Times of Oman
Nov 25, 2015 LAST UPDATED AT 03:11 AM GMT
Quentin unchained
December 19, 2012 | 12:00 AM

You simply couldn't imagine Tarantino making a film like Steven Spielberg's new film Lincoln. Spielberg, for his part, wouldn't have the chutzpah to make a spaghetti Western/exploitation movie quite as extreme as Tarantino's latest effort, Django Unchained.

Even so, the two movies are set within a few years of each other and have obvious thematic overlaps. Lincoln takes place in 1865 as the then President Abraham Lincoln fights a bitter political battle to pass the Thirteenth Amendment to the US Constitution that would ban slavery. Django Unchained is set in 1858, as an escaped slave turned gunslinger (Jamie Foxx) and a European bounty hunter (Christoph Waltz) try to rescue the gunslinger's wife from a southern plantation.

As he approaches his 50th birthday, Tarantino is tackling a hugely contentious episode in US history and one that filmmakers have largely avoided since DW Griffith's The Birth Of A Nation (1915) with its underlying racism and notorious scenes celebrating the Ku Klux Klan. Tarantino being Tarantino, he is doing it in an utterly brazen fashion. In interviews in the run up to the film's release, the director has been striking a typically contradictory note. On the one hand, he has suggested, shooting his first Western was a blast so much fun that he doubted the Hollywood bosses would have let him get away with it if they knew how much fun he and his crew were having. On the other, he has insisted that he wanted to show the ugliness, brutality and 'surrealism' that went hand in hand with slavery.

"I was always amazed so many Western films could get away with not dealing with slavery at all," the director commented in a recent interview in Newsweek magazine. "Hollywood didn't want to deal with it because it was too ugly and too messy. But how can you ignore such a huge part of American history when telling a story in that time period? It made no sense."

Lincoln (scripted by Tony Kushner) is full of sententious, brilliantly written speeches about human rights, democracy and the legislative process. Django Unchained is powered along by trash talk and Tarantino's familiar wisecracking, punning dialogue. It is one of the few Westerns with a black hero (Jamie Foxx.) In Lincoln, although the film is set in the middle of the Civil War, the reality of slavery is kept in the background. We see the corpses of the dead Union soldiers. Lincoln is shown visiting wounded soldiers suffering horrible disfigurements.

The real conflict, though, is in the debating chamber as white politicians land rhetorical blows on one another. In Django, the violence is unrelenting. There are whippings, slaves wrestling one another to the death and dogs ripping slaves to pieces. The grotesquerie of a system in which white Southern aristocrats treat their slaves as chattels is made very evident. In Lincoln, there is a wise, folksy, cunning President (brilliantly played by Daniel Day-Lewis) who uses his knowledge of human nature to push through political change. In Django, justice is administered through guns in slow motion, Sergio Leone-style action sequences.

Tarantino researched his subject matter extensively. However, he has made it very clear that he had no interest in making a history movie with a capital H.

Back in 1997, when Tarantino directed Jackie Brown, Spike Lee attacked him for his excessive use of the 'n-word'. "I want Quentin to know that all African-Americans do not think that word is trendy or slick," Lee was quoted as saying by veteran showbiz journalist Army Archerd. The light-hearted moments when Klan members can't see out of their masks or Django leaps aboard his horse as if he is Roy Rogers on Trigger, sit uncomfortably next to the scenes of slaves being tortured and abused. Tarantino talks about the toxic legacy of slavery in one breath and his love of Sergio Corbucci's Django films the next. Then again, that is his way.

There is a sadistic element to Tarantino that hasn't dissipated since Reservoir

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