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: Django Unchained (2013) - QT's SW  ( 91425 )
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« #195 : June 29, 2016, 06:29:02 AM »

The Hateful 8 is definitely worth a view.

So is Inglorious Basterds.  The first scene with the farmer and Walz really needed the Angel Eyes music from beginning of GBU, but Tarantino had just used that at beginning of Kill Bill 2, can't go to the well too many times...that scene was so reminiscent of that.

The only thing I didn't like about Django Unchained was that the KKK scene was too long and protracted.  And Jonah Hill is a low-talent nobody, sorry.

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« #196 : June 29, 2016, 07:01:57 AM »

So is Inglorious Basterds.  The first scene with the farmer and Walz really needed the Angel Eyes music from beginning of GBU, but Tarantino had just used that at beginning of Kill Bill 2, can't go to the well too many times...that scene was so reminiscent of that.

The only thing I didn't like about Django Unchained was that the KKK scene was too long and protracted.  And Jonah Hill is a low-talent nobody, sorry.

I have not seen IB, but in the two Jonah Hill movies I have seen - Moneyball and The Wolf of Wall Street - he was GREAT


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« #197 : June 29, 2016, 09:24:06 AM »

I have not seen IB, but in the two Jonah Hill movies I have seen - Moneyball and The Wolf of Wall Street - he was GREAT

Are you talking about comedies?


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« #198 : June 30, 2016, 09:00:38 AM »

Hateful Eight is very, very different.

While I am often turned off by gratuitous violence (note I'm not thinking Peckinpah here but more pain and gore for its own sake) and verbose dialogue, there remains a lot to admire about a filmmaker who can really define themself as an auteur in today's Hollywood (i.e. you know it is one of their films just by watching it). Notably the main members of his crew (editors, cinematographers etc.) remain consistent. I am no Tarantino expert, but what is interesting about "Hateful Eight" is NL's point that it is just different in spite of the consistency in the crew. While I still wish we had seen a little more "Rules of the Game" style use of the extreme widescreen (i.e. lots of relevant background activity caught by the wide lens to develop further the "whodunnit" side of things and the visual style), the fact that he went with such an aspect ratio for such a claustrophobic film was a stroke of genius by him and cinematographer Robert Richardson.


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« #199 : June 30, 2016, 11:42:29 AM »

I don't think it is a stroke of genius, but also not a strange idea.

QT was not the first to use a wide format for an intimate film.


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« #200 : June 30, 2016, 01:22:37 PM »

Actually I think more than the widescreen factor, it was the anamorphic nature of the lenses that probably contributed to the effect due to what the lenses did to everything on the sides of the image. Polanski shot "carnage in 2.35:1 which is also anamorphic.

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« #201 : May 01, 2019, 07:38:24 AM »

https://www.slashfilm.com/django-unchained-directors-cut/



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« #202 : June 27, 2019, 03:58:56 PM »

I don't think it is a stroke of genius, but also not a strange idea.

QT was not the first to use a wide format for an intimate film.

People seem to think widescreen means outdoor panoramic vistas.
Shooting in Ultra Panavision would probably been indiscernible . In fact, most theatres probably had to letterbox H8 to fit the 2:40 screen
Anamorphic is actually well suited to indoor films with many characters.
It allows.the director to keep a large cast in frame - like a theatre play- without having to pan and cut constantly.


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« #203 : June 28, 2019, 04:12:06 AM »

People seem to think widescreen means outdoor panoramic vistas.
Shooting in Ultra Panavision would probably been indiscernible . In fact, most theatres probably had to letterbox H8 to fit the 2:40 screen
Anamorphic is actually well suited to indoor films with many characters.
It allows.the director to keep a large cast in frame - like a theatre play- without having to pan and cut constantly.

Yeah. The Cedric Klapish film Un Air de Famille, which is actually adaptated from a theater play, is still the best available masterclass for the use of widescreen (although only 2:35 if I remember correctly) for indoor scenes heavily dialogue driven with multiple characters. On top of my mind, the Usual Suspects (laos 2:35) also features some good examples, but Un Air de Famille beats everything by far. The dialogues are also way better than everything QT wrote post Jackie Brown.

I'm sure Spielberg's movies are filled with great examples too, but the guy could probably do the same with a square frame, he's basically the god of motivated composition and camera movements.

« : June 28, 2019, 04:17:54 AM noodles_leone »

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« #204 : November 01, 2022, 06:31:50 PM »

But mainly Django is just repetitive and overly familiar. Long passages merely rehash Basterds: King's verbose introduction, a "private" conversation auf Deutsch, Candie's tense dinner party, the explosive ending. Robert Richardson provides gorgeous photography but the landscapes and luscious detail don't advance the story. The last 20 minutes are completely superfluous. Tarantino throws in nifty homages to Spaghetti favorites like A Professional Gun (the bleeding carnation) and Sabata (King's derringer-rig) but they're fleeting moments.

Jamie Foxx is solid. Django's not the deepest character but Foxx has the perfect defiant swagger to pull him off. Christoph Waltz though falls too readily back on Hans Landa shtick. If Waltz has anything else in his repertoire he'd better break it out soon. At least he's less irritating than Leonardo DiCaprio, whose cartoon Southerner quickly grows annoying. Samuel L. Jackson's vicious Uncle Tom proves the most memorable character.

Tarantino provides numerous B-lister cameos. Not only Franco Nero but Bruce Dern, Don Johnson, Robert Carradine, James Remar, James Russo, M.C. Ginley and Michael Parks make brief appearances. More ill-advised are Jonah Hill as a budding Klansman and Tarantino himself, sporting the gnarliest Aussie accent this side of an Outback commercial. These walk-ons are fun but don't add up to much.

Which sums up Django Unchained perfectly. A movie with this much violence and controversial content ought to provoke some reaction. Sadly, Django Unchained is just more Tarantino silliness in a slightly different package.
At the 10-year mark it was time for another watch. Sadly, all that Groggy said still rings true. The film's worst failing is that it is so ponderous. This is a very bad movie.



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« #205 : November 10, 2022, 02:18:40 PM »

  I also rewatched this recently.
It's a terrific film.
I think Leone fans.should really appreciate it's many merits.
Weirdly, some are clueless ;)


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« #206 : November 11, 2022, 07:15:58 AM »

"More ill-advised are Jonah Hill as a budding Klansman and Tarantino himself, sporting the gnarliest Aussie accent this side of an Outback commercial."

The Jonah Hill scene was way overlong; Tarantiino was being Tarantino.  I recognized Franco Nero, who should have had a larger part.

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« #207 : November 11, 2022, 08:24:37 AM »

I wasn?t sold on this one. It took Jackie Brown, good chunks of The Hateful Eight, and everything but the ending of Once Upon. Time in Hollywood, for me to truly appreciate Tarantino. Apart from Jackie Brown, he seems to be getting better with age in my opinion.

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« #208 : November 13, 2022, 12:22:14 AM »

I remember watching this film before the Dollars trilogy, but I always call GBU the first Western I ever saw because this never felt like a proper Western to me. It felt like a Quentin Tarantino movie trying very hard to bank on and subvert tropes from real Westerns. Like a spiritual sequel to Inglorious Bastards disguised as a Western, in my opinion.

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« #209 : December 19, 2022, 11:55:27 AM »

Tarantino was dropping some knowledge in this film.  Most people are unaware that most of the Bonnevilles (plantations) down south were actually owned by "African Americans".  In this fillm, the character of "Stephen" played by Samuel L. Jackson, is pretending to be a "house" servant of "Calvin Candie", played by Leonardo DiCaprio.  Towards the end of the film, the dynamics change to where if you pay attention, you can see the roles reverse and determine who really owned the plantation.  It was a game the rich Southern "African Americans" would play to hide the dynamics of who was running the Bonnevilles (Plantations).  This is the reason that Tarantino chose "African American" characters to play some of the lead parts.  Erudite scholars know exactly what he was conveying in the film.

« : December 19, 2022, 08:27:05 PM moorman »

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