Django

The western is a genre the offers me not type of thrill or inspiration. When I do decide to watch a western, it is of the Italian persuasion. Spaghetti westerns added new elements to the western. They double the violence and emphasize atmospheric artistry. The contrived stoicism of John Wayne has always made me sick. That man never once fought in any American war yet propagated war time propaganda.

Django is a western that I can get into. Any rebel cowboy that drags a coffin deserves recognition. Django wastes no time in wasting over thirty men and an equal amount of seconds. He is a heartless criminal that does everything in effort to benefit his own interests. He makes John Wayne look like a disgruntled sideshow cowboy clown.


Mexican target practice is an exciting event found in Django. American filmmakers wouldn’t dare feature such a politically incorrect act (a little in the early Hollywood studio system days). I can only assume that the Mexicans were played by Sicilians. Northern Italian has always considered them second class citizens. Pier Paolo Pasolini was most likely the only director to show them love.

Like the majority of Italian films, Django features an impressive soundtrack. The Django theme is quite triumphant. I couldn’t help cheering for psycho killer Django. Out of all the gringos in westerns, Django might just be king. That’s why he has his own theme song.


Cannibal Holocaust director Ruggero Deodato acted as assistant director on Django. He seems to have taken a couple cues from Django in his obsession with brutal violence. I would argue that Django is more of an Italian exploitation than the typical spaghetti western. Quentin Tarantino borrowed the ear cutting in Django scene for his film Reservoir Dogs. We all know that Tarantino is an exploitation thing.

-Ty E