Quentin Tarantino has said publicly that he wants to retire after his tenth film. He is looking to leave behind a strong filmography that shows no weakness or slump at the end. His eighth entry (counting the Kill Bill volumes separately) into this abstract Decalogue is Django Unchained, and it may be his greatest achievement since Pulp Fiction.
Django Unchained is the finest American slavery period bounty hunter Western ever made, but clearly that doesn’t mean much. As preposterous as that description is, that’s what is so great about a Tarantino film; he digs deep into a traditional genre and develops it into something distinctive. The same can be said about his Holocaust revisionist historical war film, Inglorious Basterds. The title character, Django (Jamie Foxx), is a slave with a horrific past who through a chain of auspicious events becomes partnered with a slavery opposed ex-dentist and current bounty hunter, Dr. King Schultz (Christoph Waltz). This partnership is sealed with an agreement that Schultz will help Django find and free his wife, Broomhilda (Kerry Washington) from an infamous Southern plantation.
Django Unchained is void of any superfluous substance. From the opening scene of dialogue where Django and Schultz are introduced all the way to the final “showdown,” Django Unchained has momentum and remains in stride. Tarantino should win his second Original Screenplay Oscar since no other film that can be nominated for this category combines such compelling dialogue with such a spirited and ambitions story. The film unfolds in a series of distinct acts. Furthermore, Tarantino takes his flair for the irregular timeline to a more subtle place by interjecting small contextual flashbacks at key points to reveal critical or entertaining pieces of background that enhance an approaching scene. You may never look at the Ku Klux Klan, or Don Johnson for that matter, the same way again.
The cast is impeccable and is sprinkled with familiar faces beyond the leads, but the leads are all excellent. Christoph Waltz gives Tarantino another Oscar worthy performance as the film’s moral compass, Dr. Schultz. Schultz’s character also works to deepen and broaden Foxx’s turn as Django. Django has a goal, but lacks direction and Schultz literally provides that for him, which gives Foxx some real dimension and power. However, the film’s crown jewel is found in the film’s closing acts when Leonardo DiCaprio appears as Calvin Candie, owner of the massive and legendary plantation known as Candyland. DiCaprio’s performance is a sneaky one, and while initially campy, it becomes very real all too quickly. His character shows a severe authenticity as a symbol for the evils of supposed “gentlemen” during a deeply deranged time in American history. As fun as Django Unchained is to watch, it is still a Quentin Tarantino movie, which implies vulgarity and violence. It delivers on both of those qualities to excess, which is a good thing in this case. As part of the Western genre, a lot of justice is sought out against a lot of bad people, and a six-shooter is basically the only tool. The balance between good acting, strong writing, unpredictable circumstances, and sudden bursts of violence creates a suspenseful tone that could not otherwise be achieved. Django Unchained is a front-runner for one of the year’s best films as well as a front-runner for one of Tarantino’s best films. If this is any indication of what the nearly 50-year-old director has left in him, it is hard to imagine him walking away after stepping behind a camera only two more times. A