Tarantino is bound to break the chains that he restricts himself from, but this is not that kind of a film, there is another way out.
Tarantino’s novelization of a comic book genre into a gritty satirical drama is another forward pass on his career that breathes the essence of old style literary work. And I emphasise on the word “novelization”. Since for the first time, his film feels more like a book than a script. Just take the scene where Samuel L. Jackson calls out for Leonardo DiCaprio from the dinner table where the crowd is enchanted in Christoph Waltz’s charm. Such a scene is often lopped out from a script that is to make it to the screen and instead some other element is added to boost the script and the pace of the film.
But the writer and director of the western superhero flick Quentin Tarantino insists on going through the social rigmarole as an excuse of understudying the history. And you are up for it. That’s what baffles me the most. Why have we been ignoring the lectures and documentaries and books so blatantly but consistently fails to even speculate his views on those very subjects. We are chugging it up unapologetically, repetitively. That is because, Tarantino knows what he adores about the history and what will gather and please the crowd, the most. And it is not just that he infuses the facts into narration that goes unnoticed.
It cannot just be the smoothness. It is actually the best aspect of the historical events, the so called highlights, and it is the characteristics of the characters and even the world they revolve around. He uses those tools to convert those facts into a myth casting spell upon spell on us, just like he bombards us with whistle blowing one-liners, slapstick humor and guns blazing across the room. Addition to that, you can see him using his reputation and credibility in Django Unchained by casting a cast of such caliber and more importantly using those tools into narrative that celebrates the cinema life that he lives and breathes for.