Please point to another movie that has a story like this. What I like about Django is that Tarantino is now answering to no one and doing whatever he wants because he can. That cannot be said for many other directors.

I’m one of those people that generally has to be talked *into* watching something.

He intentionally throws his life away and undoes almost everything they’ve worked towards just because he personally dislikes Candy[...]

Hm, I saw a different movie than you, I guess. From the Clockwork Orange reference via the Alexandre Dumas père rising action to the shake-hands climax and SCNR & shooting denoument, this is classic drama. And it has not so much to do with personal revenge, in my POV. Especially the SCNR part is a perfect indicator against a personal revenge.

This man. He deserved the academy award. Just for this. Admittedly, he brilliantly played his cards for this, doing his own AA PR with “Djesus – uncrossed” on SNL.

Maybe instead of accusing people of pearl clutching you could just think about whether there is a better way of saying what you’re trying to say.  (There almost certainly is.)

You should also probably consider that this really isn’t a discussion of whether individual black people might enjoy the film — I don’t think anyone is arguing that (because that would be a ridiculous claim to make). “My black friend liked it” isn’t necessarily completely relevant to whether it’s a “white revenge film”, a “black revenge film”, neither, or both.

Maybe it’s your interpretation of the movie that’s superficial as opposed to the movie itself?

I guess Zero Dark 30 is out of the question then :-) 
One thing to be said about revenge fantasy movies is despite the violence, nobody actually dies.  

“acdemy” should read “academy.”
“derviative” should read “derivative.”
“posisble” should read “possible”

Given that the post deals with Tarantino’s writing, it’s important that I point out the misspellings (unintended) in the post. The “edit” key is not available; that is why I am posting these corrections in the “reply” box.

The film itself is uninspiring. There was not a single moment during which I found myself either entertained or surprised. And the script itself? Just try to read it. That the acdemy chose to give it an award (in a writing category, no less) says much about so meaningless and ignorable an institution. Truly sad. In particular (or, as Tarantino would no doubt write it: In particularly), Tarantino would do well to learn basic grammar skills. He needs also to learn how to spell. Catchy turns of phrase, twisty vernacular, and slatherings of cliches do not indicate good writing; they indicate laziness, shallowness, and ineptitude. Add to this the fact that Tarantino took slavery as a subject and attempted (in the poorest manner posisble) to transform it into a spaghetti western comedy and you made add egregious egocentricity and immaturity to the personal roster of what he would probably call his “attributes.”

In all, a pathetic, repulsive film.

The sky is not falling.
Not everyone thinks alike, you know?
We’re all the same inside.
(My favorite:)
It’s not all black and white.  It’s shades of grey.

When life gives you lemons, make lemonade.
I just made some.  Would you like some?

You can always go over to the Yahoo News and yell at some old white people if it will make you feel better.  

Do you go around thinking white people have pretty much the same opinion about something after hearing one white person’s opinion about it?

Blacks are not a monolith.

Roots? 

I’m also very aware of the phenomena you’re talking about.  For the sake of argument, let’s assume that if I’m on Boing Boing, I’m self-aware enough of the ‘Some of my best friends are [insert hated group here].’  

I disagree pretty strongly with the conclusion of it, not because I find his logic lacking, but rather I disagree with his intrepretation of events.

The claim that the good Dr. Schultz is some Realer White Person who puts the southern lesser white people to shame militarily is ignoring the fact that Django also, on his first exposure to a rifle, pulls off a perfect 300+ yard shot in the dark sniping a fleeing slaver riding across his vision at full gallop.  The facts as I see them are that the Dr. isn’t somehow “greater” but that all the good guys are “greater”.

I also disagree with the interpretation that Schultz holds slavery in unique disgust.  He speaks very matter of factly about his career change into bounty hunting, and appears to take the pragmatic view of many situations.  I think there is equal support for the supposition that he’s never cared much about slavery before simply because it hasn’t directly affected him.

As to the idea that Schultz purposefully sacrificed himself at the end of act 2: 

A – I think my interpretation that Shultz didn’t hold slavery in unique disgust originally fits neatly to his awakening at Candyland and his boiling over into an act of homicidal rage.  Unless I missed something there is no evidence given in the film that it was intentionally a self-sacrificing act, rather a shattering of Schultz’s normally cool demeanor leading to an act which was uncalculated and with unplanned consequences.

B – There is no denying that Schultz was The Mentor.  The Mentor can’t be a force in act 3 of a protagonists traditional arc.  Tarintino’s playing genre movie again.  Nobody exits neatly stage left in this genre.  Thus the (violent) death of Schultz was a forgone conclusion.  Therefore I’m not even sure any significance should be given to its manner, as the clock had ticked.

His position as a ‘white saviour’ is also somewhat subverted by the fact that he not only doesn’t “sacrifice[s] his life in the pursuit of freedom and justice for the black man”, but his action in pursuing a personal revenge are done knowing it will end in his death and more than likely those of the black slave(s) he’s supposedly dying for. He intentionally throws his life away and undoes almost everything they’ve worked towards just because he personally dislikes Candy, with Django being enslaved once more and transported away from his wife as in the opening of the movie.

No surprise, incidentally, to learn that a Hollywood film that’s supposed to be about black people is really about a white guy. That seems to happen a lot.