One person reviewed the movie as such..... (and I agree with her)
......People, it's a MOVIE. I saw it today and LOVED it.I also saw Lincoln and loved it. I am over 50 years old. There were African-Americans in the theater that loved it as well, two of whom were sitting next to me. It is rated R for a reason. The "n" word was used as it obviously was over 200 years ago in that particular setting I also loved "Inglorious Basterds", and I am Jewish. I didn't mind the derogatory Jewish terms that were used...it was representative of that portion of history. I go to the movies to be entertained...it is my choice
OH SO TRUE.... is this review of this move........"There's something here to offend everyone. Revenge fantasies don't leave much room for moral lessons. Django is out for blood. So is Tarantino, but he doesn't sacrifice his humanity or conscience to do it."
Critics have described the film as bold and original, but some reviews criticized the film for being ultra-violent, over-the-top and overly long
........ "Granted, there's something gleefully satisfying in watching evil people get what they have coming. But 'Django Unchained' is Tarantino at his most puerile and least inventive, the premise offering little more than cold, nasty revenge and barrels of squishing, squirting blood."
NEW WORD OF THE DAY is
( tíchələr ) adjective 1. existing or being such in title only; nominal; having the title but none of the associated duties, powers, etc.: the titular head of the company
..... the film's premise: Foxx's titular Django being freed by a bounty hunter (Christoph Waltz) who needs Django's help to track some baddies, and in exchange, promises to help Django free his wife from an evil plantation owner (Leonardo DiCaprio) ,,,, the movie has sparked debate about its depiction of slavery and ample use of the n-word .
ANOTHER WORD OF THE DAY
.....Tarantino injects the weighty material with so many jocular, startling and unexpected touches that it's constantly stimulating."
( jókyələr )
fond of joking: with a playful joking disposition
humorous: intended to be funny
we've become inured to the suffering and pain of slavery, that we've distanced ourselves enough from it, that people can't experience the terror, the horrible pain, the anxiety, the stress, et cetera, that came with the slave experience. I thought that in Django you really began to reinsert contemporary viewers into that pain, particularly through the scene when the dogs tear Candie's slave D'Artagnan apart
[ in' your-ed ]
- harden somebody to something: to make somebody used to something unpleasant over a period of time, so that he or she no longer is bothered or upset by it
- transitive verb: to accustom to accept something undesirable
Henry Louis Gates Jr.: You've targeted Nazis in Inglourious Basterds and slave owners in Django Unchained. What's next on the list of oppressors to off?
BTW === ..original idea for Inglourious Basterds way back when was that this [would be] a huge story that included the [smaller] story that you saw in the film, but also followed a bunch of black troops, and they had been f--ked over by the American military and kind of go apes--t. They basically -- the way Lt. Aldo Raines (Brad Pitt) and the Basterds are having an "Apache resistance" -- [the] black troops go on an Apache warpath and kill a bunch of white soldiers and white officers on a military base and are just making a warpath to Switzerland.
Tarintino says) ...Hildy.....you've only seen her as a figment of Django's imagination. So the first time you meet her in the here and now, s--t's even worse than you thought..... ...... ...people in general have so put slavery at an arm's distance that ... just the information is enough for them -- it's just intellectual. They just want to keep it intellectual. ..... I think America is one of the only countries that has not been forced, sometimes by the rest of the world, to look their own past sins completely in the face. And it's only by looking them in the face that you can possibly work past them. And it's not a case where the Turks don't want to acknowledge the Armenian holocaust, but the Armenians do.
Henry Louis Gates Jr. is the Alphonse Fletcher University Professor and the director of the W.E.B. Du Bois Institute for African and African-American Research at Harvard University. He is also the editor-in-chief of The Root.