A review of Django Unchained by Dr. Joseph Suglia
Quentin Tarantino is a slobbering anti-black racist who makes Blaxploitation films for hipsters. These hipsters grow aggressively defensive whenever African-Americans stand up and denounce these very films. (Spike Lee, Katt Williams, and Armond White are only a few of the African-Americans who have spoken out against Tarantino’s racism.) Tarantino wishes to prove to his hipster fan base that he knows African-American culture better than African-Americans know their own culture. And his hipster fanboys also desire that feeling — the feeling that they understand African-Americans better than African-Americans understand themselves. (For an analysis of the mind of the hipster, consult Norman Mailer’s essay on this topic.)
Tarantino’s latest abomination is Django Unchained (2012), a film about a murderer-for-hire named Dr. King Schultz (Christopher Waltz) who enlists an African slave named Django (Jamie Foxx) to assist him in his mass-murdering spree. Their journey ends at Candyland, a plantation owned by the oleaginous Calvin Candie (Leonardo DiCaprio, in an amusing and impressive performance that elevates above the film and never quite descends into camp). There is much to demur to, but I will restrict myself to three demurrals: 1.) The film is an agglomeration of plagiarisms. 2.) The film is crypto-racist garbage. 3.) The screen violence is without passion or meaning.
DJANGO UNCHAINED IS AN AGGLOMERATION OF PLAGIARISMS
Django Unchained is a pastiche of Spaghetti Westerns. The opening song was lifted directly from the English-language version of Django (1966). On the soundtrack is a well-known composition from Ennio Morricone’s soundtrack for Two Mules for Sister Sara (1970) – an American Spaghetti Western, if there ever was one. There is also an appearance by Franco Nero, star of the original Django, which is a pointless, meaningless cinematic reference that adds nothing whatsoever to the film, which is itself a pointless, meaningless accumulation of cinematic references.
The references are smarmily, unctuously obvious. One thinks of the scene in which Schultz recounts to Django the basics of Das Nibelungenlied. If Tarantino were an artist, he wouldn’t have spelled out the legend of Siegfried and Brunhilda for the benefit of his illiterate spectatorship.
Not merely does the film contain a cluster of plagiarisms; it itself is a plagiarism. The film is an unacknowledged remake of the Mandingo films of the 1970s — in particular, Mandingo (1975) and its sequel, Drum (1976). Tarantino steals from these sources to such a degree that his film would have been better entitled Mandingo Unchained.
Calvin Candie is clearly modeled on two characters in Drum: DeMarigny (John Colicos), connoisseur of Mandingo fights, and Warren Oates’ character Hammond, slave-owner and breeder of Mandingos. Both characters were spliced together to create the hybrid Calvin Candie, lover of intra-racial violence.
The Mandingo-fight scene [1:05] owes everything to the original Mandingo film, although different body parts are excised. In Django Unchained, an eye is enucleated. In Mandingo, a jugular vein is torn out.
Quentin Tarantino isn’t very much different from Calvin Candie. After all, they both enjoy watching Mandingo fighting.
DJANGO UNCHAINED IS CRYPTO-RACIST TRASH
On the surface, Django Unchained seems to be directed against white anti-black racism. But it is itself a work of white anti-black racism.
Now, I like revenge fantasies as much as the next person, but there is something more sordid, more sinister going on here than what goes on in most revenge fantasies (“You got me! Now I gonna get you, sucka!”). Like its predecessor, Inglourious Basterds (2009), Django Unchained is a work of genocide pornography, the cruelest, most unconscionably vicious form of pornography in existence. The crude plot of Inglourious Basterds trivializes the Holocaust; the crude plot of Django Unchained trivializes the enslavement of Africans in antebellum America.
But Django Unchained does more than merely trivialize the enslavement of Africans in nineteenth-century America. It turns the enslavement of Africans into an object of consumption, an object of enjoyment.
To call this film “ahistorical” would be a gross understatement. The film approximates history as closely as Spongebob Squarepants approximates marine biology. With one important qualification: The creator of Spongebob Squarepants actually knows a great deal about marine biology, even if he chooses not to exhibit this knowledge in the television program that he spawned. This film bears no relation to history whatsoever. It is a bombinating vacuum in which references from exploitation films resonate.
No one in the nineteenth century ever said, “Adult supervision is required.” Nor did anyone ever use the term “***********************************.”
Slaves could not read, but Django does a pretty good job of reading aloud the text of a Wanted poster [0:57]. He doesn’t know the words “bounty,” “valet,” or “positive,” but he does know the words “antagonize” and “intrigue.” As Katt Williams pointed out, it is odd that Django can spell his own name.
The late populist film critic Roger Ebert used the term deus ex machina (“God-out-of-the-machine”) to describe the entry of Schultz in the opening of the film. That moment isn’t quite a deus ex machina — such a device is commonly used at the end of a work, such as when Helios transports Medea on a golden chariot at the end of Euripides’ tragedy.
However, Ebert was correct to call Schultz a “god.” He just didn’t know the extent to which he was correct.
Schultz is a god, all right. He is the white god who creates the black Django. “I feel vaguely responsible for you,” he says to Django. “I gave you your freedom.”
Yes, it is Schultz who grants Django his liberty. The first time we see Django’s face is when Schultz shines light on him. It is Schultz who transforms Django into a murderer-for-hire. It is Schultz who sculpts Django into a full human being.
Django is not allowed to kill Calvin Candie. Only the Good White Master is allowed to kill the Evil White Master. Django is allowed to kill Candie’s minions — both black and white — but not their Evil White Master. Django has a master, all right, and his name is Dr. King Schultz.
It is for this reason that Will Smith declined to assume the role of Django: “Django wasn’t the lead, so it was like, I need to be the lead. The other character was the lead! I was like, ‘No, Quentin, please, I need to kill the bad guy!'”
Will Smith’s objection to the film gets to the heart of the problem: Django is a secondary character, the Good White Master’s marionette.
Much has been made of the use of the “N-word” in the film. That is because Tarantino enjoys saying the “N-word.” The “N-word,” evidently, is his favorite word in the English language, a language that he does not know very well. He expresses the “N-word” with brio, emitting it with gusto, as if this word were a shibboleth.
One recalls the infamous (I am using this word in its proper sense) scene in Pulp Fiction (1994) in which Tarantino-playing-Tarantino utters the “N-word” in Tourette’s-like staccato beats. There is no point in arguing that Tarantino is playing a character and that his character is racist, not Tarantino, when Tarantino is obviously playing himself in the scene. The delight that he feels whenever he bleats the “N-word” is palpable.
Django Unchained is backwater garbage, racist filth, intended for ugly-souled racist hipster fanboy cretins. The film is regressive because it imagines that White (the presence of all color) and Black (the absence of all color) are “colors” and that races and have really existent correspondents. The film erodes and erases so many of the steps that America has taken over the past four years. I am writing these words on 13 July 2013, the day on which George Zimmerman was acquitted for the murder of Trayvon Martin.
What is a racist? A racist is someone who has nothing of which to be proud other than his or her epidermal pigmentation. We are, all of us, out of Africa. Anthropologists have established that Africa is the cradle of humanity and that there are only epidermal subdivisions between us. It makes no sense to speak of “race,” since each individual “race” encompasses so many of these subdivisions.
Quentin Tarantino hypostatizes race.
THE VIOLENCE IN THE FILM IS PASSIONLESS
I don’t mind screen violence. Screen violence can be bracing. The problem with the representational violence in Django Unchained is that it is mechanical, spiritless, passionless. It is difficult to understand how or why anyone would be offended by the violence in the films of Tarantino. The violence in all of his films is automatized, transactional, emotionless.
I would like to call your attention to the moment [0:57] in which Schultz murders the alleged stagecoach robber Smitty Bacall. Schultz snipes at his victim from a distance of about 200 feet. Tarantino shoots the man from a distance of 200 feet, as well. There is a complete emotional disengagement between the murderer and the murderee. There is also a complete emotional disengagement between the film and the murderee. We see the man’s son running to his father and hear the boy screaming, “Pa! Pa!” But the boy and his father are no more than flecks of dust on the screen. The father and son are hardly represented as human beings, at all.
And what about the scene that immediately follows the one that I just described? The scene in which Django and Schultz use a band of cowboys for target practice [0:58]? What, precisely, did these cowboys do to deserve to be gunned down?
I wonder, as well, if Lara Lee Candie (Laura Cayouette), Calvin’s sister, deserved to be murdered [2:39]. Yes, she did sell Django into the mining trade. But she could just as easily have had him gelded, which seems to have been the original plan.
All of the murders are filmed with the detached eye of a psychopath.
By contrast, the death scenes in the films of Nicolas Roeg are historically intense. “A young man is cut down in the prime of his life,” Roeg said, referring to his directorial debut, Performance (1970). “[Death] is an important thing.”
In Django Unchained, human characters (and horses) are eliminated with the same passion with which you would close pop-up advertisements on your computer screen.
* * * * *
The antistrophe to my arguments is quite predictable. “It’s only a movie” comes the bleating response. You can hear the booing, the cooing, and the mooing: “It’s only a mooooooooooooooooooovie.” Keep on telling yourselves that: “It’s only a moooooooooooovie… It’s only a moooooooooovie…”
Despite such zoo noise, it can be said, without fear of exaggeration or absurdity, that Django Unchained is one of the vilest motion pictures ever made. Not because of its violence (again, screen violence can be bracing), but because it delights in the exploitation and dehumanization of African-Americans. Quentin Tarantino is a hate-criminal, and Django Unchained is a hate crime.
Dr. Joseph Suglia, table41thenovel.com