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Django dezvrajit | ![]() | ![]() | ![]() |
Critica de film |
Scris de Ninel Ganea |
Marţi, 08 Ianuarie 2013 22:02 |
“Inglorious Basterds” si “Django Unchained”, ambele regizate de Quentin Tarantino, reprezinta apogeul acestui gen caruia ii prevad o traiectorie spectaculoasa in anii urmatori. In primul film, de pilda, un grup de germani este ars de viu pentru vina de a apartine unei categorii etnice. Nu poate fi vorba de ura rasiala pentru ca germanii sunt un popor vinovat pe vecie. Deci, cazul este clasat apriori. In “Django Unchained” tinta o reprezinta Sudul Statelor Unite dinainte de Razboiul de Secesiune. Doi vanatori de recompense incep o camapanie de epurare a proprietarilor de sclavi intr-o orgie de violenta. Nu suntem scutiti de niciun detaliu al imprastierii hemoglobinei sub puterea gloantelor, insa realismul cere sacrificii si din partea spectatorului. Sursa de inspiratie o constituie, in principal, un film uitat din anii ’70, “Goodbye, Uncle Tom”. Productia, regizata de Gualtiero Jacopetti si Franco Prosperi, s-a vrut a fi un “shockumentar”, adica o reconfigurare a faptelor, dar nu asa cum s-au petrecut, ci in felul in care autorul presupune, fantezist, ca s-au desfasurat, cu scopul de a justifica o ideologie in prezent. Drept urmare, filmul detaliaza toate ororile reale sau presupuse la care erau supusi sclavii americani, ceea ce revendica in final masacrul cu topoarele al unei familii de albi de catre niste urmasi dezlantuiti ai sclavilor. “Django Unchained” se aseamana izbitor in mesajele sale cu filmul italian. Si aici asistam la uciderea, printre altii, a unei femei albe a carei singura culpa este de a apartine unei clase sociale: aceea a proprietarilor de sclavi. Daca aceasta vina este suficienta pentru un glont in cap poate reprezenta o discutie separata. Insa pentru Tarantino astfel de probleme morale nu se pun. El stie ca Sudul este rasist, inapoiat, deci trebuie sa dispara. Explozia conacului, simbol sudist prin excelenta, reprezinta o metafora adecvata pentru soarta rezervata unei intregi comunitati. Filmul se misca pe doua coordonate principale, ingrosate pana la satietate: prezentarea conditiilor mizerabile ale sclavilor si razbunarea orgiastica a celor doi vanatori de recompense. In ambele planuri nuantele dispar, iar albul si negrul coloreaza indelebil mintea privitorului. “Exista doua tipuri de violenta in acest film: realitatea brutala sub care sclavii au trait pentru….254 de ani si violenta retributiva a lui Django. Si aceasta este violenta filmului, si este amuzanta si cool, si este cam ceea ce oamenii asteapta si se bucura cand vad”, afirma transant regizorul care crede ca sistemul era de 1000 de ori mai vicios decat il prezinta filmul. Insa aceasta idee este cel putin la fel de indoielnica precum reprezentarile romantice despre Dixie, in care sclavi si stapani traiesc intr-o Arcadie tropicala. Sclavia era cu siguranta cruda, dura si inumana, dar de buna seama ca nu existau doar trasaturile infernale, unele probabil inventate, accentuate de Tarantino. Istorici echilibrati considera ca generalizari se pot face in ambele directii extreme, iar o observatoare destul de lucida in epoca precum Harriet Martineau scria ca “nimic nu a socat-o mai mult in Sud decat rabdarea proprietarilor cu….sclavii”. |