Is there such a thing as a crazily violent movie that beckons an audience to the farthest reaches of reflection?

Realizing, from an extensive Django project at another site, how difficult the countenancing—let alone the comprehension—of this film is, to mainstream tastes, I hesitated to broach it here. But, for the sake of providing you with the full range of the potent architecture of graphic design that can make something happen, I’ve decided to let her rip.

Bravely accorded respect by the Academy Awards nominations crew, the supposed PR deadly inducement to slaughtering innocent children in their classrooms has escaped having had removed the opportunity to have bumper audiences consider its premium upon playing roles in order to disarm violent adversaries.

Also allowed due regard is the soundtrack moment, “I Got a Name,” by Jim Croce, deployed by director, Quentin Tarantino, to prime the narrative’s true excitement (in contrast to the hyperbolic mayhem) about resolute figures forming a rare association on the basis of the senior partner giving focus to the junior partner (Django) in his struggle for dignity and love. This association is melded to the 1973 song by a writer/performer who died days after recording it—but the energies from that long-ago effort couldn’t be germane if Tarentino had written it himself. (“Who led me down the highway?/ Who led me down the highway?/ Who lent a hand so life won’t pass me by?”)

Unlike the usual swashbuckler adventures where glorious success is assured, this is a film in the Surrealist vein of Beauty and the Beast, where, after an incredible roll of martial successes, the “hero” is confronted by the task of dealing with, despite wise mentoring (by a mentor who falls desastrously short), his deformed panache.


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