Django (1966)
| Movie | |
|---|---|
| German title | Django |
| Original title | Django |
 | |
| Country of production | Italy , Spain |
| original language | Italian |
| Publishing year | 1966 |
| length | 91 (original version) 87 (German theatrical version) minutes |
| Age rating | FSK 16, 18 (long version) |
| Rod | |
| Director | Sergio Corbucci |
| script |
José Gutiérrez Maesso , Piero Vivarelli |
| production |
Manolo Bolognini , Sergio Corbucci |
| music | Luis Bacalov |
| camera | Enzo Barboni |
| cut |
Nino Baragli , Sergio Montanari |
| occupation | |
| |
Django is a spaghetti western by Sergio Corbucci from 1966 with Franco Nero in the lead role. The film, which has influenced numerous directors and their filmmaking, contains a strong contemporary, socially critical component. With his brutality and his black humor , he clearly set himself apart from the American western .
action
The half-Mexican Maria is tied up and whipped by a handful of Mexicans because she wanted to flee from them. Some of the men of Major Jackson, who is wreaking havoc with his gang in the area by, among other things, soliciting protection money from the poor population, intervene and shoot all Mexicans. They want to crucify and burn Mary for racist reasons. Suddenly the taciturn Django appears, who is traveling alone and constantly pulling a coffin behind him. He shoots the Americans.
With Maria he moves on to the nearest town of Nogales , which is shabby and (almost) deserted on the border with Mexico, and settles in the saloon, in which the landlord and some of his barmaids still live. He wants revenge on Major Jackson, who has his wife on his conscience. His arrival is reported to Major Jackson, who appears in the saloon and challenges Django. He makes short work of Jackson's men, but lets him go and asks him to appear the next day with all of his men. He cannot be said twice and actually shows up with his entire troop. Django opens his coffin and takes out a machine gun with which he kills almost all opponents. Django lets Jackson live again.
Now Jackson's Mexican opponent, General Rodriguez, appears on the scene. It turns out that he is acquainted with Django, who once saved his life, and that he should seek Maria on his behalf and bring her back to him. Django persuades the general and his gang to raid a Mexican army base behind the Mexican border where Major Jackson is hiding. After a vast amount of gold has been looted in the form of nuggets, everyone returns to the abandoned city. Django can get the gold and flee with Maria; however, he is overtaken by General Rodriguez, who mutilates Django's hands. The general gives him life with the remark that they are now even. Django returns to the abandoned city with the wounded Maria. General Rodriguez and his group are meanwhile killed by a unit of the Mexican army led by Major Jackson. Finally there is a showdown between Django and the major in the city's cemetery, where Django's wife is buried.
background
Along with the dollar trilogy produced by Sergio Leone , Django is one of the best-known and most defining films of the Spaghetti Western . The film's protagonist of the same name is famous for his machine gun , which he pulls behind him in a coffin. Especially his appearance as an " anti-hero " had a lasting influence on later western characters and films. Django is a broken figure who differs significantly from the classic American western hero of the time. Their behavior defied the classic good-bad categorization that was often encountered until then, in particular due to their vigilante justice and disregard of bourgeois conventions as well as their brutality.
The film contains a political and socially critical level that represented a further factor in the detachment from classic American western motifs. The politically left-wing sociologist and director Sergio Corbucci used the film to criticize the domestic political situation in the USA during the Cold War . Protagonist Django fights against a gang of corrupt southerners under the leadership of a military major, whose statements, behavior and costumes are reminiscent of the Ku Klux Klan . Similar to the way in which corpses pave his way , Corbucci also used motifs from the Italian Middle Ages and the persecution of witches . Sergio Corbucci later also used the motif of the main actor's destroyed hands to pave his way in corpses . It is originally from Roman history and is a reference to the story of Gaius Mucius Scaevola . All of this unites into one main motif, an ailing, pseudomoral and racist society that is unmasked by the protagonist. As a result, the film bears characteristics of an anti- Western, but ultimately laid the foundation for further development, not dissolution of the Western genre.
Django was filmed atypically for a western ; The omission of the long shot , the parade setting of the US western, is particularly striking . Corbucci relied entirely on large shots, which - quickly cut in the sequence - drive the action forward. From the film critics , this was often used as comic style called. In the English-speaking world, the film has not developed into a cult film like in the rest of Europe. According to film critics, mainly because the English dubbing was so bad it distorted the sense.
The German version has been defused and partly distorted compared to the original version. It does not contain all the allusions and cynicisms . The scene in which Franco Nero hides behind a grave cross during a duel and his opponent pronounces the Christian blessing “In the name of the Father, the Son and the Holy Spirit” and symbolically crosses a cross while shooting is legendary is legendary . Like many other scenes, this dialogue was defused in the German version and its content changed. In Great Britain, the film was only released in 1993 because of its brutality. Leading actor Franco Nero became a star through this film.
aftermath
After the great success of the film, other Django films were made by other producers, all of which tried to imitate the style of the original, with often modest success. For example, there was a Franco Nero western called Texas addio that was filmed for Django and played a sheriff by the name of Burt Sullivan; in it he wore the same clothes as in Django and had a similarly brash demeanor. After the success of Django , that film was renamed and re-dubbed Django the Avenger , and the sheriff was suddenly called "Django Sullivan". Many cheap spaghetti westerns were also given a German distribution title that contained the name "Django", although the original was not at all based on Corbucci's Django .
The official sequel was called Django's return , but no longer matched the style of the original. The only film that has been accepted by fans as a Django sequel is The Brutal Kill, Django starring Tomás Milián . As tributes Western of are Enzo G. Castellari Keoma (1976) and Jonathan of the Bears (1994) supported by the Japanese director Takashi Miike film shot Sukiyaki Western Django (2007) and Quentin Tarantino's Django Unchained to see (2012).
There were also epigones outside of the German-speaking area. Italy sent Cjamango and Shango , among others, into the race, in Turkey Cango rode across the screen. However, there were also numerous films that had "Django" in their original title; even these were only loosely related. The Son of Django (1967) is one of those films that already took up the tradition of the film series of earlier years in the title.
Franco Nero's films were repeatedly titled "Django", especially in the German-speaking world. A shark adventure by Enzo G. Castellari was also renamed Jungle Django , although the film is not a western.
Django can be seen as an important step in the development of modern action films . The Django allusions in the third terminator , in the films of the Rambo series as well as the numerous quotes in the Tarantino films (just think of the cutting off of an ear in Reservoir Dogs ) as well as in some more recent German productions can be taken as evidence . Tarantino even went so far as to adopt entire settings and dialogues from the Italian text version.
“It is not uncommon for one to get the impression of a post-apocalyptic scenery that rose from its ruins after the collapse of the glorious Wild West . The location of this story also seems to be cut off from the rest of civilization, with the exception of the suspension bridge on the outskirts. In retrospect one could even propose the thesis that Django was one of the first end-of-the-world films and undoubtedly had a strong influence on box office hits like George Miller's Mad Max trilogy (1979, 1981, 1985). We owe that in large part to Ruggero Deodato , who later caused a worldwide sensation with his cannibal epic Cannibal Holocaust (Naked and mangled, 1979), and here acted as Corbucci's assistant director and also took over the direction for many scenes. But despite all the harshness, the film is not free from macabre, sometimes pitch-black humor. Just like its title-giving antihero, who pulls his own, hate-eaten ego in the form of a machine gun in a coffin. "
synchronization
The “Berliner Union Film” cast under the direction of the dialogue by Karlheinz Brunnemann , who realized Ursula Buschow's dialogue book , and a. the following speakers:
- Franco Nero: Gert Günther Hoffmann
- Loredana Nusciak: Beate Hasenau
- Ángel Álvarez: Eduard Wandrey
- José Bodalo: Martin Hirthe
- Eduardo Fajardo: Heinz Petruo
- Gino Pernice: Jochen Schröder
Trivia
Origin of name
The name "Django" Corbucci had from jazz - guitarist Django Reinhardt adopted; with this naming he also explained part of the success of the film.
Anecdotes
- The idea that the main character of the film is carrying a machine gun in a coffin is said to have been taken from Corbucci from an old Italian comic.
- Leading actor Franco Nero was only 25 years old at the time of shooting and had to be made up to look believable.
- The film was shot in the Elios studios near Rome. The scenes in the film, which take place in what appears to be a deserted western town, are often full of fog or smoke. This is due to the fact that some of the backdrops were already gnawed by the ravages of time and should actually have been renovated. But this would have been too expensive, so it was better to start the fog machine.
- Sergio Corbucci, who was said to have a penchant for black humor, had Franco Nero pull the coffin up a hill at the end of the shooting without being allowed to turn around. While he had laboriously climbed the hill, the film sets were dismantled; and when the cameramen and staff left the scene and the actor had reached the top, he was standing alone with his coffin on the hill.
Others
- The popular theme song Django , composed by Luis Enriquez Bacalov, was interpreted by Roberto Fia . In the original Italian version it can be heard in Italian. Often Fia is led under the internationally better marketable name Rocky Roberts. An English version was used for the international market. There are versions in Japanese as well as various instrumental versions.
- The quote from the film is well known: "There is only one thing that is important: that you have to die."
- In 1970 Django - A coffin full of revenge was released on record by EUROPA-Verlag as a radio play adaptation (Europa E 417) .
- The film's fan base also includes Jonathan Meese , who repeatedly hangs up the Django film poster (headline: “The man with the coffin is here!”) Between his own pictures at his art exhibitions.
- Jan Philipp Reemtsma described Django as the successor to Schiller's Wilhelm Tell in his function as an antihero ostracized by society.
- The character from the Star Wars series Jango Fett got its name as an allusion to "Django".
- A sketch based on the Django figure from the television series Klimbim (“Django doesn't pay today”) became a cult sketch in Germany in the 1970s.
Reviews
Christian Keßler stated that “Django is one of the most incredible films of all time. Corbucci paints a picture of the world that cannot be surpassed in pessimism. Django is an outsider who has been broken by the death of his wife and who only wants to bury himself. But he has to go through a crucifixion and resurrection story in order to end up with empty hands. Corbucci manages to create illusions of justice that are ultimately doomed to fail. Hello masterpiece. "
Friedemann Hahn writes in The Italo-Western that Django is "a prankster plagued by feelings of inferiority who kills 125 to 135 people with a machine gun in a month." Corbucci has "a lot of humor".
Phil Hardy thinks the film is the most influential spaghetti westerns next to For a Fistful of Dollars . Corbucci uses "his usual comic style" in his direction and mixes "comedy and bizarre violence with an ease that is irritating."
Wolfgang Luley writes in the film magazine Systhema “With 'Django' mass killing is finally introduced in the spaghetti westerns, not only a handful of opponents are shot, but dozens at once. Some of the dying scenes are shown with relish, so that Corbucci's humor appears deep black and turns into cynicism again and again. 'Django' establishes zooms , closeups , quick cuts and original music (Bacalov). He also brings about a politicization of the genre, The dreaded two , Face to Face , Kill Amigo or Kill, Django are impressive evidence of this. "
Reclams Filmführer (1982): "An atmospherically dense, well-built and skilfully staged film in which the landscape, a dreary, swampy border strip, also plays a major role."
“Django is clearly one of the works today that exerted the greatest influence on the genre and the time that went with it. Director Sergio Corbucci created a cynical work full of violence, which was characterized by a gloomy mood and a break with tradition. The anti-hero was in the foreground. Together with the grandiose performance of Franco Nero and a coherent atmosphere, a cult film was created that should not be missed. "
literature
- Annette Kilzer: Django . In: Film Genres - Westerns . Edited by Thomas Koebner , Reclam junior, Stuttgart 2003, ISBN 3-15-018402-9 , pp. 269-272.
Web links
- Django in the Internet Movie Database (English)
- Django in the online film database
- Review at arte
- Meeting at Sense of View
- Review in the film headquarters
- Comparison of the cut versions FSK 16 - No youth approval , FSK 18 - US DVD , Free TV from 18 - US DVD by Django at Schnittberichte.com
- Django in the dictionary of international films
Individual evidence
- ^ Certificate of Release for Django . Voluntary self-regulation of the film industry , May 2006 (PDF; test number: 36 363 V / DVD / UMD).
- ↑ Certificate of release for Django - long version . Voluntary self-regulation of the film industry, October 2009 (PDF; test number: 36 363 V / DVD).
- ↑ http://www.filmzentrale.com/rezis/djangobt.htm
- ↑ Data of the synchronous file
- ↑ Sergio Corbucci quoted from Georg Seeßlen, Claudius Weil: Western-Kino, Geschichte und Mythologie des Western-Films, Rowohlt, Reinbek bei Hamburg 1979, ISBN 3-499-17290-9 , p. 181.
- ↑ So in many Italian sources, e.g. B. Roberto Poppi, Mario Pecorari: Dizionario del cinema italiano: I film Vol. 3 . Gremese, 1992, p. 163.
- ↑ http://www.spaghetti-western.net/index.php/Django
- ↑ Christian Keßler in "Willkommen in der Hölle" pp. 75, 76. Terrorverlag, 2002. ISBN 3-00-009290-0
- ↑ Quoted in: Joe Hembus: Western Lexicon. 1272 films from 1894–1975. 2nd Edition. Carl Hanser Verlag, Munich / Vienna 1977, ISBN 3-446-12189-7 , p. 122.
- ^ Phil Hardy: The Encyclopedia of Western Movies. Woodbury Press, Minneapolis 1984, ISBN 0-8300-0405-X , p. 295.
- ↑ Quoted from Lexikon des Internationale Films , 2001, CD-ROM.
- ^ Thomas Repenning: Django. In: Film-Panorama.de. Film Panorama, May 20, 2013, accessed on May 22, 2013 .