“Mr. Ebert — who said he saw 500 films a year and reviewed half of them — was once asked what movie he thought was shown over and over again in heaven, and what snack would be free of charge and calorie-free there.
“‘Citizen Kane’ and vanilla Haagen-Dazs ice cream,” he answered.”
RIP Roger Ebert
1942-2013
There is much more to “Django Unchained” than racism and the N-word… But I’ll get to those too.
First, “Django Unchained” is a revenge fantasy. Keyword – fantasy. There are elements that immediately indicate that the film is not about recanting historical events. Instead, history is the setting for this particular story to take place. In the same way that Quentin Tarantino imagines a different ending to the Holocaust with “Inglorious Basterds,” an improbable ending at that, here he creates a world within the Civil War era that does little to address the matter at hand. If you’ll notice, there’s a vague locator of “somewhere in Texas”… and the the only person who mentions that slavery is an issue in America, is the German implant.
Matter o’ fact, “Django Unchained” is not even an attempt at historical fiction, nor does it ask to be. It’s a nod to the Spaghetti (European) Western in its central characteristics – more violent than its American counterpart, and far less moral…Its heros are not obliged to be good. Its plot is driven by money (and in this case love), and it has little regard for the perfectly wrapped ending of having principal characters make it out alive. ”Django Unchained” is influenced heavily by the “Django” character and stream of Spaghetti Westerns implemented by Sergio Leone, Franco Nero’s rendering of “Django” in 1966, in addition to the 1975 exploitation film “Mandingo,” and Tarantino’s own affinity for writing stories the way he wants to. Simply put – it is not grounded in truth, instead in “what if” outcomes.
This particular director has never been shy about his affinity for black culture and history, and in this instance makes a boisterous spectacle of discomfort in the form of overuse of the N-word. But is it really overuse? Or is it just bothersome because of who’s saying it? In actuality, if there were a 2 hour and 45 minute rap song… proportionally speaking the word would be used more often than it is in this film. By all means, pull the “who’s saying it matters” card right here.
And, there’s gun-slinging and blood-splurting of nauseating proportions that don’t seem to bother anyone.
Since we’re already offended, the real race conversation to have is the one about the black characters in the film. Between Samuel L. Jackson’s Stephen and his authority over the other slaves on the Candie plantation, and between Jackson’s Stephen and Jamie Foxx’s Django (why else would Tarantino choose this altercation to be the last one if it weren’t the most important?) Between Nichole Galicia’s Sheba, Kerry Washington’s Broomhilda, and the other female slaves in conversation about beauty and worth… between Ato Essandoh’s D’Artagnan, the significance of his name, and the black man who even wrote The Three Musketeers – Alexandre Dumas. Whether Tarantino knows it or not, he’s made a poignant statement about the souls of black folk, the ways of white folk, and everything written in between.
I’d venture to say that Tarantino presents many other key conversations about race and class. Take, for example – Christoph Waltz’s Dr. Shultz is characterized as the most superior white being because he’s European. He’s effectively able to swindle the people of the American South with intelligence, something Tarantino clearly doesn’t think they have. Even Leonardo DiCaprio’s Calvin Candie, the most powerful plantation owner in the film, is not smart enough to speak French though he goes by “Monsieur Candie,” nor is he aware of Schultz and Django’s true motives until someone (his most loyal black servant) tips him off. On that same vein – Tarantino’s South is a place where you’re either only a wealthy plantation owner or a gun-toting redneck if you’re white, and Django is the only black man that knows anything of free will.
What truth is there to this movie? Almost none. But that’s fine… because it’s a film. Not historical fiction. Not based on true events. Not a biopic. Not even a real American Western. If Tarantino’s fiction is any indication, it is – at its core – a rendering of how one would carry out the perfect revenge, if it could be intricately worded, incredibly planned, set to film, set to music, lighthearted… and funny enough to forget that it’s disturbing.
The time has come, the Awards season junkie said, to talk of many things…
Of films, and gowns, and biggest snubs,
Of TV queens and kings.
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I’ll keep it short and sweet. The Golden Globe nominations are upon us this morning, the SAGs just happened, and here’s what I think in a nutshell.
Last year, I lobbied hard for ‘The Artist’ when it was up against some pretty stiff ‘The Help’ and ‘War Horse’ competition, and ‘Artist’ ended up the big winner at the Oscars. But the Best Film categories weren’t really the most exciting ones last year- categories like Best Supporting Actress (Octavia Spencer) and Actor (Christopher Plummer) at the Oscars had their own underdog-finally-on-top stories. Best Actress was anyone’s game throughout the entire season, and to this day I think the Oscar should have gone to Viola Davis. On the television side, Modern Family and Homeland dominated the ensembles (with a few quick Game of Thrones and American Horror Story cast members recognized)… I didn’t care. I was just happy Kate Winslet (Mildred Pierce) won.
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Here’s what I think of the most interesting categories this year…
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Television will be all about the HBO shows and ABC shows. On the film side, I’m going hard for ‘Silver Linings Playbook.’
Sure, ‘Argo,’ ‘Zero Dark Thirty’ and ‘Les Mis’ are the big competitors, but guys… I really want SLP to win something, especially for its cast.
David O. Russell (since he won’t get best director – snubfest!) deserves a follow up awards run to ‘The Fighter,’ and not just a Christian Bale/Melissa Leo-like toss to one category for its cast. I think the whole De Niro/Cooper/Lawrence trio ought to be recognized.
It’ll be Kathryn Bigelow vs. Ben Affleck vs. Steven Spielberg for best director.
Jennifer Lawrence vs. Sally Field for best supporting actress (for the Oscars. Globes gives us more room).
Daniel Day-Lewis for best actor, Jessica Chastain for best actress, probably hands down.
Best supporting actor has 2 ‘Django’ stars in one category for the Globes, but it’ll probably go to Tommy Lee Jones.
‘Les Mis’ will probably get shut out. Not because it won’t be good, but because there are so many good OTHER options. Notice director Tom Hooper got snubbed also.
No country for action/adventure. They still don’t care about wizards, hobbits or dark knights rising.
Nicole Kidman somehow finds her way in to a category, and so does Meryl Streep (though I love her). Both unnecessary.
And finally, Denzel Washington is the only black person to be recognized…No Beasts of the Southern Wild? No Middle of Nowhere? No Halle Berry/Cloud Atlas… Nothing.
Best Motion Picture — Drama
Argo
Django Unchained
Life of Pi
Lincoln
Zero Dark Thirty
Best Performance by an Actor in a Motion Picture — Drama
Daniel Day-Lewis, Lincoln
Richard Gere, Arbitrage
John Hawkes, The Sessions
Joaquin Phoenix, The Master
Denzel Washington, Flight
Best Performance by an Actress in a Motion Picture — Drama
Jessica Chastain, Zero Dark Thirty
Marion Cotillard, Rust & Bone
Helen Mirren, Hitchcock
Naomi Watts, The Impossible
Rachel Weisz, The Deep Blue Sea
Best Motion Picture — Comedy Or Musical
The Best Exotic Marigold Hotel
Les Miserables
Moonrise Kingdom
Salmon Fishing in the Yemen
Silver Linings Playbook
Best Performance by an Actress in a Motion Picture — Comedy Or Musical
Emily Blunt, Salmon Fishing in the Yemen
Judi Dench, The Best Exotic Marigold Hotel
Jennifer Lawrence, Silver Linings Playbook
Maggie Smith, Quartet
Meryl Streep, Hope Springs
Best Performance by an Actor in a Motion Picture — Comedy Or Musical
Jack Black, Bernie
Bradley Cooper, Silver Linings Playbook
Hugh Jackman, Les Miserables
Bill Murray, Hyde Park on Hudson
Ewan McGregor, Salmon Fishing in the Yemen
Best Performance by an Actress In A Supporting Role in a Motion Picture
Amy Adams, The Master
Sally Field, Lincoln
Anne Hathaway, Les Miserables
Helen Hunt, The Sessions
Nicole Kidman, The Paperboy
Best Performance by an Actor In A Supporting Role in a Motion Picture
Alan Arkin, Argo
Leonardo DiCaprio, Django Unchained
Philip Seymour Hoffman, The Master
Tommy Lee Jones, Lincoln
Christoph Waltz, Django Unchained
Best Director — Motion Picture
Ben Affleck, Argo
Kathryn Bigelow, Zero Dark Thirty
Ang Lee, Life of Pi
Steven Spielberg, Lincoln
Quentin Tarantino, Django Unchained
Best Screenplay — Motion Picture
Argo, Chris Terrio
Django Unchained, Quentin Tarantino
Lincoln, Tony Kushner
Silver Linings Playbook, David O. Russell
Zero Dark Thirty, Mark Boal
Best Original Score — Motion Picture
Anna Karenina, Dario Marianelli
Argo, Alexandre Desplat
Cloud Atlas, Tom Tykwer, Johnny Klimet & Reinhold Heil
Life of Pi, Michael Danna
Lincoln, John Williams
Best Original Song — Motion Picture
“For You ” (music and lyrics by Keith Urban), Act of Valor
“Not Running Anymore” (music and lyrics by Jon Bon Jovi), Stand Up Guys
“Safe & Sound” (music and lyrics by Taylor Swift, John Paul White, Joy Williams and T Bone Burnett), The Hunger Games
“Skyfall” (music and lyrics by Adel and Paul Epworth), Skyfall
“Suddenly” (music by Claude-Michel Schonberg and lyrics by Schonberg and Alain Boublil),Les Miserables
Best Animated Film
Brave
Frankenweenie
Hotel Transylvania
Rise of the Guardians
Wreck-It Ralph
Best Foreign Language Film
Amour
The Intouchables
Kon-Tiki
A Royal Affair
Rust & Bone
Best Television Series — Drama
Boardwalk Empire
Breaking Bad
Downton Abbey
Homeland
The Newsroom
Best Television Series — Comedy Or Musical
The Big Bang Theory
Episodes
Girls
Modern Family
Smash
Best Performance by an Actor In A Television Series – Drama
Steve Buscemi, Boardwalk Empire
Bryan Cranston, Breaking Bad
Jeff Daniels, The Newsroom
Jon Hamm, Mad Men
Damian Lewis, Homeland
Best Performance by an Actress In A Television Series – Drama
Connie Britton, Nashville
Glenn Close, Damages
Claire Danes, Homeland
Michelle Dockery, Downton Abbey
Julianna Margulies, The Good Wife
Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television
Kevin Costner, Hatfields and McCoys
Benedict Cumberbatch, Sherlock
Woody Harrelson, Game Change
Toby Jones, The Girl
Clive Owen, Hemingway and Gellhorn
Best Performance by an Actress In A Mini-series or Motion Picture Made for Television
Nicole Kidman, Hemingway and Gellhorn
Jessica Lange, American Horror Story: Asylum
Sienna Miller, The Girl
Julianne Moore, Game Change
Sigourney Weaver, Political Animals
Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Max Greenfield, New Girl
Ed Harris, Game Change
Danny Huston, Magic City
Mandy Patinkin, Homeland
Eric Stonestreet, Modern Family
Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Hayden Panettiere, Nashville
Archie Panjabi, The Good Wife
Sarah Paulson, Game Change
Maggie Smith, Downton Abbey
Sofia Vergara, Modern Family
Best Performance by an Actress In A Television Series — Comedy Or Musical
Zooey Deschanel, New Girl
Lena Dunham, Girls
Tina Fey, 30 Rock
Julia Louis-Dreyfus, Veep
Amy Poehler, Parks And Recreation
Best Performance by an Actor In A Television Series — Comedy Or Musical
Alec Baldwin, 30 Rock
Don Cheadle, House of Lies
Louis C.K., Louis
Matt LeBlanc, Episodes
Jim Parsons, The Big Bang Theory
Best Mini-Series Or Motion Picture Made for Television
Game Change
The Girl
Hatfield & McCoys
The Hour
Political Animals
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I know, you’re wondering where I am. #Youcare.
Let me ease your sleepless nights with an update: I’m busy! Working on something NEW and EXCITING.
I promise, it’ll be worth the wait.
In the words of Arnold Schwarzenegger….
“fathering another child was the biggest mistake of my life.”
I mean, “I’ll be back.”
NOTE: Just a few of my favorite things. Today, I’m thinking about how excited I am for Tarantino’s upcoming Django Unchained. Three years ago, I was excited about this film:
Director Quentin Tarantino, mastermind behind cult classics like Pulp Fiction and Kill Bill, provides an interesting alternative to the end of the Hitler regime with his concoction of mangled history known as Inglourious Basterds.
In Tarantino films we can usually expect the smart-ass but hilarious remarks from our favorite characters, the random but epic cameos, and the cold-blooded murder done… tastefully. And this movie certainly holds true to fashion. But because Tarantino doesn’t claim to tell the true story, it was much harder to predict what was going to happen next, and fortunately that helped the story stay exciting as opposed to hurting it. What makes Inglourious Basterds favorable is that it there is much more than just war in this film.
Tarantino presents this sort of love triangle between the Germans, the French, and the Americans- and their positions at war during the time period, but it’s also a love triangle of the personal connections each culture held to another. Mainly by language.
For instance, take the Colonel Hans Landa (Christoph Waltz), who presents himself in the very beginning as a debonair gentleman thrown into a position he’d rather not be in. He’s polite, he’s considerate, and above all else, he’s smart. He speaks German, French, English and Italian, much to other people’s dismay. We quickly see that his use of the formal French language goes about as far as the sheep’s clothing can stretch. He becomes lethal (with a nickname like “The Jew Hunter” you can see why only he would consider it a misnomer). Landa is quite possibly one of the most conniving and quick-witted antagonists of all time. Surely, Waltz will be rewarded with a Golden Globe and an Oscar nomination for this supporting role.
Next, you have Lieutenant Aldo “The Apache” Raine (Brad Pitt) who provides most of the comical relief as the over-the-top “Nat-See” killing likeable guy from Tennessee. The gang of lost boys also known as the Inglourious Basterds are entertaining, wild, and a little bit naive to anything other than achieving their objective as outlined by the Lieutenant. My favorite Basterd is definitely “The Bear Jew” Sgt. Donny Donnowitz.
On the emotional, and more spirited side, there’s Shosanna Dreyfus (Mélanie Laurent), the young Jewish girl turned French cinema owner, who many years before watched Landa and his men massacre her entire family. After she narrowly escaped the same fate, Shosanna finds herself courted by a German war hero who knows nothing of her past, nor of her resentment for all Germans. Her hatred runs so deep, in fact, that she formulates a plan of revenge. A plan that sees to the end of the Hitler regime, according to this movie.
Quite frankly, Tarantino almost completely ignores what actually went down during World War II. There isn’t too much fighting here, but that doesn’t take anything away from this story. And, the cast is brilliant. It is a bit relaxed on the actual happenings of the Holocaust, if not completely ignorant, but the goal to entertain is met.
And, although it didn’t quite happen the way this movie plays it out to, the end of the war does come. That much, we know actually happened.
Rating: 4.1/5
NOTE: This… was a conversation with myself. Spurred by deep shower-time thought about the meaning of the name of the band Passion Pit while listening to their song, an oft-played favorite, “Moth’s Wings.” It has very little to do with the actual story behind the band’s name. In fact, it has absolutely nothing to do with the actual story behind the band’s name, but my story below is a better one. Also, take a look at those guys.
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There comes a point in every overachiever’s life…the incredibly dramatic point…at which we realize that the many things we’ve kept ourselves busy doing over the years are never going to be the one thing we’re actually supposed to be doing.
That’s a hefty thought. It’s also a big effing slap in the face. Because once we do realize that the past 20+ years have been spent laboring over being good at doing said things, one day, the long-overdue exhaustion hits you square in the face. The exhaustion is then followed by the “why am I even doing this current thing?” thought.
It starts as a constant miserable whisper, and then eventually, it evolves into a consuming pit of despair. Dragging of the feet, hitting of the snooze, barking at the stranger who says “good morning” the wrong way kind of despair. The kind that can’t even be reduced to the uttering of “eff my life” every once in a while, instead it’s “ladies and gentlemen, THIS…is my life.” Slow clap.
Depressing, I know.
But then, after much wallowing and many journeys to the bottom of the Ben & Jerry’s pint, maybe it becomes a conquest. And you, the person who has been reduced to this, you become a conquistador.
(NOTE: I’ve been looking for a way to use that word since 5th grade. I’m not entirely sure it fits here though…)
You find the faith – which sometimes can be as thin as fishing wire to grasp – and you pray for the courage to find that one thing that can be called your passion, and then you pray for the passion to actually DO that one thing. And when you get it, you fall into The Passion Pit…the loneliest place known to man.
The Passion Pit is deeper than the pit of despair, and it certainly doesn’t love company. In fact, you become certain that there’s no one else on the planet that feels the way you do about whatever it is you’ve discovered defines you. Suddenly, doing the most meaningful, purposeful work becomes more important than doing work itself, and there’s nothing in the world you’d rather do.
The problem is…the passion pit is a thick, murky and drowning pool of quicksand. It takes forever to trudge through. It feels like you have no control over what happens next. Confidence is fleeting and evasive down there, and when people ask why you’re in it – you don’t have any real answer for them. It’s like trying to explain to someone why exactly The Kardashians matter. Exhausting of all energy, and in the end, you realize you never answered the question they actually asked.
Anyway, there’s one line in the song “Moth’s Wings” that I like a lot. It’s simple:
You’re resting on your laurals, and stepping on my toes…
It’s accusing. It’s standing back, arms folded, head shaking, one foot resting on the wall. It’s saying (to me) – you aren’t living up to your full potential (and keeping me from doing the same because of it). But the first part is the most important – How much time do we let go by? How many “but what I really want to do…” sentences will you start? Once you know what that thing is, how can you not find a way to do it? Allow me to remind you, your happiness depends on your being able to roll up the sleeves, take off the shoes, and get down deep into the Passion Pit.
That alone is worth taking the plunge.
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Man, that was one long-ass shower.
“Because today, I know from experience that if I truly want to leave a better world for my daughters, and all our sons and daughters … if we want to give all our children a foundation for their dreams and opportunities worthy of their promise … if we want to give them that sense of limitless possibility — that belief that here in America, there is always something better out there if you’re willing to work for it … then we must work like never before … “
- Michelle Obama
Democratic National Convention 2012
