders to attack Django and Schultz. But some of the flashbacks seemed to go by so fast that I found their addition to the film unnecessary.

As for the other complaints about the movie, I do have a response. Spike Lee is entitled to his decision not to see the movie. However, I do find his willingness to condemn the movie without seeing it rather strange. Criticism of Tarantino’s use of violence in his movies have become repetitive in my eyes. “DJANGO UNCHAINED” is a Quentin Tarantino movie. Can someone name one of his movies that did not feature any violence? Because I cannot. And his recent films do not strike me as violent as earlier films such as 1993’s “RESERVOIR DOGS”. Also, violence has played a part in many slave societies throughout history . . . including U.S. slavery. Yes, the Ku Klux Klan was first organized in the late 1860s, after the Civil War. But the Klan’s origins came from patrol riders, who were recruited by planters in many Southern states to maintain vigilance of both slaves and free black in local rural neighborhoods. So, the idea of “Big Daddy” Bennett organizing a group of local riders to attack Django and Schultz is not implausible.

In response to Jeff Kuhner’s accusation of anti-white bigotry, Tarantino not only created the German-born Schultz, who helped Django attain freedom and find Broomhilda; but also a Western sheriff portrayed by television veteran Lee Horsley (“MATT HOUSTON” anyone?), who seemed very friendly to both the German immigrant and the former slave. Tarantino also created Candyland’s head house slave, Stephen, who proved to be one of the film’s worst villains. So much for Kuhner’s accusation. A great deal of “DJANGO UNCHAINED” is set in the pre-Civil War South and its topic happens to be about American slavery. The use of “nigger” is historically accurate for the movie’s setting. And I am surprised that no one has complained about the slur being used in Steven Spielberg’s recent movie, “LINCOLN”. Hell, the word is used throughout productions such as the two “ROOTS” miniseries, the three “NORTH AND SOUTH” miniseries, “QUEEN”, the 1971 movie “SKIN GAME” and in a good number of other movie and television productions set in antebellum and Civil War America. Even the use of the slur in a production set in the 19th century North would be historically accurate. I also recall the use of racial slurs for whites in a few scenes. As for Tarantino’s use of Mandingo fighting slaves in the movie . . . I have no explanation for its presence in this film. There is no historical evidence of this particular sport. And I suspect that Tarantino was simply inspired by the 1975 movie, “MANDINGO” and Kyle Onstott’s 1957 novel upon which the latter was based.

So . . . how do I feel about “DJANGO UNCHAINED”? Frankly, I believe it is one of the best movies of 2012. And I also consider it to be another cinematic masterpiece by Quentin Tarantino. One of the aspects of “DJANGO UNCHAINED”was Tarantino’s ability to take a rather dark topic like slavery and fashioned it into a explosive mixture of action, drama, suspense and some comedy. Many have complained that the movie should have been a straight drama, considering its topic. But I disagree. Yes, “DJANGO UNCHAINED” could have been an effective straight drama. But Tarantino decided to take a rare and unique route in unfolding his tale. And in doing so, he managed to fashioned a fascinating story that allowed me to experience an array of emotions that left me more than satisfied by the movie’s last scene. In doing so, Tarantino won a much deserved Academy Award for Best Original Screenplay.

“DJANGO UNCHAINED” was not the first time comedy was used to reveal one of the darkest episodes in this country’s history. This has been done in “SKIN GAME” and in television shows such as “BEWITCHED” and the comedy sketch series, “KEY & PEELE”. Tarantino used the same mixture of pathos, horror, drama and comedy for many of his past movies – especially in “INGLORIOUS BASTERDS”. I found this use of humor especially effective in scenes that included the surviving Speck brother’s attempt to convince the slaves freed by Schultz not to kill him. I never knew that James Russo, who portrayed the surviving Speck brother, could be so funny. Django and Schultz’s little exchange regarding the former’s identification of the Sprittle brothers struck me as funny. I could say the same about Stephen’s reaction to Candie’s treatment of Django as a house guest and Lara Lee Candie-Fitzwilly’s (Candie’s sister) futile attempts to attract Schultz’s attention. But the funniest sequence has to be the flashback featuring “Big Daddy” Bennett’s recruitment of night riders for an attack on Django and Schultz. In fact, that particular scene practically had me rolling with laughter.

Some people have complained that “DJANGO UNCHAINED” is basically a revenge tale for African-Americans. I find this accusation rather odd, considering that Django’s main objective was to find Broomhilda and get her out slavery by any means possible. And despite the movie’s prevalent humor, Tarantino did not hold back in presenting not only the horrors and emotional traumas of slavery, but also racism. This was especially true in a handful of scenes in the movie. The opening scene featured an emotionally shell shocked Django being transported across Texas as part of a slave coffle. Other traumatic scenes include Candie’s little speech on the inferiority of blacks, the erruption of violence at Candyland that resulted in Django hanging from a barn’s roof, naked and bound and Stephen’s maleovelent revelation of Django’s fate as a slave for a Mississippi mining company. One horrifying scene that I found particularly brutal was a flashback featuring Broomhilda’s brutal whipping at the hands of the Brittle brothers, while Django desperately tries to convince one of the brothers to spare her.

I really do not know what to say about the performances featured in the movie. I realize there are no Academy Award nominations for ensemble casts. If there were, I would nominate the cast of “DJANGO UNCHAINED”. One, Tarantino cast old movie and television veterans in cameo roles. I have already mentioned Lee Horsley and James Russo. I also spotted the likes of Russ and Amber Tamblyn, Don Stroud, Tom Wopat, Cooper Huckabee, Robert Carradine, Michael Parks and a humorus special guest appearance by Franco Nero. Both Bruce Dern and M.C. Gainey (of “LOST”) were especially scary in their brief appearances as Old Man Carrucan (Django and Broomhilda’s former owner) and Big John Brittle. Both Dana Michelle Gourrier and Nichole Galicia gave solid performances as Cora and Sheba, Candie’s housekeeper and concubine respectively. And Dennis Christopher’s performance as Calvin Candie’s obsequious attorney, Leonide Moguy, struck me as spot-on.

Don Johnson provided a skillful combination of charm, menace and humor in his role as Spencer “Big Daddy” Bennett, the Tennessee planter who served as the Brittle brothers’ current employer. Jonah Hill had a funny cameo as one of his night riders. I could say the same about Miriam F. Glover, who gave one of the movie’s funniest lines, while portraying one of Big Daddy’s house slaves. Ato Essandoh of A&E’s “COPPER” was very effective as D’Artagnan, the frightened fighting slave whose runaway attempt led to his brutal death. Laura Cayouette’s performance as Lara Lee Candie-Fitzwilly, Candie’s widowed sister, struck me as effective. On one hand, I found her attempts to seduce Schultz rather funny. On the other hand, her outrage over Candie’s attempt to display a naked Broomhilda during supper provided a great deal of tension in the scene. Walton Goggins gave a memorable and scary performance as one of Candie’s henchmen, Billy Crash. James Remar got to portray two intimidating characters – Ace Speck and Candie’s main henchman, Butch Pooch. And he did a damn good job with both roles.

Although I had been critical of Tarantino’s creation of the Broomhilda von Shaft, I must admit that Kerry Washington still managed to wring out a first-rate performance from the role. I especially impressed with her in scenes that featured Broomhilda’s tense encounters with Stephen; and her subtle, yet pleased reaction to Schultz’s purchase of her from Candie and her painful whipping by the Brittle brothers in one of the flashback. And I must admit that I found that last shot of her removing a shotgun from her saddle rather interesting. Perhaps after all that Broomhilda had endured, she was not taking any chances. I believe that the year 2012 will prove to be one of Samuel L. Jackson’s best years professionally. Aside from portraying Nick Fury in the year’s biggest hit, “THE AVENGERS”; he got to portray one of the most complex and villainous roles in “DJANGO UNCHAINED” as Candie’s trusted and malevolent head house slave, Stephen. Watching the movie, I was struck at how much Stephen reminded me of the Mr. Carson character from the British television series,“DOWNTON ABBEY”. Both characters possessed the same blinding loyalty, snobbery, jealousy over his position within the slave hierarchy, and anger toward anyone from their background who managed to rise higher than they (for example: Django). Jackson did a superb job in not only conveying Stephen’s penchant for utilizing the old “Puttin’ on Old Massa”routine publicly, but also his intelligence while in the private company of Django, Broomhilda or Candie. Jackson has a nice singing voice, but I do wish he had received an Oscar nomination for his performance. Many people have expressed surprise at Leonardo Di Caprio’s portryal of the villanous, yet charsmatic Calvin Candie. I was not that surprised, considering I have seen him portray a villain before – as the cold-blooded Louis XIV in 1998’s “THE MAN IN THE IRON MASK”. But I do believe that Candie not only proved to be a more memorable villain, but also one of the actor’s best roles ever. He was fantastic as the charming, yet brutal Candie . . . and at the same time rather contradictory. It was obvious that Di Caprio’s Candie fervently believed in the superiority of whites; yet at the same time, he had no problems with allowing Stephen to handle the plantation’s finances or accepting the elderly slave’s intelligence and sharp observations about Django, Schultz and Broomhilda with very little reluctance. Di Caprio received a Golden Globe nomination for his performance. Unfortunately, he did not receive an Academy Award nomination. And I feel that both he and Jackson were unfairly denied one.

Instead of portraying a villain, Christoph Waltz portrayed Django’s friendly, yet ruthless mentor and partner; the German-born dentist-turned-bounty hunter, Dr. King Schultz. And he was fantastic. Waltz effectively portrayed Schultz’s cold-blooded pursuit of wanted criminals for profit, yet at the same time; conveyed the character’s disgust over the institution of slavery and open-mindedness toward Django, Broomhilda and other slaves. Waltz’s best moments proved to be Schultz’s encounter with the Speck brothers and Django in Texas, his taking down of the wanted Sheriff Bill Sharp (portrayed by Don Stroud), his reaction to D’Artagnan’s mauling and the revelation of his disgust toward Candie. Not only did Waltz received nominations for his performance, he also won both the Golden Globe and Academy Award Best Supporting Actor awards. And he proved to have great screen chemistry with Jamie Foxx. I believe that the latter’s portrayal of the title character has proven to be vastly underrated by the majority of film critics and some moviegoers. In fact, no one even considered Foxx for any acting nomination whatsoever. I felt disappointed, but not that surprised. Django turned out to be a somewhat introverted character that was not inclined to speak very much . . . whether as a slave or a free man. Critics and filmgoers are not inclined to pay much attention to non-showy characters. Since Django proved to be a such quiet character, Foxx resorted to good old-fashioned screen acting to convey most of the character’s non-speaking moments. And he did a superb job in portraying Django’s array of emotions – especially in the opening scene featuring the slave coffle in Texas, Schultz’s killing of the criminal, his first view of Broomhilda at Candyland, and the confrontation with Candie during the latter’s supper party. Ironically, another one of Foxx’s best moments proved to be quite verbal in which he attempts to con a group of slavers for a mining company to take him back to Candyland in order to collect on a fake bounty. In the end, Foxx did a superb job in developing Django from a slave in shock over the traumatized separation from his wife to the soft-spoken, yet self-assured man who could be very ruthless when the situation demanded it.

I also have to say a word about the movie’s behind-the-scene production. I was impressed by Sharen Davis’ costume designs. She did a solid job in re-creating the fashions of the late antebellum period. However, I noticed a few oddball designs for Candie’s slave mistress Sheba and a maid at a social club in Greenville, Mississippi; reflecting the planter’s penchant for anything French. I suspect this was a visual joke on Tarantino’s part. I was also impressed by J. Michael Riva’s production designs and Leslie A. Pope’s set decorations in the sequences for the Texas town featured in the movie’s first 10 to 20 minutes, Candie’s Napoleon Club in Greenville and especially the interiors for Candyland’s mansion. Robert Richardson did an excellent in capturing the beauty of California, Louisiana and especially Wyoming with his photography. As he had done for “INGLORIOUS BASTERDS”, Tarantino used already recorded music to serve as the score for his movie. I did notice that a few songs – especially one for the opening title sequence – seemed to have been written specifically for the movie. However, I do not know who may have written them.

It occurred to me that “DJANGO UNCHAINED” was Tarantino’s second period piece in a row. And I found myself wondering if he planned to write and direct a third period movie as part of some kind of semi-historical trilogy. Whether he does or not, I must say that I was impressed with “DJANGO UNCHAINED”. More than impressed. I believe it is one of the best movies I have seen released in 2012 and deserved the accolades it received during Hollywood’s award season for that year. And I feel that it is one of the writer-director’s more original works, due to superb writing, direction and an excellent cast led by Jamie Foxx and Christoph Waltz.

P.S. Check out this photo:

Ohmigod! It’s Crockett and Tubbs!

List of Favorite Movies and Television Miniseries About SLAVERY

With the recent release of Steven Spielberg’s new movie, “LINCOLN” and Quentin Tarrantino’s latest film, “DJANGO UNCHAINED”, I found myself thinking about movies I have seen about slavery – especially slavery practiced in the United States. Below is a list of my favorite movies on the subject in chronological order:

 

LIST OF FAVORITE MOVIES AND TELEVISION MINISERIES ABOUT SLAVERY

“Skin Game” (1971) – James Garner and Lou Gossett Jr. co-starred in this unusual comedy about two antebellum drifter who pull the “skin game” – a con that involves one of them selling the other as a slave for money before the pair can escape and pull the same con in another town. Paul Bogart directed.

 

 

“Mandingo” (1975) – Reviled by many critics as melodramatic sleaze, this 1975 adaptation of Kyle Onstott’s 1957 novel revealed one of the most uncompromising peeks into slave breeding in the American South, two decades before the Civil War. Directed by Richard Fleischer, the movie starred James Mason, Perry King, Brenda Sykes, Susan George and Ken Norton.

 

 

“Roots” (1977) – David Wolper produced this television miniseries adaptation of Alex Haley’s 1976 about his mother’s family history as American slaves during a century long period between the mid-18th century and the end of the Civil War. LeVar Burton, Leslie Uggams, Ben Vereen, Georg Sanford Brown and Lou Gossett Jr. starred.

 

 

“Half-Slave, Half-Free: Solomon Northup’s Odyssey” (1984) – Avery Brooks starred in this television adaptation of free born Solomon Northup’s 1853 autobiography about his twelve years as a slave in antebellum Louisiana. Gordon Parks directed.

 

 

“North and South” (1985) – David Wolper produced this television adaptation of John Jakes’ 1982 novel about the experiences of two American families and the growing discord over slavery during the twenty years before the American Civil War. Patrick Swayze and James Read starred.

 

 

“Race to Freedom: The Story of the Underground Railroad” (1994) – This made-for-television movie told the story about four North Carolina slaves’ escape to Canada, following the passage of the Compromise of 1850.  Janet Bailey and Courtney B. Vance starred.

 

 

“The Journey of August King” (1996) – Jason Patric and Thandie Newton starred in this adaptation of John Ehle’s 1971 novel about an early 19th century North Carolina farmer who finds himself helping a female slave escape from her master and slave catchers. John Duigan directed.

 

 

“A Respectable Trade” (1998) – Emma Fielding, Ariyon Bakare and Warren Clarke starred in this television adaptation of Philippa Gregory’s 1992 novel about the forbidden love affair between an African born slave and the wife of his English master in 18th century Bristol. Suri Krishnamma directed.

 

 

“Mansfield Park” (1999) – Slavery is heavily emphasized in Patricia Rozema’s adaptation of Jane Austen’s 1814 novel about a young English woman’s stay with her rich relatives during the first decade of the 19th century. Frances O’Connor and Jonny Lee Miller starred.

 

 

“Human Trafficking” (2005) – Mira Sorvino starred in this miniseries about the experiences of an Immigration and Customs Enforcement agent investigating the modern day sex slave trafficking business. Donald Sutherland and Robert Caryle co-starred.

 

 

“Amazing Grace” (2007) – Michael Apted directed this account of William Wilberforce’s campaign against the slave trade throughout the British Empire in Parliament. Ioan Gruffudd, Benedict Cumberbatch, Romola Garai Rufus Sewell and Albert Finney starred.

 

 

“Abraham Lincoln: Vampire Hunter” (2012) – History and the supernatural merged in this interesting adaptation of Seth Grahame-Smith’s 2010 novel about the 16th president’s activities as a vampire hunter. Benjamin Walker, Dominic Cooper, Anthony Mackie and Mary Elizabeth Winstead starred.

 

 

“Lincoln” (2012) – Daniel Day-Lewis portrayed the 16th president in Steven Spielberg’s fascinating account of Lincoln’s efforts to end U.S. slavery, by having Congress pass the 13th Amendment of the Constitution. Sally Field, David Strathairn and Tommy Lee Jones co-starred.

 

 

“Django Unchained” (2012) – Quentin Tarantino directed this take on Spaghetti Westerns about a slave-turned-bounty hunter and his mentor, who sets out to rescue his wife from a brutal Mississippi plantation owner. Jamie Foxx, Christoph Waltz, Leonardo Di Caprio, Kerry Washington and Samuel L. Jackson starred.