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Django Unchained News: Box Office Figures, Film Commentary, Pop Culture Reference Guide, and More

django unchained set

Today’s your last day to get a free $2 Amazon MP3 credit when you purchase tickets through Fandango. If you plan on seeing Django Unchained soon, whether for the first, second, or third time, then don’t miss out on this deal!

Weekend box office figures: Django Unchained took #2 at the box office with weekend with $9.6 million. The Hobbit came in at #1 with $10.7 million, and Les Miserables #3 at $9.4 million.

Vulture has an excellent primer to movie and TV references in Django Unchained. A very highly-recommended read if you’ve already seen the film (or just want to know what to look for before see it). Spoilers included, obviously.

Video Round-up (embedding is either not allowed or broken, so you have to click through, sorry):

Entertainment Weekly has a video of the Django Unchained cast talking about their experiences with working with Quentin Tarantino.

Yahoo! has a video with Jamie Foxx, Kerry Washington, and Samuel L. Jackson discussing Leonardo’s DiCaprio’s performance in the film. Spoilers included.

Hitfix interviewed Walton Goggins.

Perez Hilton interviewed with Quentin Tarantino and Christoph Waltz.

Huffington Post interviewed Jamie Foxx.

Charlie Rose interviewed Quentin Tarantino.

NPR has two good articles up about Django Unchained:

Is ‘Django Unchained’ The ‘Blackest Film Ever?’

Quentin Tarantino Interview:  Tarantino On ‘Django,’ Violence And Catharsis

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The Boston Globe published a great interview with Quentin Tarantino about what films influenced him to make Django Unchained. Here he talks about how The Legend of Nigger Charley majorly influenced his film:

It’s a cheap, even vaguely tawdry movie. But it’s satisfying! It actually is empowering when you see [star] Fred Williamson kill the overseers and lead a group of slaves, and they take over this town and fight these bad guys. It’s empowering,” Tarantino says. “You wish it were a little better. But it really scratches the itch. And so I knew I could expand on that. I could do a better version of that as a mock epic.

You can watch the movie for free on Youtube.

Also, a “fuck you” to the Boston Globe for calling it the “The Legend of [Black] Charley.” Call it by its proper name!

The New Yorker published some film commentary about Django Unchained. Spoilers included.

The International Rome Film Festival will be giving Quentin Tarantino a special lifetime achievement award. Ennio Morricone will presenting the award.

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Thanks all for making 2012 so special! Hope you have a wonderful 2013!

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One Response to Django Unchained News: Box Office Figures, Film Commentary, Pop Culture Reference Guide, and More
  1. Khallid Love
    January 4, 2013 | 4:24 pm

    After seeing Django: Unchained, a movie that has resulted in a myriad of polarizing perspectives, I must say it was an interesting experience that evoked much thought and emotional response. Now, while I am not an aficionado in English or literary/film criticism, I am simply providing my commentary and opinion about the film from the position of a spectator in the audience. First, I would like to start off by saying that I enjoyed the film a lot. That being said, I believe the movie was far too over-hyped; Django: Unchained was very good, but it wasn’t a movie that trumped most others in terms of entertainment. The aesthetics weren’t particularly captivating. Moreover, although there were a few instances in the film where I chuckled, Django wasn’t an undeniably a humorous film, as other critics have said. Nevertheless, Quentin Tarantino did an exceptional job; Django was a well-done piece. No doubt Django has its share of bloody, gory, and violent scenes. Although there were several displays of crude violence throughout, I didn’t particularly take issue with it; it just seemed to add authenticity. In terms of my initial reaction, if I were to describe Django: Unchained in one word, I would say that it was SUBVERSIVE. Django is undoubtedly a subversive film; that is, it subverts mainstream notions of slavery and white supremacy. Tarantino takes our traditional perspective of the hierarchical bureaucracy of slavery and turns it on its head; he takes the quintessential slave uprising and crafts it into something both distinctly unique and different as well as intriguing and captivating. In the film we see the slave overthrow the slavemaster, the “black” triumph over the “white,” the downtrodden conquer the majestic, the victim becomes the victor, and the predator becomes the prey. Tarantino employs this role reversal as a way to not only challenge our reconciliations with slavery and historical memory but also provide a thoroughfare through which to prompt us to consider and re-consider post-modern racial relations. Furthermore, there have been those who have voiced their vehement opposition toward the film, such as Spike Lee, who explicitly expressed his refusal to watch Django: Unchained. He said that the movie blatantly disrespects his ancestors. Lee, as well as others, might be a little hyper-sensitive in their capricious vagaries. Django is indubitably a historically poignant movie that every American should watch. Moreover, we must consider the fact that the film is laden with thick layers of meaning and connotation and for one to say that he or she dislikes the film simply because he or she is offended by its stark representation of slavery is a perspective that is narrow-minded and lacks nuance. Tarantino did more than just illustrate slavery, and we, as an audience, must try to decipher his crypto-connotations. Django: Unchained is a deviation from normalcy and as productive and thoughtful citizens, we must not be hostile and foreign to this deviation but rather candid and ingenuous in attempting to fully understand an all-encompassing film. Now the aforementioned is merely my own thoughts and opinions on the movie, which are malleable and subject to change. I, in fact, seek to extend the breadth and depth of my understanding of Django as I continue to converse with others and ruminate more over the film. Until then, my initial reaction stands unabashed.

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