Eight years after the Joker's reign of anarchy, Batman, with the help of the enigmatic Catwoman, is forced from his exile to save Gotham City, now on the edge of total annihilation, from the brutal guerrilla terrorist Bane.
In 1858, a bounty hunter named Schultz seeks out a slave named Django and buys him because he needs him to find some men he is looking for. After finding them, Django wants to find his wife, Broomhilda, who along with him were sold separately by his former owner for trying to escape. Schultz offers to help him if he chooses to stay with him and be his partner. Eventually they learn that she was sold to a plantation in Mississippi. Knowing they can't just go in and say they want her, they come up with a plan so that the owner will welcome them into his home and they can find a way.Written by
Everybody in the film seems to have perfectly white teeth, even the slaves. In realty, it would be very unlikely for all those people to have white and healthy teeth in the 1800s. Because slaves probably didn't even have the chance to get any dental care, nor even had a tooth brush and paste. And most others were likely to be in the habit of chewing tobacco. And personal hygiene wasn't very common and probably wasn't practiced at the extend that it does today. It all makes the opening sequence even more ironic, considering that one of the main characters, a dentist, arrives in a mobile dentist clinic. See more »
Who's that stumblin' around in the dark? State your business or prepare to get winged!
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During the opening credits, Franco Nero's credit reads as "and with the friendly participation of Franco Nero." See more »
In Quentin Tarantino's Django Unchained, there is a scene in which Django (Jamie Fox), soon after being freed by the incredibly likable dentist turned bounty hunter, Dr. King Schultz (Christoph Waltz), shops for new clothes to wear.
Schultz tells Django to pick out whatever he likes. Django looks at the smiling white man in disbelief. You're gonna let me pick out my own clothes? Django can't believe it. The following shot delivered one of the biggest laughs from the audience I watched the film with. After the white man confirms that yes, he is indeed letting the black man pick out his own clothes, we cut to a wide shot of Django riding his horse, now decked out in his very own (outlandish) cowboy outfit—an all blue with white ruffle get-up.
It's a great little scene that provides humor and allows the viewer to further warm up to the two main protagonists. But it also does more than that. It's a simple scene that speaks for the whole film. It's an affirmation that this man of color is now free and able to make his own decisions. The choice he made concerning his extravagantly loud outfit acts as a warning to those that plan to stand in his way—watch out, here I come, I ain't gonna be quiet no more.
And the humor the scene provides echoes the entire film—it wants us to get comfortable with our hero. Tarantino knows that a man of color makes an unconventional hero in a revenge- flick—that's why he made the film. When was the black man going to get his revenge film? It's been long overdue. With Django Unchained, that film has finally arrived and it has arrived in style. Beautifully shot, wonderfully acted, and meticulously written, it's Tarantino at his most epic.
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