Django Unchained. Le prime reazioni della stampa americana

DjangoUnchained_Calvin

E’ caduto l’embargo sul film di Quentin Tarantino che debutterà il giorno di Natale negli Stati Uniti e diverse testate pubblicano la recensione di Django Unchained.

Sulle riviste di settore, Peter Debruge di Variety è entusiasta e ne profetizza un notevole successo commerciale:

The “D” is silent, though the name of “Django Unchained’s” eponymous gunslinger sounds like a retaliatory whip across the face of white slaveholders, offering an immensely satisfying taste of antebellum empowerment packaged as spaghetti-Western homage. Christened after a coffin-toting Sergio Corbucci character who metes out bloody justice below the Mason-Dixon line, Django joins a too-short list of slaves-turned-heroes in American cinema, as this zeitgeist-shaping romp cleverly upgrades the mysterious Man in Black archetype to a formidable Black Man. Once again, Quentin Tarantino rides to the Weinsteins’ rescue, delivering a bloody hilarious (and hilariously bloody) Christmas counter-programmer, which Sony will unleash abroad.

After “Inglourious Basterds” and “Kill Bill,” it would be reasonable to assume that “Django Unchained” is yet another of Tarantino’s elaborate revenge fantasies, when in fact, the film represents the writer-director’s first real love story (not counting his “Badlands”-inspired screenplays for “True Romance” and “Natural Born Killers”).

[…] There are two things Tarantino, as a director, has virtually perfected — staging Mexican standoffs and spinning dialogue for delayed gratification — and expert examples of both await at Candyland. Seductively revealing a dark side auds have never seen before, DiCaprio plays Candie as a self-entitled brat, spewing the character’s white-supremacy theories through tobacco-stained teeth.

[…] Gorgeously lit and lensed by Robert Richardson against authentic American landscapes (as opposed to the Italian soil Corbucci used), the film pays breathtaking respect not just to Tarantino’s many cinematic influences, but to the country itself, envisioning a way out of the slavery mess it depicts. In sheer formal terms, “Django Unchained” is rich enough to reward multiple viewings, while thematics will make this thorny “southern” — as the director aptly dubs it — perhaps his most closely studied work.

Sull’Hollywood Reporter, Todd McCarthy usa parole altrettanto positive, ma è meno propenso ad accreditarne il successo tra il pubblico americano:

History gets another dramatic rewrite, Quentin Tarantino-style, in Django Unchained, a jokey, discursive, idiosyncratic and spirited film that does to slave owners what Inglourious Basterds did to Nazis.

Applying the episodic format and visual template of classic and spaghetti Westerns to a revenge saga mostly set in the Deep South just before the Civil War, the film makes a point of pushing the savagery of slavery to the forefront but does so in a way that rather amazingly dovetails with the heightened historical, stylistic and comic sensibilities at play. The anecdotal, odyssey-like structure of this long, talky saga could be considered indulgent, but Tarantino injects the weighty material with so many jocular, startling and unexpected touches that it’s constantly stimulating. A stellar cast and strong action and comedy elements will attract a good-sized audience internationally, though distaste for the subject matter and the irreverent take on a tragic subject might make some prospective viewers hesitate.

[…] The film’s greatest problem is that, especially in the second half, the Django character gets a bit lost in the shuffle; he doesn’t pop from the screen the way Schultz, Candie and Stephen do. Django is all about being resolute and determined, but more detail could have filled out the character’s transformation from downtrodden slave to steely master gunfighter.

Foxx doesn’t project the sort of charisma that the lucky few have to rivet audience attention even when they’re doing nothing, so when he’s not the center of attention, he seems withdrawn and not that interesting.

Buona accoglienza anche da parte di Peter Travers di Rolling Stone:

Welcome to alternative History 101 with Professor Quentin Tarantino. In his last  class, cataloged as Inglourious  Basterds, Tarantino burned down the damn Third Reich, Hitler included.  This time, with Django Unchained, he lines up slave traders so a black  man can blow their fool heads off. Fuck the facts. Like Sergio Corbucci, who  directed the first Django (starring Franco Nero), in 1966, Tarantino  obeys the only commandment that counts in exploitation movies: Anything goes.

[…] Django Unchained is literally all over the place. It twists and turns  over an unbridled two hours and 45 minutes, giving history (and your stamina) a  serious pounding. It limps, sputters and repeats itself. It explodes with  violence and talk, talk, talk. Tarantino’s characters would be lost in the  Twitterverse – there’s no end to his tasty dialogue. Not that you’ll care.  You’ll be having too much fun. Django Unchained is an exhilarating  rush, outrageously entertaining and, hell, just plain outrageous. You’ll laugh  like hell at a KKK scene in which the Klansmen, wearing bags on their heads,  stumble around blindly on their horses because the eyes on their bags have been  cut out wrong.

Per Richard Corliss di Time Magazine:

Tarantino isn’t the guilty sort, but his films do address dodgy social issues in  a tone that veers between examination and exploitation. A clog dance on the  knife edge of racism, Unchained contains, according to  Variety, “no fewer than 109 instances of the ‘N’ word”; and, because  Tarantino is incapable of a stodgy image, it graphically displays black men  whipped and tortured, or threatened with gelding while hanging naked upside  down. One scene — an extended, extreme wrestling bout between two Mandingos —  left members of a preview audience in shocked, nearly audible silence, as if  they’d been tricked into witnessing an atrocity.

[…] So where, in Django Unchained, is Django? Taking the role intended for  Will Smith, and playing a rebel within shouting distance of Nat Turner (with a  longer life span), the Oscar-winning Foxx is Waltz’s sidekick, not the  star, for most of the film. Raised in rags, Django dresses as  Gainsborough’s Blue Boy when he gets a chance to pick his own couture, but the  character isn’t nearly as colorful. “You’ll be playing a character,” Schultz  tells Django as they prepare for their bounty-hunter gig. “And during the act,  you can never break character.” Sounds as if Foxx is to follow Daniel  Day-Lewis’s total-immersion technique. But Tarantino doesn’t expend much effort  in tracing Django’s arc from slave to gunman to the righteous husband set on  revenging the crimes against his wife.

[…] Django Unchained may not reach the delirious heights of Pulp  Fiction; its climactic crimson orgasms lack the emotional gravity of the  fatal tilts in Kill Bill. But it’s undeniably,  gloriously Tarantino: all talk and all action.

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