Censorship surgery brought Django's blood and tears

Marquise 2022-04-21 09:01:09

After the turmoil of the suspension, "Django Unchained" was finally rescued and appeared on the mainland screen on May 12.
In the film, Dr. Schultz tells a German folk tale of a hero saving the princess, and from the overall story, this is also the narrative structure and main content of the film.
I believe that many fans have already watched the original version through various channels, and in the face of the censorship system in the mainland, Quentin Tarantino even created a version suitable for mainland theaters. Regarding the reasons for the previous suspension, there are rumors of one kind or another circulating in the market. These are obviously not important. Now we only need to see what the public screening version has done to the original version.
In general, the public release version mainly deleted some shots and pictures in the original version, and also lowered the blood spurt of some shots and adjusted very small sound effects.
To sum up, the deleted shots and pictures can be mainly divided into the following three parts:
One is related to violence. The release version deleted the entire second half of Django's recollection of the abuse of his wife Heidi, as well as the paragraph where Django is on his knees begging for mercy. The farmer Candy’s gladiatorial match in the parlour is naturally not immune. There is a long shot of directly showing the brutality of the gladiatorial match, because the direct presentation of violence is almost deleted, including Candy enjoying the violence. The cheers of victory after the bloody, leaving only a handful of non-emphasized descriptions. The broken arms, blinded eyes, hammer blows, and some of the reactions of the people around the winner of the Mandingo gladiatorial match have all disappeared, so that attentive viewers will feel abrupt and slightly puzzled at the end . In the part of punishing the escaped gladiator, all the scenes of the group of dogs biting and dragging the limbs were deleted. Of course, when the redemption contract was signed later, Dr. Schultz's recollection of this part of his brain during the harp performance of "Dedicated to Alice" was logically cut out. These deleted scenes originally had a very strong visual expression, which could shock the hearts of the audience and convey abundant emotions. It also intuitively reflected the ruthless and cold-blooded nature of the farmer Candy, who had a great influence on character shaping and expressing slavery. cruelty has a huge effect.
The second is related to the body. The release version removes the fleeting, full-body nude shot of Heidi after being dragged from an underground hot box, although the shot itself is pushed and pulled so fast that viewers can't see any detail. Django hangs upside down in the torture chamber after surrendering in the melee, and the shot of the naked lower body from the vertical perspective also disappears like crazy. The ideal that Billy was unable to achieve with a knife under the orders of his hostess Laura was easily achieved by the scissors in the cutting room. In this scene, the scene where the thugs tortured Django's lower body with a red-hot knife completely disappeared, leaving only two small parts at the beginning and the end. Also deleted are the scenes where Django turns back for revenge, shooting the thug who was taking a shower but standing naked, as well as the shot in the end where Billy lay on the ground and struggled desperately. Although the above shots do not interfere with the narrative, most of them are closely related to the fate of the characters, and cannot be simply attributed to Quentin’s deliberate and unreasonable presentation. Although the deletion does not affect the overall expression, it is obvious that if these shots exist, they can make The film is more infectious.
The third is related to blood spurting. At the beginning of the woods encounter, Schultz and Django's ambush in the snow, the blood spray volume and blood spray height were significantly reduced in these two paragraphs. The first climax of the whole film, the melee in the Candy Farm mansion, is a concentrated expression of Quentin's violent aesthetics, which naturally includes a lot of gunfights, bloodshed and even headshots. In the public release version, part of the blood spurt was greatly reduced, and most of them were unavoidable due to all violent and bloody scenes. Even a considerable part of the gunfight scene was deleted, and the only headshot kill was gone. The deletion of this part can be said to seriously hurt Quentin's violent aesthetic expression, especially the indoor melee part is short and not enjoyable enough. If it wasn't a Quentin movie, it might have had a lesser impact, but unfortunately it's a Quentin movie.
In addition, the public release version has attenuated some of the sharp sound effects in the original version, which also makes the corresponding pictures lack auxiliary expressions, thereby reducing the appeal and shock to the audience. Some of the bloodstains should be adjusted to reduce the vividness.
The three main scenes that were not missed during the review process: Punishing the escaped gladiator, the gladiatorial match in the parlor, and the melee in the farm building. The first two scenes could have completed the visual impact and directly affected the audience's emotions. It was Quentin Tarantino. The most personal part that I am good at, even though many of the shots are very short in length, it still hurts the vitality of the film after being cut.
Thanks to the simple sequential narrative structure of the film, even if a small number of shots are cut, and the length of time deleted is very short, the overall narrative and theme presentation are not fundamentally affected.
Judging from the current domestic review situation, the remaining part can be presented without losing a breakthrough. The film basically maintains the original style and strength, and the expression of various themes is not fundamentally missing. For audiences who want to go to the cinema to enjoy the first Quentin movie to appear on the mainland screen, especially Quentin fans, it is still an opportunity to seize.
Keep calm and enjoy watching the movie. There is a car that can be pushed straight, and don't wait for the wall to be dusted when there is no car. I'm afraid this is the last off-script word I can say.

[Tencent Movie Channel Draft]

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Extended Reading

Django Unchained quotes

  • Dr. King Schultz: [aiming .45-70 rifle at fleeing Ellis Brittle] You sure that's him?

    Django: Yeah.

    Dr. King Schultz: Positive?

    Django: I don't know.

    Dr. King Schultz: You don't know if you're positive?

    Django: I don't know what 'positive' means.

    Dr. King Schultz: It means you're sure.

    Django: Yes.

    Dr. King Schultz: Yes, what?

    Django: Yes, I'm sure that's Ellis Brittle.

    [Schultz shoots Brittle off his horse]

    Django: I'm positive he dead.

  • Calvin Candie: Hello. Stephen, my boy!

    Stephen: [black house servant exiting the Big House] Yeah, yeah, yeah. Hello, my ass. Who dis nigger up on dat nag?

    Calvin Candie: Aw, Stephen, you have nails for breakfast? What's the matter? Why you so ornery? You miss me? Huh?

    Stephen: Oh, yes, sir. I miss you like a hawg miss slop. Like a baby miss mammy titty! I miss you like I misses a rock in my shoe! Now, I aks you, who dis nigger on dat nag?

    Django: Hey, Snowball. You wanna know my name or the name of my horse, you ask me.

    Stephen: Just who the hell you callin' 'Snowball,' hoss boy? I'll snatch yo black ass off dat nag down here in the mud so fast make yo head spin!

    Calvin Candie: Whoa, whoa, whoa, whoa! Stephen! Stephen! Let's keep it funny. Django here's a freeman.

    Stephen: Dis nigger here?

    Calvin Candie: That nigger there. Let me at least introduce the two of you. Django, this is a another cheeky black bugger like yourself, Stephen. Stephen, this here is Django. You two oughta hate each other.

    Stephen: Calvin, just who the hell is dis nigger you feel's the need to entertain?

    Calvin Candie: Django, and his friend in gray here, Dr. Schultz, are customers. And they are our guests, Stephen. And you, you old, decrepit bastard, you are to show them every hospitality. You understand that?

    Stephen: Yes, sir. Him I understands, but I don't know why I got to take lip off dis nigger.

    Calvin Candie: You don't have to know why. Do you understand?

    Stephen: Yes, sir. I understand.

    Calvin Candie: Well, good. They're spending the night. Go open the guest bedrooms and get two ready.

    Stephen: [mortified] He gawn stay in the Big House?

    Calvin Candie: Stephen. He's a slaver. It's different.

    Stephen: In the Big House?

    Calvin Candie: Well, you got a problem with that?

    Stephen: Aw, naw, naw. I ain't got no problem with it. If you ain't got no problem with burnin' the bed, the sheets, the pillowcase, and everything else when this black-ass motherfucker's gone!

    Calvin Candie: That is my problem! They are mine to burn! Now your problem right now is making a good impression! And I want you to start solving that problem right now and get them goddamn rooms ready!

    Stephen: Yes, sir, Monsieur Candie.

    Calvin Candie: Go on, now.

    Stephen: Cain't believe you brought a nigger to stay in the Big House. Yo daddy's rollin' over in his goddamn grave, right now. Brought a nigger to stay with us. What kinda shit is that?

    Calvin Candie: Man, the lip on him! Whoo! He's getting worse and worse. Now, WHERE IS MY BEAUTIFUL SISTER?