#django kill... if you live shoot

[falsenote]

Se sei vivo spara (1967)

[flashfuckingflesh]

Don't Mess with Texas Unless You're EVIL Going Up Against "Shanghai Joe" reviewed! (Cauldron Films / Blu-ray)

East Doesn’t Just Meet the West, It Kicks It’s Ass in “Shanghai Joe!” A Chinese immigrant arrives into San Francisco looking to begin a life as an American cowboy.  Met with extreme prejudice, he pushes forward to avoid the Western stereotypes of his race by taking a stagecoach to anywhere Texas in order to become a true-to-form Cowboy.  Mocking monikered Shanghai Joe, even in Texas Joe is met…

[spilladabalia]

Steel Pole Bath Tub - Down All The Days (Pogues cover) (django kill)

[snowmiserboio]

Im about to fucking lose it

schultz wasn't playing with the lives of django or broomhilda you fucking moron, this, THIS is how you should know that lily understand fuck all about media literacy. throughout the movie its made clear that schultz is repulsed by slavery as a whole, which includes the traders and owners, hell his first scene in the movie is shooting one slave trader in the head, before legally purchasing django to track down the brittle brothers(he later makes django a deal for his freedom because he doesnt know what the brittle brother looks like but django does, but it all sorta works out perfectly for django since, he fucking hates the brittle brothers. so not only does he get to kill the men who hurt his wife and humiliated him while he begged them not to whip her, he gets his freedom, and he gets 75 dollars for killing them, roughly 3'000 dollars in todays value) he then gives the other slaves the keys to their shackles, advises them to either A. help the remaining speck brother, the man keeping them in chains to the nearest doctor, which is 37 miles back the way they came, or shoot speck, bury him and his brother and then make their way to the north

at every opportunity to kill slavers schultz takes it because he despises the lot fiercely, hell in the very scene your using for a screenshot schultz is rather upset, not because calvin candie outsmarted him and got him to pay 12'000 dollars for broomhilda, 460,302.44 by todays value. he was upset thinking about the gruesome death of a slave he saw riding into candy land earlier that day,  D'Artagnan, the man was quite literally fed to the dogs. he wasnt originally going to kill candie, he wanted to get broomhilda her papers so she can legally be free with django, and the moment he got them he tried to rush the two out of the house(he briefly mentions to candie what Alexandre Dumas would've thought of D'Artagnan being fed to the dogs, considering he named his slave after one of the three musketeers, which dumas wrote)candie then forces schultz to shake his hand to complete the deal, which schultz doesnt want to do, he finds the bastard vile and disgusting, for good reason too. eventually he becomes so fed up with this that he shoots calvin candie in the heart with his hidden gun, his last words were him apologizing to django for shooting the man "Im sorry I couldn't resist"

schultz didnt play or gamble with djangos or broomhildas live to feed his own ego, he felt personally responsible for django after giving him his freedom and even agreed to help him find his wife. he sacrificed his own pride at candyland when calvin discovered why they were really there. and his last moments he spent it not sulking or pouting about his own damaged ego, he spent it thinking about a man he barely knew dying, and was disgusted by how cruel candyland and the man who owns candy land truly is.

had candie not pushed it, schultz would've been walking out of that plantation house unharmed with django and broomhilda in tow.

normally I would say "Auf wiedersehen," but since what "auf wiedersehen" actually means is "'till I see you again", and since I never wish to see you again, to you, ma'am, I say goodbye!

[teddybeartoji]

AAAAAAAAAA!!!!!!! no you get it dune 2 wasn’t as good as the first one i think sequels rarely live up to the first one!! omg my favorites change alll the time and that includes directors LOL but my current favorite one is satoshi kon!!! he made my all time favorite movie paprika!!! he’s also the director of perfect blue ! im sure you’ve heard of it :3 i sooo so so recommend his movies like millennium actress or paranoia agent or!! of course paprika!! the music in that movie is soooo good! i also really enjoy akira kurosawa’s, tim burton’s, wes anderson’s and of course kubrick’s movies im trying sooooo hard not to fangirl too much i cannot be too much of a nerd LOLOL glasses slipping off my nose doing the um ackshually pose whenever i talk about movies

WHAT ABOUT YOU THOOOOUGH!!! who are your favorite directors

AHHH YOU ARE RIGHT ABT THE SEQUELS NOT MEASURING UP TO THE FIRST ONES but hhhhhhhh i did have pretty big expectations for it too smhhh.. i really did looooove the first one😔😔😔

OMGGGGGGG I HAVE HEARD ABT PERFECT BLUEE!!!!!!!!! i have to admit that i haven't seen it though please don't shoot me.. i'm adding paprika and the others to my watchlist rn too hehehe i'll remember those!!!!!!!!!! and i'll come screaming when i finally happen to watch them too bc we then have to Discuss them>:33333333 ALSO PLSSS NERD OUT WITH MEEEE I LOVE ITTT I WANNA HEAR ALL OF YOUR THOUGHTSSS!!!!!!!!!!!! btw i recently saw wes anderson's isle of dogs at the cinema for the first time and i loved it soo so fucking much i think that actually might be one of my favourites of his now....

out of kubrick's stuff i think i've actually only seen the shining if i'm being honest here,, it's not like i'm not interested in the others i just have a tendency to rewatch a lot of things instead of going for smth new lmao i also love how we both seem to be Film Bros but like.. different types😭😭😭😭 I SAY THAT WITH LOVE BTW

i am a... david fincher film bro lmao fight club is literally my most watched film i love it so so much it's like a comfort film at this point idk don't get me wrong it's not my favourite of his though,, i think my top three would be 1. se7en 2. zodiac 3. the social network!!!!!!!!!!!!! but yeah i just love his works so fucking much they scratch my brain so fucking good..

AND THEN MY OTHER FAVOURITE DIRECTOR IS GUY RITCHIE!!!!!!!! this is such a silly one but i love him okay his sense of humor goes so well with mine,, snatch is one of my favourite films ever it's so good lmao aaaand i do love his later films too i think they're super fucking fun!!!!! the man from uncle has the best fucking score ever and idk i know a lot of ppl didn't like it it is one of my little guilty-not-so-guilty pleasures!!!!!!!!!!

and. continuing on with my film bro streak lmao i do like tarantino quite a lot ngl i absolutely adore inglorious basterds and django and kill bill and reservoir dogs and pulp fiction they're all just so fucking fun too

AAAAAAAAAAAND i also wanna add spielberg just bc i've been thinking abt indiana jones again!!!!!!!!!!!!!!!!!! LIFE-CHANGINGGGGGG i love the indiana jones films so fucking much i've loved them since i was a fucking child but they really are so so good they just don't make films like that anymore.... the lighting the blocking the acting the sweat the clothes the fact that indiana is a fucking loser and not some tough guy aaaaaaaaaaaaaaaa idk i could talk abt those films for forever i think..

[mister-warmth]

How did you get into spaghetti westerns also I hope you know I went to school dressed as Blondie today 😁😁😁😁😁😁

first of all going to school dressed as Blondie goes sooo hard, i love that!

Now about how i got into spaghetti westerns, around late November i stumbled into "Django Kill... If You Live, Shoot!" a 1967 movie by Giulio Questi and starring Tomas Milian witch was my first real introduction to the genre (despite growing up in Italy lol), something about the way the movie was directed and shot really intrigued me witch prompted me into watching Sergio Leone's "The good, the bad and the ugly" (1966) after always finding it at the top of every list ranking westerns or discussing the "best 25 spaghetti westerns of all time".

The first time around i attempted this i was doing it on my computer and got annoyed by my slow internet so i dropped the movie after the first 15 minutes i have to shamefully admit it, then like a week later in early December the movie was being shown on TV and for the hell of it i sat down, watched it and got my mind blown away by it, taking the opportunity to watch the other two entries in the dollar's trilogy the next day as the TV channel that broadcasted it was doing a Sergio Leone marathon, and from on there I've been in love whit the genre as a whole.

You could say it was fate for me to fall in love whit spaghetti westerns seeing the timing of that marathon, wjnwjnwjw.

[graceerodgers]

Django Unchained: Character Analysis

If it were up to me, I would definitely say I am the hero in my own story. Many people may love to think they're the good guy in their life but I truly believe I hold heroic characteristics. Everyone has their flaws, even your favorite superhero, so I would never use one example or a single situation to evaluate someone's character. The bigger picture means everything. In my opinion. I think Django Freeman is definitely the hero in the movie Django unchained. He portrays many selfless acts of kindness on top of his bravery and determination to find the love of his life. Throughout the movie we see him do things like kill and lie, and if you were only given that small portion of information it would be easy to detect him as an anti-hero but would an anti-hero risk his life trusting the word of a bounty hunter just to attempt and find his wife?

DJango Freeman is the protagonist of the 2012 film, “Django Unchained.” Written and directed by Quentin Tarantino, the film tells the story of Django, a slave who becomes a bounty hunter to rescue his wife and get revenge on those who've wronged him in the past. Played by Jamie Foxx, Django is a complex character with an interesting backstory and strong morals. He is introduced as a slave, shackled and being transported by a group of white slave traders. In the beginning scenes of the movie, Django is portrayed with a very stoic demeanor. The lack of personality and dialogue was used to show the power dynamics at hand. He was chained to a group of other enslaved men and had no power in the presence of this white slave trader. Django's true character emerges when he is released from his shackles by Dr. King Shultz, a bounty hunter in need of help.Schultz kills the transporters and frees the rest of the slaves. Django is hesitant around Dr. Schultz before learning more about his true motives yet still went with him. We can assume he took this as an opportunity to become a free man and bring him a step closer to finding his wife.

After making a deal with Schultz to help him find the Brittle brothers we see the two start to create a partnership. Django and Dr. Schultz built a close relationship built off of mutual respect and admiration. Schultz sticks up for Django and his safety was always in his best interest. Django takes advantage of this opportunity and is determined to find the brittle brothers, also the men responsible for previously torturing him and his wife. We learn more about his backstory through flashbacks and see why he is so determined to find his wife and help Schultz. At 35m:49s we are introduced to the brittle brothers and a new side of Django’s character is revealed for the first time. As John Brittle turns around, Django shoots him in the chest and says ���I like the way you die boy’ as he falls to the ground. For a newly freed African American man this was more than an act of courage. He gets revenge on them by then whipping the other brother the same way they've done to Broomhilda, Django's wife, then proceeds to shoot him in the head.

Some may say this is the moment in the film where Django becomes the Anti- hero, but I disagree. Django is a newly freed African American man and is not used to making his own decisions. He was simply following the directions of his ‘owner’ so how much blame can we REALLY put on Django himself? We learn through a flashback how these men also tortured his wife and would not stop no matter how much he begged. The people around him may think he is a villain but he lives in a time where African Americans are always going to be the villains, but in reality, Django is far from being the real villain in the storyline. 

After his first kill of the film, we see Django get more comfortable with the use of a gun and his role as a bounty hunter. Django's character encompasses a strong moral code. Dr. Schultz tries to come up with a plan to get onto the plantation that Broomhilda is being held on by her slave owner, Calvin Candie, the true villain in this film. Schultz suggests Django act as a black slaver. Django says himself “ain't nothing lower than a black slaver.” It goes against what he believes in after years of torturous treatment from slave owners and he had to play the same role to save his wife from these same people. Calvin Candie is a rich slave owner who is in the Mandingo business. A business where one would have their slaves fight to the death for their own entertainment. He owns Django’s wife and refuses to sell him to her. The actions Django takes that some may see as villainous are actually just steps to save his wife from the real villain.  

In the end, Django achieves his goal of finding and saving his wife, but couldn't have done it without Dr.Schultz. He goes through a painful journey to reach the only thing that matters to him and when he succeeds in the end, it shows the audience how determined he was to save his wife. It highlights the fact that his wife is his main priority and the whole movie is essentially surrounded around her. Even before he was set free by Dr.Schultz we knew that he was still trying to find his wife, but then used his newfound relationship with him as an opportunity to find her. He overcomes many obstacles and faces many people who see him as the enemy and could possibly take his life. As the movie progresses we see more and more examples of him being a serious, determined, and skilled character which contributes to the aspects of the movie. Through Django’s story, Tarantino portrays an accurate and interesting demonstration of slavelike times and can use this film as a way to show people the true horrors of slavery and racism.

[darklingichor]

The First Mountain Man by William W. Johnstone books 1-3

Book 1: The First Mountain Man

This one has been on my list for a while.

This book follows a Mountain Man in the days of westward expansion. Our main character Preacher thinks that it is 1837. He's also pretty sure that his fur trapping days are about over, as the trade is slowing down. He has to figure out what to do next, but is in no real hurry. He leads a solitary life in the moutians.

While pondering this, he comes upon a wagon of settlers (called pilgrims or movers throughout the story). They are Missionaries separated from their wagon train heading west to Oregon.

I'm not great with geography but I think they are somewhere around South Dekota/, Wyoming when Preacher finds them. Preacher promises to get the missionaries to the nearest fort and then he plans to leave.

Of course, to do this he must keep them all alive which is a complicated task considering that 1. All but one of the missionaries (a practical-ish lady named Melody) don't think all that much of Preacher. 2. They had a guide before they got lost that seemingly had no idea what he was doing. 3. Preacher manages to really really piss off Bum Kelly and his gang of outlaws.

He eventually gets the four of them to the fort and reunited with what was left of their train,and ends up getting roped into getting them all to Oregon.

Preacher and a few of his fellow Mountain Men take up this challenge.

Adventure and a lot of shooting commences

Book 2: Blood on the Divide

In this one, Preacher come across a settlement in the middle of the wilderness. He notices that the Pardee Brothers a family of outlaws are casing the place.

He warns the settlers they don't really listen and Preacher comes back to a massacre. Two women and about 10 kids survived. Preacher helps them get to a safe place. He is fairly certain that they are all going to head back east.

Well, they don't. They join up with a train heading to the coast and preacher finds out that they had been hoodwinked by a snake oil salesman, who told them that he would set them up to head west safely, only to essentially leave them more or less lost.

Once again, Preacher and some of his friends help the movers make it to their goal. While this is happening, they are also hunting the Pardees to avenge the settlers that they killed.

Book 3: Absorka Ambush

This time Preacher is hired by the government to get a train of 160 women from Missouri to the coast where men in need of wives are.

He weedles some of his friends into the job, and the moutan men must also work with a portion of the army who is seeing this through.

Preacher must help these women, get trail ready and get them to the Pacific.

The problem is, a huge train of women seem like an easy target for hostiles.

It's interesting, my friends seem to think that westerns are racist stories, and, honestly I have not come across that. In these books, all people are treated as being capable of good or of evil no matter who they are. Also, it is said and shown many times that there are far more good people than bad. Preacher and the other Mountain Men are friendly with a lot of the Native Americans and they respect each other. Preacher says, that the Native Americans aren't bad, their way of life isn't wrong, it's just different. And he walks the walk too. He has learned the culture of many of the different tribes and feels that their way of life, of living with the land and the elements rather than trying to make both bend to their will is a better way to be in the wilderness.

The pilgrims are threatened much more by outlaws and within their own ranks than by anyone else.

The language used is harsh, but you have to consider the setting, course that doesn't mean that I would blame anyone for noping out of this series because of it.

These books are also pretty gritty in that they are very much like the few spaghetti westerns I have seen (such as the original Django). There is a lot of killing, both by the bad guys and the good guys. Preacher is sort of like a wild west Punisher.

Rape is featured a lot, and it did get to the point where it was making me grit my teeth. The difference between this and say, Outlander, is that it happens off stage. The reader hears about and sees the aftermath. This narritive distance makes it feel *slightly slightly * less gratuitous, as in it doesn't feel like it's meant to invoke shock, only that you are meant to understand just how loathsome and evil the men that Preacher tracks down and kills really are. I don't *like* the use of rape as a plot device, especially having it feature three books in a row, it feels lazy. I feel the same way when detective books make it happen in every book.

Despite the problems, I did enjoy these books. I like the characters, and the descriptions of the settings are lovely. Also there is something about reading about a character who successfully avoids people, not because of any self imposed punishment, but because he just likes being alone, that is very relaxing for this introvert working customer service.

[cultfaction]

Preview- Run, Man, Run (Masters of Cinema Limited Edition 2-Disc Bluray)

Preview- Run, Man, Run (Masters of Cinema Limited Edition 2-Disc Bluray)

Sergio Sollima’s third (and final) western film; Run, Man Run stars Tomas Milian (The Big Gundown, Django Kill… If You Live, Shoot!) as Cuchillo, reprising his role as the crafty knife thrower from Sollima’s earlier film, The Big Gundown. After aiding in the escape of a fellow desperado, Cuchillo is given the location for a stash of hidden gold intended to fund the Mexican Revolution. Pursued by…

[goonsinging]

Hi I've been summoned by my good friend and paisano @jar-jar-ate :)

I'm not reaaally an expert in explicitly queer films but there's homoeroticism EVERYWHERE in classic westerns and spaguetti westerns (the italian 60's version of what a western should be) and I happen to be a huge classic cinema nerd so here you have it.

So, my recs in this matter:

Homoeroticism and queer coding in Hollywood westerns:

Red River (Howard Hawks, 1948)

It's a well-known fact that Montgomery Clift was queer; his character and the relationship between him and John Ireland's character in this movie is considered very much queer-coded.

The Ox-Bow Incident (William A. Wellman, 1942)

In this one there's a interesting subtext about what is to be considered "weak" and queer in a toxic masculine culture (and viewers are put in the queer POV, so sided with the queer people).

Johnny Guitar (Nicholas Ray, 1954)

This one is weird, it's not about gay or lesbian relationships BUT there's plenty of queer and gender-non-conforming themes (i wouldn't call them "subtle" as well) because it's about two woman in the prototypical masc roles in the classic western and a man being merely a love interest. It's a freaking GOOD movie. One of my favs.

Calamity Jane (David Butler 1953) is also very gender-non conforming and lesbian coded (and a musical...!) but i've heard (this one is still on my watchlist) that is a little bit bended into appear heteronormative in the end.

Homoeroticism and gay representation in spaguetti westerns:

Well, many people think that italian cinema in the 60s and 70s is pretty homoerotic by hollywood standards. People nowadays ship Clint Eastwood's Man with no Name character with almost every masc character in the Dollars Trilogy. But, if I may, the best example is:

Quien sabe? (AKA A bullet for the general, Damiano Damiani, 1966)

Oh boy this isn't just vibes. Niño and Chuncho have really SOMETHING between them. And I have a huuge crush in Gian María Volonté who portrays Chuncho so I'm not completely neutral about this movie but I'm pretty sure you're gonna love it.

Also I've not seen this one but I've been told that in Django Kill… If You Live, Shoot! (Giulio Questi, 1967) there's plenty of (unhinged i think? Not really sure but that's what they say) gay rep. It's also in my watchlist! (Tomas Milián portrayed a lot of queer coded characters in his career much like Montgomery Clift)

More modern westerns:

I'm sure somebody have already told you about Brokeback Mountain (Ang Lee, 2005 )and about Strange way of Life (2023), a short by Pedro Almodovar with Ethan Hawke and Pedro Pascal. It's nice, not my favourite but well made.

More in the not-explicit-but-queer-coded side of the scale there's this 90s flick, Ravenous (Antonia Bird, 1999). If you enjoy (or tolerate) gore and canibalism metaphors you're gonna love this one. If you liked Hannibal I would give this a chance rn.

I also enjoyed The Power of the Dog (Jane Campion, 2022) and the complex power dinamics between queer characters in a more late western age.

I hope you find something you like in this list! Enjoy!

does anyone have any queer western recs? I'm having very specific media cravings lately and I need this.

[thechemistryset]

Giulio Questi, Se sei vivo spara, 1967

[girlfriendsofthegalaxy]

filling out "does the dog die" entries for obscure westerns is wild bc u have to type out shit like this

[pasta-pardner]

oh, the inherent subtext of an equal partnership...

[tinyawazzzo]

Tomás Milián in Django Kill… If You Live, Shoot! (1967) - Giulio Questi

[betamaxvcr]

[trashvideofinland]

Django Kill! / Django Kill... If You Live, Shoot! (1967) Techno Film https://www.videospace.fi/release/django_kill_vhs_techno_film_finland '* kasetissa ei ole takakansitekstiä *'