A long shot showing us the perfect woman from head to toe, rap music to describe an atmosphere at a time when the phonograph didn’t even exist, a giant tooth swaying with its spring at the top of a stage-coach. Long sentences describing a long film. Or is it reality that’s too short? Are we setting free only from the chains of slavery ? Or the chains of classic slavery cinema codes ?
Well these are the questions Quentin Tarantino makes you ask, with Django Unchained.
Abolishment isn’t the goal here, it actually barely is a mean in a story which complexity and yet simplicity goes beyond all scenaristic barriers ever set. Your life and who you are doesn’t depend on the place you come from or the ethnic background you have, all that matters is what you do. That’s how we define ourselves as humans or at least should and Django can do things, just as Dr. King Schultz who changes his life and by a clever twist of scenario ironically disguised by a role play becomes Django’s assistant, after setting him free from slavery in quite an unconventional manner.
That indeed is the term Tarantino proves once again here to be the living cinematographic definition. As if he had set himself a “convention of unconvetion” that many previous films could account for, all the surrealism we find in Django Unchained (pictures, music, dialogue) creates a strong feeling of uncanny and yet seem seems so familiar.
These are moments you have lived, sights you have seen, it’s the floating intangible cloud between your perception and everyone’s reality, the experience. The feeling when you get to live a scene in slow-mo with the chance to get an eternal caption of it before someone shakes you as if you had passed out. In all this, Django is the hero and like no other he isn’t the only one who’s set free, because with this film, we all are to dream away.