“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.

Top Ten Favorite Movies Set in the 1850s

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Below is my current list of favorite movies set in the 1850s:

 

TOP TEN FAVORITE MOVIES SET IN THE 1850s

1-Django Unchained

1. “Django Unchained” (2012) – Quentin Tarantino directed this Oscar winning tale about a newly freed slave who searches for his still enslaved wife with the help of a German-born bounty hunter in Mississippi. Jamie Foxx, Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson starred.

 

2-The Charge of the Light Brigade

2. “The Charge of the Light Brigade” (1938) – Errol Flynn and Olivia De Havilland starred in this exciting adventure story set in both British India and the Crimean War. Michael Curtiz directed.

 

3-Race to Freedom The Underground Railroad

3. “Race to Freedom: The Underground Railroad” (1994) – Courtney B. Vance and Janet Bailey starred in this television drama about the adventures of four slaves who escape from a North Carolina plantation, while being tracked by a pair of slave catchers. Don McBrearty directed.

 

4-Skin Game

4. “Skin Game” (1971) – James Garner and Lou Gossett Jr. starred in this dark comedy about a pair of con artists who clean up in a slave selling scheme in Missouri and Kansas, before their scam finally catches up with them. Paul Bogart directed.

 

5-Seven Brides For Seven Brothers

5. “Seven Brides For Seven Brothers” (1954) – Stanley Donen directed this famous 1954 musical about six backwoodsmen brothers When a backwoodsman in the Oregon Territory, who decides to marry after their oldest brother brings home a wife. Jane Powell, Howard Keel and Russ Tambyln starred.

 

6-The First Great Train Robbery

6. “The First Great Train Robbery” (1979) – Michael Crighton wrote and directed this adaptation of his novel about three Victorian criminals who plot to rob a shipment of gold for British troops serving during the Crimean War, from a moving train. Sean Connery, Donald Sutherland and Lesley Anne Down starred.

 

7-Wuthering Heights

7. “Wuthering Heights” (1939) – William Wyler directed this superb adaptation of Emily Brontë’s 1847 novel. Merle Oberon, Laurence Olivier and David Niven starred.

 

8-Westward the Women

8. “Westward the Women” (1951) – William Wellman directed this excellent Western-adventure about a trail guide hired by a Californian rancher to escort a wagon train of women heading west to marry men who have settled in the rancher’s valley. Robert Taylor, Denise Darcel and John McIntire starred.

 

9-Mountains of the Moon

9. “Mountains of the Moon” (1990) Patrick Bergin and Iain Glen starred in this historical account of Victorian explorers Richard Burton and John Hanning Speke’s expedition to find the source of the Nile River on behalf of the British Empire. Bob Rafelson directed.

 

10-Jezebel

10. “Jezebel” (1938) – William Wyler directed Oscar winners Bette Davis and Fay Bainter in this adaptation of Owen Davis Sr.’s 1933 play about a headstrong Southern woman, whose actions cost her the man she loves. Henry Fonda and George Brent co-starred.

“THE BUTLER” (2013) Review

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“THE BUTLER” (2013) Review

When I first saw the trailer for “THE BUTLER”, I resisted the urge to see it. I have nothing against films about the African-American experience. I could not wait to see Quentin Tarantino’s pre-Civil War opus, “DJANGO UNCHAINED”. But there was something about the trailer for “THE BUTLER” that turned me off. It had that dignified, pretentious aura that marred “THE KING’S SPEECH”and “NORTH AND SOUTH: BOOK II” for me. I was determined to avoid it. But thanks to my family, I could not avoid it in the end. 

Directed by Lee Daniels and written by Danny Strong, “THE BUTLER” was loosely inspired by the life of former White House butler, Eugene Alley. Now, when I say “loosely inspired”, I meant it. Contrary to what many have claimed, the movie was not based upon Allen’s life. Actor-turned-screenwriter Danny Strong read an article in the The Washington Post called “A Butler Well Served by This Election” by Will Haygood. Inspired by Allen’s 34 years as a White House butler, Strong created the character of Georgia-born Cecil Gaines, who witnessed the murder of his sharecropper father by the plantation owner who also raped his mother. The estate owner’s elderly mother reassigns Cecil to being a house servant. Another decade pass before Cecil decides its time to leave the cotton plantation. He makes his way for parts unknown, but the Great Depression in the form of hunger and unemployment leads him to break into a pastry shop for food. The shop’s servant, Maynard, helps him get a job and later, recommends him for a job at a Washington D.C. hotel. During his two decades at the hotel, Cecil marries a woman named Gloria and they conceive two sons, Louis and Charlie. Then in 1957, Cecil is hired for a butler position at the White House and spends the next three decades working there. His job not only gives Cecil the opportunity to meet seven U.S. presidents, but also threatens his marriage to Gloria and creates tension between him and his activist older son, Louis.

In the end, I am glad that I saw “THE BUTLER”. It turned out to be a lot better than I had assumed. I have to give kudos to Danny Strong for creating a fascinating story that mingled history with personal drama. And Lee Daniels did a fabulous job of transforming Strong’s tale to the screen. More importantly, “THE BUTLER” managed to avoid that annoying and pretentious air that have tainted a good number of historical dramas in the past. Except in perhaps two scenes. Watching “THE BUTLER” reminded me of an old NBC miniseries that aired back in 1979 called “BACKSTAIRS AT THE WHITE HOUSE”, which told the story of a mother/daughter pair named Margaret Rogers and Lillian Rogers Parks, who worked as White House housemaids between 1909 and 1961.

What really impressed me about the plot for “THE BUTLER” is how Cecil’s past and profession had such an impact upon his adult life. Witnessing his mother’s rape and his father’s death seemed to have an impact upon Cecil’s psyche. In a way, these events led him to develop an obsequious personality that served him well,professionally. But his obsequiousness also led him to fear and oppose his son Louis’ participation in the Civil Rights movement for many years. I must admit that those sequences featuring Louis’ involvement with the Freedom Riders during the early and mid 1960s struck me as both fascinating and harrowing. Cecil and Louis’ estrangement deepened when younger son Charlie was killed during the Vietnam War . . . and Louis failed to appear at the funeral for personal reasons. And as I had earlier pointed out, Cecil’s job also had an impact on his marriage to Gloria. She resented how his profession kept him away for long hours, leading her to contemplate an adulterous affair with a neighbor.

As much as Daniels and Strong emphasized the impact of Cecil’s job upon his private life, they allowed the audiences glimpses of his interactions with not only the presidents who occupied the White House during his tenure, but also with his fellow servants – especially Carter Wilson and James Holloway. The movie featured interactions between Cecil and five U.S. presidents – Dwight D. Eisenhower, John F. Kennedy, Lyndon B. Johnson, Richard M. Nixon and Ronald Reagan. If I had to select my favorite presidential segment, it would have to be Cecil’s interactions with Johnson, whose penchant for the occasional racial slur I had learned about, years ago. I found those scenes hilarious and sardonic – especially Carter’s sarcastic reaction to Johnson’s announcement about the Civil Rights bills. There were three scenes I found particularly interesting – Cecil’s eavesdropping of Reagan’s discussion with GOP politicians regarding South Africa’s apartheid policy, Kennedy’s revelation of his knowledge regarding Louis’ arrests and involvement in the Civil Rights Movement; and Nixon’s appearance (when he was Vice-President) in the servants’ work room in an effort to recruit their votes during the 1960 Presidential Election. I also enjoyed the private moments between Cecil and his two colleagues that eventually spread to his home, when they began spending off hours with him and his family.

Production-wise, “THE BUTLER” is a beautiful movie to behold. Andrew Dunn’s photography provided sharp and colorful images of Cecil’s life throughout the 20th century. Tim Galvin’s production designs certainly benefited from Dunn’s work. Then again, Galvin did a superb job in recapturing those 80-odd years of Cecil’s life with great accuracy. This was especially apparent in the period featuring Cecil’s first decade as a butler for the White House – between the late 1950s and early 1970s. I can also say the same about Ruth E. Carter’s work as the film’s costume designer. Not only were they beautiful to look at, I was also impressed by how she recaptured the fashion styles of each period featured in the movie. Here are a few examples of Carter’s designs:

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As much as I had enjoyed “THE BUTLER”, I cannot deny that it had its share of flaws. Earlier, I had complimented the movie for its lack of pretentiousness – except in two scenes. One of those scenes that seemed to reek of pretentiousness featured Cecil’s interaction with President Eisenhower. The scene began with Eisenhower ordering the U.S. Army troops to protect the lives and rights of a group of African-American high students integrating a Little Rock, Arkansas high school. The scene eventually segued into Eisenhower reminiscing about his late father to Cecil. And although the scene’s drama was portrayed in a straightforward manner by Forest Whitaker and Robin Williams, it seemed to reek of sentimentality and pretentiousness that I found annoying. Another scene that I found off-putting proved to be Cecil’s encounter with President Nixon in the aftermath of the Watergate scandal. The entire scene seemed to have come straight from Cinematic Nixon 101. It featured a slightly drunk Nixon, lounging on a White House sofa, while spouting self doubts about his political abilities and integrity. I found the scene boring, pretentious and very unoriginal. In fact, I would swear I had seen similar views of Nixon in at least two other films.

I would even go as far to say that the movie’s main weakness seemed to be its portrayals of the U.S. Presidents featured. For some reason, most of the actors who portrayed those presidents in the movie seemed to be miscast. I had nothing against Robin Williams’ performance as Dwight D. Eisenhower. But I took one look at him and was reminded of the character’s predecessor – Harry S. Truman. Really. Liev Schreiber struck me as being at least ten to fifteen years too young to be portraying Lyndon B. Johnson. And yet . . . he did such as great job as Johnson that I am willing to allow the issue of his age to slide. John Cusak was not only too young, but also too slender for his role as Richard M. Nixon. In my opinion, he was definitely the wrong actor for the job. As for Alan Rickman . . . hmmm. Well, if I must be honest, I found his portrayal of Ronald Reagan very effective in a subtle way. The only other piece of casting that seemed to be spot on proved to be James Marsden as John F. Kennedy. Not only did he give a pretty good performance, but his Boston accent seemed decent. “THE BUTLER” also featured the appearances of two First Ladies – Minka Kelly as Jacqueline Kennedy and Jane Fonda as Nancy Reagan. Kelly did a solid job as Jackie Kennedy, especially in one scene that featured the First Lady’s return to the White House after the death of her husband. And Fonda gave a very entertaining performance as the ambitious and slightly controlling Nancy Reagan.

Since I am on the subject of acting, I might as express my views on those performances by the main cast. “THE BUTLER”featured some solid work from cast members such as Colman Domingo, who portrayed the White House maitre d that hired Cecil in a rather funny scene; Clarence Williams III, who gave a poignant portrayal of an elderly man who first trained Cecil to become a professional waiter; Yaya DaCosta, who did an excellent job of developing the character of Carol Hammie (Louis’ girlfriend) from a college student to a hardened activist; Vanessa Redgrave, who gave a brief, yet memorable performance as the elderly mother of the elderly plantation owner who caused havoc within the Gaines family during the 1920s; Alex Pettyfer, as the temperamental landowner, who managed to be effectively scary with very little dialogue; and Mariah Carey, who was surprisingly effective as Cecil’s victimized mother. It was great to see Cuba Gooding Jr., who gave a very entertaining performance as the fast-talking White House head butler Carter Wilson, who becomes a long-time friend of Cecil’s. Lenny Kravitz gave a subtle performance as Cecil’s other White House colleague, the more educated James Holloway. And Terrence Howard gave an excellent performance as the Gaines’ somewhat sleazy neighbor, Howard, who becomes interested in Gloria. He was especially brilliant in one scene in which his attempts to seduce Gloria into having an affair with him.

But in my opinion, the best performances came from the movie’s three leads – Forest Whitaker, Oprah Winfrey and David Oyelowo. This is the third or fourth time I have seen British-born Oyelowo portray an American character. And I am still amazed at his grasp of an American accent. More importantly, he did a wonderful job in his portrayal of Louis Gaines, Cecil’s older son who becomes hardcore activist over the years, aging from 17 years old to a man in his late 60s. While watching “THE BUTLER”, I found myself wondering how many years have passed since Oprah Winfrey had a major role in a movie. The last major role I could recall was her performance in the 1998 drama, “BELOVED”. Watching her portray Cecil’s strong-minded wife, Gloria, reminded me how much of a superb actress she really is. There were two scenes that reminded me how skillful she really is – her bedroom rant against the demands of Cecil’s job and her angry response to Louis and Carol’s derogatory comments about actor Sidney Poitier. I really do not know what to say about Forest Whitaker’s performance in the title role. Personally, I feel that if went on about Whitaker’s performance in this movie, this article would stretch even longer. The man was brilliant. He really was. Whitaker did a superb job in developing Cecil from the 35-40 something obsequious butler to the 90 year-old man, looking back on his life and career. And I believe that Cecil Gaines is one of the best roles of his career. It would be a crime if he never receive an Academy Award for his performance.

I have noticed that “THE BUTLER” has received some mixed reviews from the movie critics. And most of these reviews seemed to be in the extreme from high praise to accusations of clumsy direction from Lee Daniels or equally clumsy writing from Danny Strong. I am not going to pretend that “THE BUTLER” is a perfect movie. It has its flaws. But I feel that its virtues more than outweighed its flaws. And thanks to Daniels’ direction, Strong’s screenplay and a superb cast led by Forest Whitaker and Oprah Winfrey, I feel that “THE BUTLER” is one of the best historical dramas I have seen in years.

“DJANGO UNCHAINED” (2012) Review

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“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 Times complained 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.

“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. And by the way, the man has a nice singing voice. 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.

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. And Waltz 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. I am a little disappointed, but not 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 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 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:

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Ohmigod! It’s Crockett and Tubbs!