Django (Sergio Corbucci, 1966)

(Bill san Antonio) #221

This looks like they already had the cross ready but they needed to change the date while shooting.

(I love you M.E. Kay) #222

[quote=“JonathanCorbett, post:220, topic:148”]Wife or not, I think the dates are 1833 (for sure) and a very confused as regards the last two numbers but more logical 1869.


That makes a lot of sense!

That also makes a lot of sense! And it would explain why it looks like there’s a 3 on the 7 (and not the other way around, I guess) and a possible 6 on the 8.

Thanks guys, I can now put my mind at rest! ;D

Although, it sort of looks like there is a 1 on top or under the 9 at the end. 1861, that would be the year the Civil War started. Maybe his wife died while he was fighting in the Civil War, that would explain the ‘far away, too far away’ line! And the fact that Django deserted (probably after he got the news). The plot thickens!

(Mickey13) #223

Don’t expect too much logic from Django. Remember that Nathaniel could have been drunk. What? He hasn’t got a lot of work to do there: just taking care of the girls and drinking booze. :wink:

(I love you M.E. Kay) #224

Haha, that could be it! Speaking of Nathaniel, I thought Ángel Álvarez was great in the film. He gets you to care about his character and I’ve always found his off-screen death very shocking.

(Mickey13) #225

Yeah, while some funny characters in spaghetti westerns are a bit annoying, Nathaniel is very likable and I always feel sorry for him when he gets shot off-screen. I wish he survived.

(p.pereira) #226

Yesterday «Django» was screened at Lisbon with previous presentation by genuine Django: Franco Nero! It was really powerful to watch it in the big screen. Unfortunately no autograph session but still it was a great evening! No vacant places in the cinema which tell us something about the interest that the genre is achieving nowadays.

And I finally met SWDB friend El Topo! ;D

Here’s a pick of the entrance lobby:

(Phil H) #227

Excellent that you got to see Django on the big screen and actually come face to face with the great man at last.

I meant Topo of course, not Franco. 8)

(p.pereira) #228


Here we are:

(Phil H) #229

Great stuff.

How was Nero’s Portuguese by the way?

(El Topo) #230

Worst than my Italian ;D, but actually my English is better than his ;D I don’t have accent ;D

Yes after thousands of emails I finally meet Pereira in person, Phil came all the way from London and beat you to it, ans we live a few km from each other in the same region. It was a short ride for me, cause I left the two kids with the wife on a saturday night.
But it was worth it, Franco Nero with notorious film producer Paulo Branco, told a few stories about how Django was made, most of those already known to us, the non existent plot when they start shooting, how was Nero was picked (they though of Peter Martell for the part), and also a few ones about Tarantino’s DU. I can tell you that Nero’s idea for a part in the film was strange very strange to say the least. He wanted to be Django dead father that only appeared in Django dreams or something like that, Tarantino didn’t bought it

Well about Django, you can have a state of the art home video kit in your house, but still for a film there’s nothing like the test of the real cinema. As you by now must know, Django is one of my favorite SW, probably The Big Silence or his Zapata SW with Nero may fit that role better. But still Django my preferred.
It was made in a time when directors made films for themselves and created an audience, not like today when films are made for a profile of the average consumer.
It’s an iconic film, not unreachable like Leone, Corbucci made films by instinct, and if you follow your instinct, you just may do the right choices. Apparently it wasn’t supposed to be different from many other SW, but it was. There’s no classical western American or not, that can be compared, and not only the violence, also the use of message, and contrary to Leone’s anti heroes, Django suffers and wants revenge in his own terms, no redemption only revenge, he wants the gold just to forget.
There’s also the great secondary characters and the comic lines, that never get out of tone, and the in between of the film never getting out of face.
As for the differences, how many western In the time, and once again American or not, deal with something similar with the KKK, maybe Tarantino’s idea wasn’t so far out.
Of course you can see the minor faults of movie the simple plot, some technical stuff, like Pernice cut ear, but for that I got my 20 years old nephew a modern day kid that never watched a SW or old movies, that said how incredible the way they made such a cool film that never left the same place.

Iconic SW

(p.pereira) #231

Sorry about that mate. Next meeting will happen sooner, my promise.
My wife decided to film instead shooting some pictures therefore we got a bad video and only a few crappy photos of Nero. Here’s one:

(Reverend Danite) #232

Nicely done guys 8) 8)

I think the choir-mistress is accompanying me to Portugal later this year. (She lived in Lisbon for a year as a young child).
Beer E.T.? :smiley:

(El Topo) #233

[quote=“Reverend Danite, post:232, topic:148”]Nicely done guys 8) 8)

I think the choir-mistress is accompanying me to Portugal later this year. (She lived in Lisbon for a year as a young child).
Beer E.T.? :D[/quote]

Oh and wine also, and ginginhas, and also a few lambretas (martini with beer)

Already waiting for you and choir-mistress mate

(John Welles) #234

All I can do is echo the Rev., a man of many words for sure, and say “nicely done guys!”

(titoli) #235

This is exactly how I read it. That is his wife’s cross, she was Mexican, that’s why she was killed by racist Major, and that is why Django has chosen her grave as a symbolic place for final showdown.
Remember the scene when Django refuses white prostitute and chooses a Mexican one saying that he prefers her - Django clearly loves Mexican girls. Also, I don’t agree with Scherpschutter’s review that Major’s racists wanted to burn Maria because she was ‘stained’ because she had been touched by Mexicans - I think they want to kill her because she is half-Mexican as is revealed later in the movie. All other prostitutes are regularly ‘doing business’ with both Major’s men and with Mexicans, Klansmen are surely aware of this but they are not trying to kill them also. (Other then that review is great, as is the one from Phil H).

Django has reputation of being more raw and simple than Corbucci’s later SWs, but I think it is actually his most complex and thought provoking.
First there is a racial issue, I think depiction and condemnation of (quasi) KKK was very provocative for 1966. As I said, Django’s wife was Mexican, he clearly don’t make no difference between races and Corbucci is sending strong anti-racial statement with this movie.
Then there is subtle symbolism: death as a weight he has to drag after him, bridge out of Had - all very impressive for a movie done in a hurry with low budget.
Also, there is no black-and-white depiction of confronted sides, like in later Corbucci’s movies.
And in the end Django turns out to be more layered character then simple caricature. At the beginning of the movie he is a empty shell, bitter ghost of a man because of the tragic loss of his wife. He refuses to have any feelings and shows no sympathy to anyone. He thinks the wealth that the stolen gold will provide to him will give him the chance to escape from his past and begin new life, but in the end he realize the only way the man can save himself is by facing his past, and the only way he can become human again is by allowing other people (Maria) in his life (crucial scene near the end when Django is talking to Maria how he realized this while holding her hand). So despite all the graphic violence it is famous for, Django is ultimately a humane movie that expresses faith in human beings.

(I love you M.E. Kay) #236

^ A very astute write-up, titoli!

(Lee Van Cleef) #237

Take it easy P. Bateman…

(titoli) #238

I think Django is Corbucci’s undisputed masterpiece. It’s an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the following three movies. In terms of craftsmanship, the sheer filmmaking, this movie hits a new peak of professionalism. Take the racial issue. In this movie, Sergio Corbucci addresses the problems of abusive political authority. It is also the most moving movie of the 1960s, about monogamy and commitment. The film is extremely uplifting, positive and affirmative as anything I’ve seen in spaghetti western. Now, Christy, take off your robe :wink:

  • There is a little Patrick in everyone of us -

(Gritz) #239

All I can say is I am so glad I watched it in Italian with the English subs the first time I watched the movie. I once took a peak at the English dub, heard Nero’s dubber say one line and immediately cringed and turned it off. If there was ever a movie that needs to be watched in the Italian dub over the English dub it is Django, with one exception Fulci’s House by the cemetery, no human being can tolerate the young boys English dubbing in that film. :-[

(laska) #240

I always wondered whether his voice was dubbed. Even in some of his later stuff,like Enter The Ninja,he had a dubber.

But when Nero appeared in Django Unchained,he seemed to be doing his own dialogue-in very good English!