Shot in slow motion, not very different from how we’ve seen this moment play out in historical dramas, Tarantino builds to the violence with his unbridled bloodlust on full display. Instead, an empowered Django attacks the three savages who caused him pain, and Tarantino allows him, and us, to revel in the moment when he grabs up a whip and lashes out at one of them with merciless vigor. Schultz employs Django to spot his former slaveowners, wanted criminals according to the legal papers Schultz removes from his dandy coat pocket as if it were bottomless. This subversion continues into a visit to the home of rich folk Big Daddy ( Don Johnson), who hems and haws upon learning Django is a free man, and therefore deserving of a more elaborate hierarchal treatment from his own slaves. After an extended visit to a small town, wherein Schultz upends their social order by teaming with his slave to remove a wanted man out of the sheriff’s office, “Django Unchained” has proven its prerogative in upsetting a certain status quo. Schultz ( Christoph Waltz) claims chain gang slave Django ( Jamie Foxx) by violently disposing of his two owners (one of them is James Remar, who crops up later in the second of these three films in a different role). The first opens on a dusty road on the eve of the Civil War, as the avuncular Dr. There are three movies that make up “ Django Unchained.” All three are vital, alive, and further proof that Quentin Tarantino is one of the most distinct and relevant filmmakers working today.

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