Django (1966)
Directed by Sergio Corbucci
A coffin-dragging gunslinger and a prostitute become embroiled in a bitter feud between a Klan of Southern racists and a band of Mexican Revolutionaries.
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What critics compared Django to
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.
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).
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).