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(en) France, Alternative Libertaire AL #225 - Movies: Django unchained (fr) [machine translation]

Date Tue, 09 Apr 2013 15:02:40 +0300


The case seems heard: the eighth feature film of " wonder-boy "Hollywood would be a new explosive cocktail which, on the pretext of U.S. slavery, would cover only the least reflexive enjoyment of the viewer. Agitated in the shaker twists to a story feuilletonesques, cultural references in Tarantino crackle as many winks at any price Pavlovian satisfaction of a jaded public and follower of the second degree.
Blood spurts like tomato puree pop, slap zooms space such as atemi Bruce Lee, the narrative permits differences schoolboys compared to the chronology, the recurring motif of revenge allows the Gentiles to punish wicked and go, nutmeg! After the tributes to the police station literature (Pulp Fiction in 1994), cinema " blaxploitation "( Jackie Brown in 1997) and Asian martial arts films ( Kill Bill 1 & 2 in 2002 and 2004), the western spaghetti is now featured in Django Unchained affirm that, in the continuity of Inglourious Basterds (2009), the uninhibited reign of a principle of pure cinematic pleasure at the expense of the truth of past events.

At the risk of appearing moved, or obscene, as explained by African-American director Spike Lee. The latter preferring to pay tribute to his ancestors as victims of a holocaust disrespect them by going to a spaghetti western that misrepresents historical reality.

It is as if Tarantino is a bit more complicated, and the film much more interesting than the exercise superficial pyrotechnics and citational narrative which is further reduced its cinema. First, because the filmmaker is a great narrator coupled with an equally great director of actors (Jamie Foxx, Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson among their best offer benefits). Then because his narrative mastery is serving a narrative sense boosted by explicit theatricality which aims to test the intelligence and the malice of the characters. Finally, because it invests the language of power such as trust and belief of the other objects are constantly handling: that is to say, and do is believe. Tarantino is unparalleled in contemporary cinema when it comes to his characters speak, to say nothing less than to believe that they do not say anything even though they secretly struggling to defend their interests. The violence that exploded when the bone habits incorporated contradicts the lies told. Exchange amorous glances long overdue or refusal of a deal on a handshake here have importance.

That tells Django Unchained ? The history of emancipation enough copy to shift resources fantastical alternate history (WWII gleefully reinvented Inglourious Basterds ). A story for the first time in Tarantino perfectly linear and intended as a Bildungsroman declining brilliantly the dialectic of master and slave.

The story of a slave (Django) who gradually learns to turn against them the violence of masters and their servants by learning a bounty hunter, a master of cunning language from Germany. The story of a slave who has successfully overcome the double negative (Stephen), the man beaten to black skin white mask and carrying the interests of his master. Among the references in the film, and include Alexandre Dumas is not a joke when you consider that his father was a mulatto general of Saint-Domingue victim of racial purges during the Napoleonic slave revolt leading to the Republic Haiti in 1804. This revolt has weighed on the German philosopher Hegel when he conceptualized the dialectic of master and slave whose influence is exerted on the anticolonial revolutionary thought of Frantz Fanon, while contemporary spaghetti westerns first. Genealogy impure or Creole then worth from heterogeneous references to Tarantino aesthetic affirmation of racism so.

B. Frantz (AL Seine-Saint-Denis)

Django Unchained , Quentin Tarantino, Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, 2h44min, exit LE16 January 2013

For a more detailed critique: www.libertaire93.org
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