Django Unchained

[mrbellamy 6,270]

Don't know if this was ever officially announced or not, but a new Morricone composition called "Ancora Qui" will appear on the Django Unchained soundtrack (and presumably in the film): http://www.comingsoo...ws.php?id=97485

[Koray Savas 2,251]

Holy. Fucking. Shit.

Bacalov galore and selections from Two Mules For Sister Sara. This will be amazing.

[Muad'Dib 1,800]

Whoa!!! Awesome!!!

[chuck 154]

Don't know if this was ever officially announced or not, but a new Morricone composition called "Ancora Qui" will appear on the Django Unchained soundtrack (and presumably in the film): http://www.comingsoo...ws.php?id=97485

Not to mention: 13. NICARAGUA - JERRY GOLDSMITH FEATURING PAT METHENY

[Koray Savas 2,251]

A cue from my favorite Bacalov, a cue from my favorite Goldsmith, and cues from some of my favorite Morricone's PLUS a new Morricone? Can't... breathe...

[TownerFan 4,983]

The full OST album is legally streaming here:

https://soundcloud.com/unchained-soundtrack

As usual, a stunning collection from a variety of sources, mostly Italian silver age film scores by Morricone, Riz Ortolani and others. It also features Jerry Goldsmith's "Nicaragua" from Under Fire.

I am very surprised that Tarantino chose also the title track from Lo chiamavano Trinità (And They Called Him Trinity), which is a VERY popular film and score over here.

The soundtrack also presents a brand-new song composed by Morricone for the film.

[Koray Savas 2,251]

I'm listening to the soundtrack now. Only $10 for the CD and $5 for the MP3s on Amazon.

Absolutely loving it, but then again I'm overly familiar with the scores QT used here. I like how he used recordings off his own LPs rather than clean masters, his reason in the liner notes being he wants us to experience the music as he first did. This man is helping keep the Western alive in contemporary cinema.

Really like how "In That Case Django, After You..." leads into Lo Chiamavano King.

[BLUMENKOHL 1,068]

Saw the movie last night. It was good but it should have ended around 1:45-2:00 hours in. But no...it drags towards the end. I contemplated getting up and leaving.

Jerry Goldsmith's Under Fire cue (Nicaragua) played in one of the coolest scenes in the film. I hadn't seen this thread, so I wasn't expecting it.

The music starts around 0:45 into the Nicaragua track. Quietly And it builds and builds. Until it takes over the entire film's soundscape. You are basically hearing nothing but Goldsmith's music for a solid three minutes.

And you wonder, is he going to take the music to its finish? Or is it gonna stop here? Maybe here? Here! No...here? It's gotta stop here. It's gotta. They're probably just using the tense march bits of the track. Right?!

Nope, the music accompanies the scene right to the last note of the track. And it's sublime. I would not be surprised if the visuals were cut in service of the music.

As a film music fan, and a Goldsmith fan hearing Goldsmith on screen again, just sent chills through every bone in my body.

[Quintus 5,399]

No movie can ever drag as much as Kill Bill 2.

[BLUMENKOHL 1,068]

This trumps it.

[Koray Savas 2,251]

The film is a bit long and could use some tighter editing but I wouldn't say it drags. No more Sally Menke

[Quintus 5,399]

I just saw it's 165mins. WTF is with these damn runtimes all the time? It turns me right off.

Bluray it is then, in about two years or something.

[publicist 4,643]

Then stop after NICARAGUA scene and spare you some agony.

[Brónach 1,301]

I don't have a problem with that length as long as it's meaty.

[BLUMENKOHL 1,068]

Then stop after NICARAGUA scene and spare you some agony.

Yeah basically. I might give it a few more minutes after that just to taken in some Samuel L. Jackson for the road, but the movie is all but done around then. Tarantino didn't get the memo though.

[Quintus 5,399]

I don't have a problem with that length as long as it's meaty.

I knew it all along.

[Brónach 1,301]

Hey it might not be meaty enough... Inglorious Basterds has wonderful stuff all the way through, but I can see that style derailing at some point.

[Quintus 5,399]

Hey it might not be meaty enough...

You think you can handle it?

[Koray Savas 2,251]

It honestly didn't feel like it was 165 minutes. I thought it was around 140 based on the theater experience. I wouldn't shorten it but maybe take some stuff out, add some stuff in, y'know, make it... tight.

The 'Nicaragua' scene is where things take off for me. The dinner sequence and the subsequent climax was pure Tarantino goodness. It probably should have ended there, and it felt like it was going to, but that's where those extra 15 minutes fall in. Only point in the movie where I felt like it should speed things up.

Anyone else also love this mashup?

http://www.youtube.com/watch?v=R4J_MS9MEHY

Worked surprisingly well in the film.

[KK 3,307]

I watched Django last night. Damn it was a lot of fun! From DiCaprio's revelation (who was brilliant in this film btw) till the end of the handshake scene was just bloody brilliant. Waltz was a whole lot of fun too.

The film could use some tighter editing though. I'd take some stuff out from the beginning and the end. At the end, the film kind of loses its footing, almost to the point where it feels a bit anticlimactic. Take out the whole scene with Tarantino's cameo (or at least make it shorter). But most of what came before that was just too good!

Ultimately, I think Django is more fun that Inglorious. But the latter is a tighter film. Love them both though.

[Naïve Old Fart 9,488]

165 minutes???!!!!! That's as long as "The Towering Inferno"!!!!!!!! Now, I can sit through that as much as you like, but I'm not sure I can stomach 165 minutes of Tarantino, especially since I have never (that's right, NEVER!) seen a Tatantino film. The closest I have come to it is "Natural Born Killers". I know it has a new Morricone track, and "Under Fire", but, come on!

[mrbellamy 6,270]

I watched Django last night. Damn it was a lot of fun! From DiCaprio's revelation (who was brilliant in this film btw) till the end of the handshake scene was just bloody brilliant. Waltz was a whole lot of fun too.

Yeah, everything up until the handshake was pretty golden but it fell off a bit for me after that, as well. It still packed a visceral punch, but became a little too outrageous, too sadistic, even for Tarantino. Up to that point, the use of violence was shocking, but I felt Tarantino was also getting at some interesting moral ideas, as with the farmer scene, the Mandingo fighting, the runaway slave, Schultz's "Fur Elise" flashbacks. The violence became more exploitive towards the end, and the conclusion didn't quite manage to ramp up to that great balance of haunting, unsettling, yet wholly satisfying that Inglourious Basterds achieved. Not to mention Tarantino's cameo was his worst yet...

The first 2 hours were something wonderful, though. As fun as DiCaprio was (that monologue about the skull is one of the best things he's ever done), Waltz was best in show, for me. It's great to see him following up such a (charmingly) nasty creation in Hans Landa with perhaps the most likable character in a Tarantino movie since Max Cherry in Jackie Brown. In general, I found a lot of it to be surprisingly emotional...some of it is even downright heartwarming! I especially loved the early scenes featuring just Django and Schultz. Lots of great writing/performing/filmmaking there, and seeing the two of them ride across the wintry countryside to Jim Croce's "I Got a Name" was one of the most endearing sequences I think Tarantino has ever had in one of his films.

[Delorean90 42]

I agree, especially on that last count. I read someone else's comment online that said they would love to watch a whole film, or series of films, of Django and Schultz cleaning up the South. Thematically, the plot had to turn the way it did at and following the handshake, but I concur that I was never quite settled with the tone afterwards.

I also really wish that, instead of the horse tricks at the end (which I thought were a bit weird in that spot), that Django would end up taking back Fritz (what happened to him?) and, instead of doing all those horsey dance moves, just introduce Hildy to Fritz so he could nod his head one more time. It would've been a nicely poignant moment, and a good segue to the last flashback to Schultz.

[KK 3,307]

I agree, especially on that last count. I read someone else's comment online that said they would love to watch a whole film, or series of films, of Django and Schultz cleaning up the South. Thematically, the plot had to turn the way it did at and following the handshake, but I concur that I was never quite settled with the tone afterwards.

I also really wish that, instead of the horse tricks at the end (which I thought were a bit weird in that spot), that Django would end up taking back Fritz (what happened to him?) and, instead of doing all those horsey dance moves, just introduce Hildy to Fritz so he could nod his head one more time. It would've been a nicely poignant moment, and a good segue to the last flashback to Schultz.

Agreed. The whole horse dancing thing seemed like a behind-the-scenes moment. And I also could have done without the flashback, which seemed rather abrupt and unnecessary.

[Delorean90 42]

IMO, all the more reason to have Fritz there. Something should spark Django's memory to lead into that flashback. In concept I kind of liked it, but coming off the horse dancing and without a real connection other than the song that was playing, I understand. I certainly wasn't ready for it, although I won't lie, I was glad to just see Schultz one more time, and connecting back to my favorite section (and facet) of the film didn't hurt either.

[mrbellamy 6,270]

Thematically, the plot had to turn the way it did at and following the handshake, but I concur that I was never quite settled with the tone afterwards.

I read a pretty interesting comment the other day that wondered if there is nothing Django is not willing to do to save Broomhilda, can he really be considered superior to anybody else? He became rather monstrous himself, by the end of it all, and didn't seem to have much issue blowing away Candie's defenseless sister, seemingly innocent of his troubles.

Obviously when all is said and done, it stands alone as a fun, irresponsible revenge flick, but I wonder if something more interesting is hiding in there.

[Delorean90 42]

Should we have a spoilers thread--or make this one?

I was thinking on all that myself, and I wondered how much of it was simply my lack of familiarity with the revenge film. My suspicion is that, by and large, the last quarter of the film has Tarantino's seal of approval, so to speak, although I also think he wanted to raise the questions in some capacity, whether people agreed with the lengths and manners in which Django executed the revenge/retribution/rescue.

I think there are two levels on which Django did need to stand on his own two feet, without Schultz. Within the story, Django had to step up to his place in the Siegfried legend. He had to return to the mountain alone. In terms of a social commentary/allegory, it seems to me that there are characters acting as microcosms of different facets of society, and so, being in a position of disadvantage, Django needed the lift up from Schultz, the benevolent white man who is in a position to help. But he can't rely on Schultz forever. Eventually he needs to own his freedom and independence.

As to Candie's sister, I was thinking the same thing, when someone brought it to my attention that, at the very least, it was she that ordered him to be sent to the mine. I don't recall if she actually initially ordered his castration, and then changed her mind, or if she was going to simply let Billy Crash loose on him and then decided on something more long-lasting and specific. Either way, she did have a hand in his troubles. I do think that, with her being one of the recipients of his rampage at the end, it would've been good to have more onscreen maliciousness on her part. Her onscreen role had been passive at worst, and at best she stopped Candie's display of Hildy's back, even if only in the interest of good taste at the dinner table.

[Jay 37,249]

What was the point of the female cowboy who works for Candy? They only showed her eyes a few times. I assumed her presence was going to pay off or tie into the plot somehow but... nothing. Cutting room floor?

[Sandor 796]

What's with all the moaning about running times anyway..?

[BLUMENKOHL 1,068]

What's with all the moaning about running times anyway..?

It's a long movie, Sandu.

[Sandor 796]

What's with all the moaning about running times anyway..?

It's a long movie, Sandu.

So was The Godfather. And Stalker. And Once Upon A Time In America. And Gone With The Wind. And Schindler's List. And The Dances With Wolves. And The Fellowship Of The Ring.

Yeah, long movies really suck..!

[KK 3,307]

The final act was anti-climactic Sandor, or at least that's how I felt.

[Sandor 796]

I was commenting on people not wanting to see a film simply because it's 'too long'.

[KK 3,307]

I see.

[Jay 37,249]

I would agree that everything post-handshake scene was not as good as what came before it. But I don't see how you can make the movie differently, unless you change it so instead of Django getting caught hiding under the big wooden thing and having to avoid going to the mines and come back, you just have him escape with his wife as a result of the first giant candie-land shootout. But somehow it's more satisfying with him having to finally free her himself, without Schultz's help. I thought the running time was just right for the story Tarantino told.

But what's up with the bandana-wearing cowgirl character?

[Marian Schedenig 8,153]

I would agree that everything post-handshake scene was not as good as what came before it. But I don't see how you can make the movie differently, unless you change it so instead of Django getting caught hiding under the big wooden thing and having to avoid going to the mines and come back, you just have him escape with his wife as a result of the first giant candie-land shootout. But somehow it's more satisfying with him having to finally free her himself, without Schultz's help. I thought the running time was just right for the story Tarantino told.

Yes, it's not simply that the movie doesn't end when it should - it's clearly not done at that point. But it doesn't really come together anymore after that, although I often felt that it didn't do that before either. It's a series of great Tarantino moments, but it couldn't quite convince me as one full movie.

But what's up with the bandana-wearing cowgirl character?

I only even noticed her in her last scene...

[Jay 37,249]

Twice before then Tarantino gives us a nice closeup of her, she's just kinda around and he shoes her eyes but you can't see anything because she's wearing a bandana over the rest of her face. I thought for sure she would do something but nope!

[Delorean90 42]

I haven't read the script yet, but apparently she and others had more fully developed stories in the original mammoth script. Apparently they were even considering making it as two movies like Kill Bill.

I do agree that the story needed Django to stand on his own two feet by the end, but I still prefer the first third of the film. Waltz's performance was just wonderful, and it was actually rather touching to watch their relationship develop.

[Koray Savas 2,251]

I completely forgot I have the script for this. Was sent it months ago but held off until I saw it in theaters.

[scallenger 480]

I'm fairly certain the cowgirl wearing bandana was a cameo by Zoe Bell (from Tarantino's Death Proof and frequent stunt girl, such as in Kill Bill). I knew it had to be her from the closeup of the eyes. As for the point of her character itself it may have literally just been for the hidden cameo. But a bit of a waste if you ask me. At least he could have given her a stunt! Maybe there was a cut scene.

[Once 604]

The only moment I didn't like was Jonah Hill's cameo. The scene was funny, but he was distracting, in my opinion.

[Jay 37,249]

Oh it was definitely Zoe Bell. I assume there's something explaining her pre sense on the cutting room floor.

I too was distracted by Jonah Hill

Apparently Amber Tamblyn was in the movie too for like a shot, my friends noticed her but I didn't. More deleted footage?

[Koray Savas 2,251]

I'm sure there's tons of deleted footage. Like I said awhile back, there are two dialogue tracks on the OST that aren't in the film. I recall Jonah Hill's role to have more lines in one of the early TV teasers. He was actually perfect in here, I thought. That scene was great.

[Jay 37,249]

I wish Tarantino would release the deleted footage from this and Inglorious Basterds. At least he gave us that one deleted scene from Kill Bill and an extended cut of Death Proof. Lately he's been holding back and both IB and DU have footage in their trailers not in the final film.

[Koray Savas 2,251]

He promised the original cut of Kill Bill like 10 years ago. I wouldn't hold my breath. This might be different though, it's clear he was out of his element without Sally Menke. Perhaps there'll be more features for this one.

[Wycket 36]

Oh it was definitely Zoe Bell. I assume there's something explaining her presence on the cutting room floor.

If I remember correctly, she was a tracker.

[mrbellamy 6,270]

Ennio Morricone: "I Wouldn't Like to Work with [Quentin Tarantino] Again"

[chuck 154]

I thought QT doesn't like working with composers because he fears he might not like the resulting scores.

[mrbellamy 6,270]

I think he's changed his tune on that, at least somewhat. Most of his quotes related to that kind of thing are from around Pulp Fiction's release, but since then he's commissioned original music for both Kill Bill and Django Unchained, and apparently tried to get Ennio Morricone to compose the score for Inglourious Basterds.

[chuck 154]

Well it's kinda ironic given this: