Sergio Corbucci
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Django Unchained (2012)
Directed by Quentin Tarantino
influenced by Django (1966), The Great Silence (1968)
Music Visuals
Tarantino's fundamental inspiration stems from the original 1966 shoot-'em-up "Django," a precedent rendered in obvious terms from the opening credits, when the bouncy theme song from Sergio Corbucci's classic spaghetti western makes its first appearance.
As with most Tarantino movies, this one’s brimming with the director’s signature pop-cultural mixology, including a soundtrack with tracks by rapper 2Pac and James Brown, Jim Croce and John Denver, and the theme song to the original 1966 movie, “Django,” from which this one takes its inspiration as well as its title.
The title is an homage to "Django," Sergio Corbucci's over-the-top Spaghetti Western from 1966 starring Franco Nero.
Like "Inglourious Basterds," Tarantino's latest borrows its name and attitude from an old Italian flick, in this case the 1966 Spaghetti Western "Django."
You know from Tarantino’s audacious choice of intro music — the haunting theme song from Sergio Corbucci’s iconic 1966 Spaghetti Western “Django,” that the maestro-of-all-things-tasty has many surprises in store for his delighted audience.
In the same way that Kill Bill paid tribute through imitation to Japanese samurai and Chinese kung fu films, Django Unchained serves as Tarantino’s blood splattered love letter to the work of Leone (A Fistful of Dollars), Corbucci (Django, The Great Silence), Sollima (The Big Gundown) and probably dozens of other filmmakers who most of us have never even heard of, but whose movies’ Tarantino can no doubt recite verbatim.
This is a movie all about the details jammed into every corner of the film: copious references to its genre (a creaking windmill out of Once Upon a Time in the West , a title uncommonly similar to the seminal Django ), only slightly less-copious references to cinema at large.
Los personajes, empezando por ese inseguro camaleón que se hace llamar Rango (en clara referencia a Django, un spaghetti western de Sergio Corbucci protagonizado por Franco Nero en 1966), están bien definidos y la anécdota muy bien sostenida (sobre todo en la primera mitad; en la segunda pierde algo de efecto, se estira un poco y cae en algunos excesos y complicaciones narrativas).
The Hateful Eight (2015)
Directed by Quentin Tarantino
influenced by The Great Silence (1968)
Visuals
Tarantino's widescreen compositions look great, but, perversely, the snowy outdoor sequences — which nod to such classic winter Westerns as "Day of the Outlaw" (1959) and "The Great Silence" (1968) — are minimal.
Typically for a filmmaker engrossed by genre cinema more than life, Tarantino has reimagined not the historical West, but the modernist West of André De Toth’s wintry Day of the Outlaw (which may have prompted The Hateful Eight’s bifurcation and cabin fever mood) and Sergio Corbucci’s allegorical spaghetti classic The Great Silence (Q.T.'s “favourite snow Western”).
This is a western set in snow country, and those are more rare than you might think: Robert Altman’s McCabe and Mrs. Miller and Corbucci’s The Great Silence are two superb examples, but when most people think “westerns,” it’s the scrubby desert majesty of John Ford that comes to mind.
Once Upon a Time... in Hollywood (2019)
Directed by Quentin Tarantino
influenced by Navajo Joe (1966)
Themes
But all that is outside the movie’s scope; Rick is still in his Navajo Joe phase, and hasn’t yet had his Deliverance or his Smokey and the Bandit.
But where Death Proof made me excited to watch Vanishing Point , the tedious pace of this film doesn’t inspire me to seek out Gunsmoke or Navajo Joe .
War for the Planet of the Apes (2017)
Directed by Matt Reeves
influenced by The Great Silence (1968)
And this one ends up being betrayed by its homages to Apocalypse Now (there’s an “Ape-ocalypse Now” scrawled on a dilapidated wall at the midpoint, just in case viewers missed the other references), Schindler’s List , The Great Silence , and other classics; the sum of their ambitions can’t help but cast the formulaic, over-extended wartime prison-break that is War’s third act in an unflattering light.
Granted, the emblematic plotline, in which a mysterious stranger who pits opposing sides of an embittered feud against each other, owes a clear debt to predecessors like Sergio Leone's Fistful of Dollars (and that film's own considerable debt to Akira Kurosawa's Yojimbo ).
The movie can be seen as a sidewise Yojimbo riff, Leone's A Fistful of Dollars being the first (and less politically fraught).
The movie can be seen as a sidewise Yojimbo riff, Leone's A Fistful of Dollars being the first (and less politically fraught).