12 Years A Slave (Steve McQueen, 2013)

One of the reasons I've continued writing reviews through the years (aside from the fact that it's something I enjoy) has been that I've wanted to give the people who are reading them some alternative to the kind of film geek culture that's emerged since the advent of the internet and the explosion of film journalism and social media on it. There's a lot of good film journalism out there, don't get me wrong. There's also a whole lot of what I now refer to as the "Reign of Geekdom."

Where the kind of people who tend to be obsessive about film, and especially genre film, in the way I am were the outsiders and generally looked down upon in relation to the rest of the culture at large (and within the film community) for the majority of my life, we've now become the ones who are running the websites, writing the articles, and driving a lot of the film culture. In some ways, that's great. I can't imagine what without the last ten or fifteen years worth of shift in film culture hadn't happened, something like John Dies At The End would have gotten made and/or distributed. Edgar Wright is a successful film maker. Genre film has come out of the basement in a big way.

At the same time, something kind of ugly has come out of the basement with it. The vile side of film geekery. Now we actually have popular and well respected film websites dedicated space to parsing the finer points of "fake geek girls," and the kind of bizarre, self righteous, self aggrandizing attempts at attempting some kind of geek hierarchy. It's roughly described as the kind of attitude that feels that anyone who does not share ones opinion about the quality of one piece of culture or another is somehow automatically, inherently inferior and treated as such. And really, worst of all, it can be incredibly mean and cruel. It won't take too long sifting through the more popular film sites to come across some articles that are written from this kind of perspective and it only takes a quick look through the comments section on any article on any film site to find this to be true.

Django Unchained (2012, Quentin Tarantino)

Quentin Tarantino is a household name at this point. There's no reason to introduce him or to go through his body of work. If you've been alive in the last ten or fifteen years and are interested enough in film to be reading this, I'm going to just make the bet that you know who he is, and are familiar with his work. All that can really be said and all that needs to be said is that many of the movies you see today, much of the writing about movies that you read and everything in ecosystem that can be considered film, has been influenced by Quentin Tarantino. In the last twenty years, no one has put as heavy a foot print on the landscape of cinema. Argue that point as much as you want, but no one with even the slightest amount of objectivity in considering who has and who hasn't influenced film makers, journalism, music in film, marketing, and every aspect of the business and creative side of film culture is going to take it seriously.

Django Unchained is the next step in Tarantino's journey toward taking that legacy in a new direction. That new direction began with Inglorious Basterds, and it's obvious he's pushing forward. He is no longer strictly concerned with telling stories of mythic criminals of some dingy, unseen underground. He's now concerning himself with mythic criminals of dingy, unseen history. It's worth asking whether or not Tarantino felt his rewriting of World War II history didn't cause enough controversy and then decided he'd reach for the most controversial topic in American culture and society. The history of cinema was practically built around WWII stories. In some ways, that makes perfect sense, considering that the medium was coming to prominence as the war was happening. It's also one of the eras in history that's become the most mythologized and in many ways, been the foundation of the American people developing any positive association with their culture and society. It's the war which is undeniably the most just. When the war began, the extent of Nazi horror may not have been known, but it's incredibly hard to make the case that the revelation of Hitlers Final Solution and the extent to which he'd taken his genocidal vision doesn't still make WWII a just war. Whatever else can be said of the various aspects of the war and the way it was handled as a culture and society, the fact that it stopped a genocidal maniac from wiping the Jewish people from the face of the majority of continental Europe is an undeniably good and just thing. Considering how hallowed that history is to American's national conception, the fact Tarantino's rewriting of that history caused only the most minor controversy is a testament to the size of the silhouette he cuts across contemporary culture and cinema.

What could possibly generate more controversy than rewriting the history of World War II? Slavery. Where American culture and society have nearly fetishized WWII, it certainly hasn't attempted very many serious acts of retrospective introspection where slavery is concerned. Culturally, considering the part slavery played in the nations history, it's been essentially overlooked in comparison. Again, the film industry and film as a medium were coming to prominence as the war was actually happening, so in looking at the history of cinema and realizing the gigantic number of films that deal with it isn't really shocking, but to do the same with slavery, look back and count the number of films that deal directly with it as a central part of their narrative, and the degree to which we've been more or less unwilling to consider much of anything about slavery becomes clear. It's not something we like to think or have conversations about on any level.