Tarantino and his revenge (from/to western)

Tarantino doesn't need to explain himself. He doesn't try to pretend. His movies are commercial, even mainstream, are not playing with the shots, the double meaning. He grew up watching movies like of this kind. And he love the movies thanks to its. 

For some people be mainstream is be a "sold director", and that's a thing Tarantino isn't. If the Weinstein brothers asked them to short the film, he did it. That's be a mercenary? Not when you are reasonable, you understand that people doesn't wanna stay at the theatre more than three hours, and Hollywood movies are an industry. And you have a mean scene to talk about it in your own film.

But the most important part is that, even with all the things Tarantino did for his movies when he had another large concept in his mind, the essence of the author is still there.

Tarantino never avoid the violence. He love it, it sells tickets in the box office and he offer that to the public since his first movies until the last one. Overexposed, showed it cold, as it is, without reason and sense in the plot, as happens in the real life, he doesn't care if it's disgusting or seems fake, is a movie, is not real, people know that and he just give them what they want.

We can talk about revenge, feet, references, post-modern cinema, feminine roles, old stars rebirth, old genres changed behind his prism,… Everything was in Reservoir Dogs and the rest of the movies. A long career that he made and made him who is now, Tarantino. A name and at the same time a sign. A kind of films, a way to film the violence and the revenge, to recreate B-movies, reinvent its ad depurate his style until he arrived at the end (by now).

His last movie, Django Unchainted, not only has all of these plus a reference in his tittle and his character, it comes to the essence of cinema, to the only depurate and original and unique genre and style that the cinema bring to the world: western movies.

The origin of the violence in the movies and a genre who creates a new history of North America that everybody in the States take it as a part of themselves and their own culture. A thing who said a lot about this society.

Coming back to the origins of this review and Django Unchained, it's necessary said that whatever people try to say it's a western as the rest as everyone can watched on TV or DVDs. Sand, horses, slaves, girls, country accents, tones and words, sheriffs, good ones, bad ones.

At the same time it's a revenge story "made by Tarantino". One man who wants his wife back whatever he have to do or kill watching all the blood splashing in front of him and all around, Touching the bodies, hearing how the bullet get into the veins and into all that bodies who have to kill, just for revenge. That, as always, Tarantino doesn't judge if his character is doing a good or a bad thing. Because is a movie. A revenge movie, a mainstream movie, not a moral one.

But, as in his last film, Inglorius Basterds, the revenge is outside the movie. If in the nazi story the jews and all the dead people have in this film his own revenge, in Django Unchained Tarantino offer to black people their revenge not only about how was they treat in the past but in the movies too.

In Django Unchained is time for the slaves, for those people who can work lots of ours without freedom or liberties, sometimes even without love because the rich stole it to them. More or less as now, the workers as suffering the preussure of the rich (but i don't wanna go so far).

Tarantino create his own revenge against the founders of western too. First, and obviously in the movie to Griffith and his Intolerance. Django Unchained shows some shots almost equal as that movie and its references to the Ku Kux Klan who this historical director filmed because he love them. And of course in Tarantino the results are different. Even he wanna revenge all this black characters who suffers the punishment of white people in John Ford's movies, as he said in an interview, a director who filmed movies about white people killing the bad black people and being proud of it. And Tarantino do it perfectly. Maybe Django (a credible performance by Jamie Foxx) is not a perfect man, nobody in the film it is (as more of the character and western than the directors loves and make some reference to them), but he pay for his sins as his victims.

With the tempo of a western but with the shocking images from these times we are living and so Tarantino, with (another) depurate acting of Christoph Waltz and a precise Leonardo Di Caprio than we can forgive his overacted interpretation for this character that sometimes is bigger than life and of course with all the references to western movies and their directs that Tarantino loves, feet, post-modern cinema, feminine roles, old stars rebirth… Django Unchained shows to the public how even the mainstream have an amazing quality that not all the movies can reach, that revenge and violence without meaning sometimes are more significant and how one "bad kid" of this post-modern cinema-era grow up and have more interesting thing that they never could imagine.

Trailer: