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How Quentin Tarantino’s “Django Unchained” is much more than just a western classic?

by John Adams

"Django Unchained" by Quentin Tarantino appears to be no more than a violent historical Western. However, as is customary with Tarantino, there is a whole lot more going on underneath the surface. Many may need more background information to go through another another thick essay from the maestro of cinematic universe, although some viewers may wish to walk into this one cold.

Since "Pulp Fiction," "Django Unchained" is Quentin Tarantino's most enjoyable film. All of it has been executed in a burlesque mirth mood, with violent absurdity to to the point of flagrancy and beyond. Some of it, especially in the first half, is brutally humorous. At the edge, experimenting with genre norms, subverting expectations, and ramping up the violence to exploitation-movie proportions, that is where Tarantino is happiest. The movie is divided into two halves: the first is a parody Western, and the second is a parody slavery-related vengeance melodrama that is set in the Deep South and has a bloody, redeemed finale. Now following are the symbols or metaphors that he used in his movie:

Andrew Schultz wheel wagon:

Schultz's outward occupation as a dentist serves as a cover for his true vocation as a bounty hunter, which is symbolized by a huge tooth that wags over his carriage. Schultz exterminates wanted criminals, signifying his elimination of corrupt outlaws from society, in a manner akin to how a dentist pulls decayed teeth. By depicting Schultz as a dentist, his terrible adversary dubbed "Candie" (which, as we all know, rots teeth), and his plantation, Candyland, Tarantino represents the conflict at hand. By using symbolism, he establishes a dramatic anticipation that Schultz and Candie will come face to face at the film's conclusion.

Royal Blue Suit:

The blue outfit that Django chooses from Schultz's wardrobe in Chattanooga represents his elevation from a poor slave to a royal hero. The son of a wealthy businessman is depicted in the full-length oil painting "The Blue Boy" by Thomas Gainsborough in which he wears a blue suit. An antebellum Southern culture in which black men and women were expected to be obedient to their white overseers is profoundly altered by the vision of Django in the blue suit beating Roger Ellis at the Bennett estate.

The German Myth:

The story of Siegfried and Broomhilda, a German folktale, serves as a parable for Django's attempt to save his wife. Given how heroic and dedicated he is to the mission of rescuing his wife, also known as Broomhilda, from Calvin Candie's clutches, Schultz refers to Django as "a real-life Siegfried." In the movie, Broomhilda is imprisoned in a "Hot Box," which is a satirical parody of the ring of fire that she is held in on the mountainside. The mythical "dragon" who protects Broomhilda may be either Candie himself or Stephen, his devoted and dangerous aide.

Tarantino’s revenge:

In the end, Django exacts his vengeance by murdering a large number of white people, their blood exploding off their bodies in tiny bursts of red. It's intended for us to comprehend that the violence isn't "genuine," that it's exaggerated. Even a crude joke has been made about it. Django uses one of the evil men as a shield; the poor sucker is shot repeatedly, howling the entire time. It's sickly funny in a way. But before you start to feel a bit sick, how many jokes can you take? "Django Unchained" is a filthy joy rather than a guilty one.

ABOUT THE AUTHOR

John Adams is a lifestyle blogger whose writing is focused on self-development, health & fitness, entertainment, and personal injury law. He encourages readers to live their dreams, but also teaches them to be realistic and practical. He loves to share his insight on life experiences, and contributes on various online platforms in the same niche.