Writers: Adam Cozard, Craig Brewer (screenplay), Edgar Rice Burroughs (novel)
Stars: Alexander Skarsgard, Margot Robbie, Samuel L. Jackson, Christoph Waltz
Release date: July 7th, 2016
Distributor: Warner Bros. Pictures
Running time: 110 minutes
Best part: Samuel L. Jackson.
Worst part: The inconsistent visual effects.
Dear Hollywood, no one on Earth was asking for a ‘dark and gritty’ reboot of Tarzan. In fact, everyone is sick of those words being the basis for every reboot, reimagining and rejigging from the past ten years. 2016 in film, so far, proves tinseltown is having a major identity crisis. Almost every sequel has bombed, the smaller genre flicks have gone gangbusters and we responded to Zac Efron’s comedies with a collective shrug. What an age we live in!
Like The Lone Ranger and The Man from U.N.C.L.E, The Legend of Tarzan brings an old-school franchise into the 21st Century. Sadly, it resembles the former – a bloated, out-of-touch product that should have stayed hidden. Based on acclaimed author Edgar Rice Burroughs famous stories, this reboot does start promisingly. After the Berlin Conference, the United Kingdom and Belgium divided up the Congo. The Belgian government is close to bankruptcy and left with a useless railroad and other infrastructure. King Leopold of Belgium II sends Leon Rom (Christoph Waltz) to claim mineral deposits including the diamonds of Opar, protected by Chief Mbonga (Djimon Hounsou). Meanwhile, the British Prime Minister (Jim Broadbent) and US envoy George Washington Williams (Samuel L. Jackson) convince John Clayton III/Lord Greystoke (Alexander Skarsgard) to return to Africa and become Lord of the Apes once again.
Tarzan – despite leading multiple films, books, serials etc. – came from a more ‘innocent’ era in the Western world. This version attempts an elaborate balancing act between classic action-adventure and revisionist perspective. It’s a refreshing premise; throwing us into a world already aware of Tarzan’s existence. Screenwriters Adam Cozard and Craig Brewer manufacture false drama from the outset. The first act spins its wheels as the Tarzan rejects the offer, mulls it over with wife Jane (Margot Robbie), and agrees to tag along. From there, the movie leaps between plot-holes and overused plot-points. Its colonialist overtones are wholly uncomfortable, with every scene showing this impressive white man coming to native Africa’s rescue.
Despite mediocre results, director David Yates (Harry Potter and the Order of the Phoenix to The Deathly Hallows Part 2) swings for the fences. The director juggles Tarzan’s backstory (his parents’ deaths, an upbringing helped by apes, reason for leaving etc.) at inopportune moments with narration and flashbacks. His vision forcefully compares the Belgian Congo and American Civil War’s atrocities. The mix of fictional aura and historical events calls Hollywood’s racial politics into question. Yates’ visual style distorts every frame with anachronisms, confusing camerawork and sepia tone, while the action sequences and CGI are shoddily handled. Worse still, bland performances by Skarsgard, Robbie and Waltz are inexcusable. Jackson, thankfully, provides some much-needed levity and charisma.
The Legend of Tarzan, like the many animals in starring roles, is a fascinating but destructive creation. Despite the cute comedic timing and aim-high attitude, this reboot/reimagining/whatever proves a worthwhile director, cast and budget can falter spectacularly.
Stars: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L. Jackson
Release date: December 25th, 2012
Distributors: The Weinstein Company, Columbia Pictures
Running time: 165 minutes
Best part: Dynamite performances from Waltz and DiCaprio.
Worst part: The excessive use of the ‘N-word’.
One of the most advanced languages on Earth has to be ‘Tarantino English’. Everyone in Hollywood would kill to speak it on the big screen. The dialogue of one of Hollywood’s greatest Auteurs has sky-rocketed him and many actors into the A-list. The director’s work has inspired film buffs and makers alike, while washing the modern film-going audience in a wave of blood and expletives. His latest, Django Unchained, proves that an ageing genre can be brought back to life.
Django (Jamie Foxx) is released from slavery by dentist-turned-bounty hunter Dr. King Schultz (Christoph Waltz). Charming the inhabitants of America while hunting down criminals for the tempting rewards, Schultz makes a satisfying proposition with Django. If Django identifies Schultz’ next targets, then he will help Django free his wife, Broomhilda (Kerry Washington). Django, training promisingly in the art of gun fighting, is ready to meet his vicious enemies as a free man. Broomhilda’s owner turns out to be Plantation owner and Mandingo aficionado Calvin Candie (Leonardo DiCaprio). On his luxurious ranch, ‘Candieland’, Candie must contend with his intimidating guests.
Django Unchained can be seen as many things. It’s an engaging and visceral mix of blaxploitation flick, revenge tale, black comedy and violent spaghetti western. Tarantino’s love of western tropes has lead to this anachronistic and lively experience (basically a mix of The Searchers, Blazing Saddles and Jackie Brown). The first act defines who these characters are and why we should support them. Breaking Django free in a tight first scene, Schultz and his new partner divide the land while eagerly searching for bloodthirsty wretches. The partnership builds overtime as Django stops being a stoic slave and becomes a fierce yet heartening anti-hero. The beginning moves at a cracking pace. This largely linear story is a much more reserved choice for Tarantino, known to be a director obsessed with subverting any storytelling style. However, when DiCaprio’s character enters the film, it slows down to focus on Tarantino’s fierce dialogue and tension-inducing conversations. This is Tarantino’s first film without his regular editor Sally Menke, and it shows. At 165 minutes, this already gritty and epic revenge fantasy is extended longer than required. This also proves Tarantino to be a better director than screenwriter, in need of Roger Avary(Pulp Fiction co-writer)’s cautioning hand in the script-writing stage.
His directorial flourishes liven up the sprawling landscapes and action set pieces. Tarantino has never been one to back down from excess. Thankfully, Django Unchained is a master-class in excess, but done in a particularly inventive way. Never willing to downplay this already expansive story, he livens it up with anachronisms, spicy dialogue and gore. Each setting adds a distinctive harshness to every scene, while His rush-zoom effect adds a comic-book like affectation to this burgeoning western universe. This version of the american plains is an anarchic mess. Tarantino loves to splatter exaggerated amounts of blood across many shots. The Sam Peckinpah-esque gore becomes harrowing to watch, but it wouldn’t be a Tarantino flick if it didn’t. When Django and Schultz aren’t putting giant bullet holes into baddies, then a black man is getting ripped apart by dogs, mandingos are fighting to the death or someone is brutally tortured. Combining elements from contrasting time periods, Blackly comedic moments balance out the gruelling intensity. Some viewers, however, may find the comedic, and painfully excessive, use of the ‘N-word’ discomforting. Much like in his previous film Inglorious Basterds, Tarantino uses his characters as weapons against racism and prejudice. Times have clearly changed, and he wants this fact emphasised with as many intensifying slurs as possible.
“Kill white people and get paid for it? What’s not to like?” (Django (Jamie Foxx), Django Unchained).
Samuel L. Jackson & Kerry Washington.
This film should have been called ‘One Upon a Time in Tarantino’s Head’. He has done his research as far as capturing a disturbed and rounded depiction of the wild south. Sergio Corbucci and Sergio Leone both get their dues here. What also makes this adventure so compelling are the nasty characters and enigmatic performances on display. Foxx plays the smooth-talking Django with a unique range. Despite delivering greater performances in Collateral and Ray, he still a true acting force here. Sporting slick attire and quick moves, Django quickly becomes a better shade of bad-ass. Waltz steps back into Tarantino’s world after his revelatory performance in Inglorious Basterds. Charming his way out of any situation, his character is a welcome presence on-screen. DiCaprio provides a revelatory turn as the sadistic and cold-hearted Candie. His character’s blackened teeth and trimmed beard illuminate DiCaprio’s steely persona. His character will surely be added to the likes of other classic Tarantino creations. Samuel L. Jackson hasn’t been this entertaining in years. As the true soul of Candieland, his character is a heartless and vivacious individual.
It may seem impossible, but Tarantino has done it again! He has created a controversial yet rambunctious story of the American heartlands. With his trademark flourishes, this enthralling and delectable western becomes a gleefully hilarious bloodbath. As Candie would say: “Adult supervision is required.”