Solid biopic of a short period of Django's life during WWII. Acting OK, photography is very good, plot is OK but the music and the onscreen playing thereof is masterful.
16 Reviews
The music is a 10
mark-131-61091627 June 2020
Great Music Alone
tributarystu11 February 2017
The opening film of the Berlinale competition is yet another take on the sufferings brought on by the second World War. In a mixture of biopic and historical drama, Django fails in standing out from the crowd, walking down the one- dimensional route of escape from Nazi persecution, while rendering its characters secondary.
Django Reinhardt, a guitarist of Romani ethnicity, is dazzling the crowds in Paris during the later days of the German occupation. The specter of deportation looms over his family, his band, yet he refuses to accept the idea that anyone would harm him, due to his positive notoriety. However, after declining to tour in Germany, a quick visit to a local police station makes him see the light, as he flees close to the Swiss border, awaiting transfer. There, he comes across a local Romani camp and they come together to perform music in the area, as a means for survival. That's pretty much the gist of the story, which is as bland as it sounds. After a great opening scene, followed by an equally impressive musical performance, the movie drifts into this grey area where not much happens. Reda Kateb's performance is strong enough to retain some interest, yet the production lingers without delving deeply into either Django's person, nor the plight of the Romani people. Whenever music starts playing, the film comes to life, but this is not sufficient to keep a rhythm.
It's a shame, really, because there are glances of why Reinhardt could have been a relevant leading figure. Being unable to read or write, and bearing a childhood injury on his playing hand,his performances come from a deeply rooted passion for music, seemingly instilled by his Romani heritage and culture. This generates the contrast of music from the heart and music from the head, which is not subtle, yet it plays well with how ridiculously rigurous and lifeless Nazi censorship was. The close knit relations with his family, band and the fellow survivors he meets at the Swiss camp are well shaded against Reinhardt's privileged position, and his sense of entitlement. Yet, there is no clear sense of inner conflict, although the movie does imply that his personal quest is to learn some self sacrifice, putting himself second.
This is part of the problem, that Django just can't set itself apart and come across without conviction. Supporting characters have little to no personality, and function as either plot enhancers, or easy to swap band members. Only the relationship between Reinhardt and his mother is distinguishing, even if it feels at times like comic relief. The generic portrayal of the Nazi oppressors doesn't help either, as is the case with some of the elliptical moments in the story. Even the name of the movie should have given pause for thought: how does one make something distinctive with such an overused title?
Django would have been a much better experience, had it stuck to its music, especially as some of the artist's work was lost, which is a cause for grief. As another survival movie from the war, it falls flat, especially compared to some of the previously released hard-hitting productions, be they grim or soulful representations of the horror.
Django Reinhardt, a guitarist of Romani ethnicity, is dazzling the crowds in Paris during the later days of the German occupation. The specter of deportation looms over his family, his band, yet he refuses to accept the idea that anyone would harm him, due to his positive notoriety. However, after declining to tour in Germany, a quick visit to a local police station makes him see the light, as he flees close to the Swiss border, awaiting transfer. There, he comes across a local Romani camp and they come together to perform music in the area, as a means for survival. That's pretty much the gist of the story, which is as bland as it sounds. After a great opening scene, followed by an equally impressive musical performance, the movie drifts into this grey area where not much happens. Reda Kateb's performance is strong enough to retain some interest, yet the production lingers without delving deeply into either Django's person, nor the plight of the Romani people. Whenever music starts playing, the film comes to life, but this is not sufficient to keep a rhythm.
It's a shame, really, because there are glances of why Reinhardt could have been a relevant leading figure. Being unable to read or write, and bearing a childhood injury on his playing hand,his performances come from a deeply rooted passion for music, seemingly instilled by his Romani heritage and culture. This generates the contrast of music from the heart and music from the head, which is not subtle, yet it plays well with how ridiculously rigurous and lifeless Nazi censorship was. The close knit relations with his family, band and the fellow survivors he meets at the Swiss camp are well shaded against Reinhardt's privileged position, and his sense of entitlement. Yet, there is no clear sense of inner conflict, although the movie does imply that his personal quest is to learn some self sacrifice, putting himself second.
This is part of the problem, that Django just can't set itself apart and come across without conviction. Supporting characters have little to no personality, and function as either plot enhancers, or easy to swap band members. Only the relationship between Reinhardt and his mother is distinguishing, even if it feels at times like comic relief. The generic portrayal of the Nazi oppressors doesn't help either, as is the case with some of the elliptical moments in the story. Even the name of the movie should have given pause for thought: how does one make something distinctive with such an overused title?
Django would have been a much better experience, had it stuck to its music, especially as some of the artist's work was lost, which is a cause for grief. As another survival movie from the war, it falls flat, especially compared to some of the previously released hard-hitting productions, be they grim or soulful representations of the horror.
story behind the legend
ferguson-64 January 2018
Greetings again from the darkness. Don't mistake this for either the Franco Nero (1966) or Jamie Foxx (2012) movie. This latest from writer/director Etienne Comar centers on Django Reinhardt, one of the most talented and influential musicians of the twentieth century. Based on the novel "Folles de Django" by Alexis Salatko, the story follows the challenges of his escape from German-occupied France.
He is already a renowned (and enigmatic) performer when the film kicks off in 1943 Ardennes, as Django and his band are being contracted by the Nazis to tour and entertain the troops. Of course, he refuses to sign the contract and tour under their terms with limit the style of music he can play. Because of this, Django and his family must flee and disappear underground, while they plan an escape to Switzerland.
His musical influence proliferated the area, and his influence and respect is clear at each step of his travels. In fact, it's the musical pieces and segments that really stand out here. Reda Kateb (A PROPHET, 2009) gives a terrific and expressive performance as Django, but the musical portions are so outstanding, that we find ourselves not as engaged in the personal saga of escape as we should. Clearly, the war and Nazis are a threat, and when Django says "I'm a musician. It's what I do", that serves as his admission that he takes an apolitical stance and does not envision himself as a hero to the people.
As a driving force behind European jazz, and being such an influence on so many guitar players, Django's legacy is something other than as a war icon. The film certainly could have benefitted from more attention to either how his music gained popularity, or what drove him to avoid any political notoriety until it was too late for many of his fellow Gypsies. Admittedly, his escape was crucial and led to his 1945 score, "Requiem for Gypsy Brothers", of which his conducting leads to the most emotional moment of the film.
He is already a renowned (and enigmatic) performer when the film kicks off in 1943 Ardennes, as Django and his band are being contracted by the Nazis to tour and entertain the troops. Of course, he refuses to sign the contract and tour under their terms with limit the style of music he can play. Because of this, Django and his family must flee and disappear underground, while they plan an escape to Switzerland.
His musical influence proliferated the area, and his influence and respect is clear at each step of his travels. In fact, it's the musical pieces and segments that really stand out here. Reda Kateb (A PROPHET, 2009) gives a terrific and expressive performance as Django, but the musical portions are so outstanding, that we find ourselves not as engaged in the personal saga of escape as we should. Clearly, the war and Nazis are a threat, and when Django says "I'm a musician. It's what I do", that serves as his admission that he takes an apolitical stance and does not envision himself as a hero to the people.
As a driving force behind European jazz, and being such an influence on so many guitar players, Django's legacy is something other than as a war icon. The film certainly could have benefitted from more attention to either how his music gained popularity, or what drove him to avoid any political notoriety until it was too late for many of his fellow Gypsies. Admittedly, his escape was crucial and led to his 1945 score, "Requiem for Gypsy Brothers", of which his conducting leads to the most emotional moment of the film.
for so many reasons, a gem
Kirpianuscus27 June 2022
It is more than a beautiful film. It represents a testimony, in so many senses, about the architecture of a period, about the identity of a comunity, about selfishness transformed in compassion and love for the others, about roots of Gypsy Swing and about essence of beauty, vocation and survive.
A film about family and, off course, about identity.
One of the impressive ones. A gem, in fact, for the message, first, for the wise manner to explore a very sensitive, today to, subject, not less. And admirable music.
A film about family and, off course, about identity.
One of the impressive ones. A gem, in fact, for the message, first, for the wise manner to explore a very sensitive, today to, subject, not less. And admirable music.
A low-budget version of The Pianist, mutatis mutandis
skepticskeptical31 August 2020
Warning: Spoilers
I had never heard of Django before but discovered an apparently fictionalized version of his story by watching this eponymous film. Other reviewers have weighed in to point out that the major co-protagonist (the woman with whom he has an affair and who ends up apparently shot by the Nazis) never existed. Surely there was enough true material to be able to fill up a single feature-length film without making the major plotline completely false?
Overall, this is not a bad Nazi occupation movie, setting aside questions of accuracy. The structure is very similar to The Pianist, except that the budgets were wildly different, so the scale of the the production is completely different.
Overall, this is not a bad Nazi occupation movie, setting aside questions of accuracy. The structure is very similar to The Pianist, except that the budgets were wildly different, so the scale of the the production is completely different.
Not terrible
Gsinoz130 June 2020
Warning: Spoilers
This film is a somewhat slow and ponderous look at a largely fictional account of just part of Django Reinhardt's life. It is generally watchable, but lacks spark.
It's handling of the Nazi's racial abuse and mistreatment ofthe Romani people during WW2 is ok, but really a bit superficial.
The portrayal of Django is also a bit light on, but the use of his music throughout is definitely a highlight.
Much of the story never actually happened (e.g. his supposed lover is a totally fictional character). The story also really only covers the war years. So if you are looking for a full biopic on Django's life, you will be disappointed.
Despite all that, it is not an awful film and has some decent moments. If you enjoy Django's music, you will possibly still enjoy this film.
It's handling of the Nazi's racial abuse and mistreatment ofthe Romani people during WW2 is ok, but really a bit superficial.
The portrayal of Django is also a bit light on, but the use of his music throughout is definitely a highlight.
Much of the story never actually happened (e.g. his supposed lover is a totally fictional character). The story also really only covers the war years. So if you are looking for a full biopic on Django's life, you will be disappointed.
Despite all that, it is not an awful film and has some decent moments. If you enjoy Django's music, you will possibly still enjoy this film.
Too schematic ...
Petr_Sraier3 August 2020
A splendid gripping film
Haringpakkerstoren8 May 2017
A splendid gripping film, released on the day we Dutch honor all those who have fallen during the 2nd World War. The captivating acting and the way in which the film was shot, immerses you in and meanders you along a distressing part of Django Reinhardt's life. The spellbinding music in the film, paying homage to Django Reinhardt's innovative jazz with an infusing Gypsy flavor, will stay with you for the rest of your life. And if you ever have the good fortune to visit the chapel of Saint-Pierre in Villefrance-sur- Mer (France) and look at the details of the wall paintings by Jean Cocteau, you will realize what a big impact Django has made on lots of people.
Straight to video movie - that tells you all you need to know
tonytunbridge19 October 2018
The movie opened in 2017 Berlinale, which may give rise to false expectations about its quality. It got faint-hearted critical reviews and almost went straight to video. Overly long, dull and conventional filming and acting. It really doesn't do any justice at all to the exceptional talent Django Reinhardt. This movie doesn't cover much of his life, and what it does cover isn't very accurate. Yes, the music is great, but just listen to some his recordings if that's what you want, rather than wasting your time with this.
Django during WW2.
TxMike10 September 2018
I found the DVD of this movie at my public library and watched it at home. A curious DVD presentation in that it has no menu, it just starts and runs for almost 2 hours, mostly French and German with English subtitles.
I am a musician but only became familiar with Django Reinhardt in the Woody Allen movie "Sweet and Low Down" which featured a fictional character, a guitarist, who would almost faint at the thought of even meeting Reinhardt, his idol. So this movie is a good look at who the guitarist really was.
Reda Kateb, a Belgian actor, is very good as Django Reinhardt. Even though he had been playing for quite a while the story here picks up in 1943 France during the German occupation. Django had a double whammy against him, being a Gypsy and being a Jazz musician, two things the Nazis were against and killed many for. But he managed to survive because of his musicianship.
Good movie of an interesting musician in a difficult time. he didn't live much longer, dying at age 43.
I am a musician but only became familiar with Django Reinhardt in the Woody Allen movie "Sweet and Low Down" which featured a fictional character, a guitarist, who would almost faint at the thought of even meeting Reinhardt, his idol. So this movie is a good look at who the guitarist really was.
Reda Kateb, a Belgian actor, is very good as Django Reinhardt. Even though he had been playing for quite a while the story here picks up in 1943 France during the German occupation. Django had a double whammy against him, being a Gypsy and being a Jazz musician, two things the Nazis were against and killed many for. But he managed to survive because of his musicianship.
Good movie of an interesting musician in a difficult time. he didn't live much longer, dying at age 43.
Surprisingly awful.
bakisine30 November 2017
The movie is wildly inaccurate and often does not display important occurrences as they have actually happened. I don't want to spoil anything here but if you are familiar with the life of Mr Reinhardt and compare it to crucial stories being portrayed in the movie, you will find plenty of inaccuracies.
I really wanted this movie to be good but its not. Hopefully someone else will take another shot at this.
I really wanted this movie to be good but its not. Hopefully someone else will take another shot at this.
Set against the beautiful music and harsh realities of the WWII Nazi occupancy, this is a winner
ccorral41912 January 2018
Django. Director/Writer Etienne Comar (primarily a Producer "Of God and Men" 2010) brings forth yet another amazing untold story about the German occupancy, this time set in Paris. This poignant music filled production chronicles the life of gypsy musician Django Reinhardt (Red Kateb "Zero Dark Thirty" 2012). When Django (who became a renown European Jazz and Gypsy Swing aficionado) and his band "Hot Quintet" is hired to entertain Nazi's in Germany, at a time when Jazz, the Blues and certain percussion instruments and musical beats were forbidden, the event turns hostile and soon his family and friends are forbidden to live their encampment, the young are forced to join the resistance, and soon he flees for his life. Comar starts the film with camera work that is too jumpy and too close to its characters to understand what and why things are happening. However, once he abandons this format, and steps back and establishes the environment (beautiful cinematography by Christophe Beaucarne) and begins to tell the story, the film gains its footing and never lets go. The musical presentation (music by Warren Ellis) in this film, especially the final concert, are mesmerizing and not to be missed. I don't know if Kateb actually performed the various guitar arrangements, but if he did, his performance is to be rewarded. Supporting Django in a successful minor role is his wife Naguine (Bea Playa), his mother Negros (Bombay Merstein) with her spirited personality, his resistance lover Louise de Klerk (Cecile De France) and his various bandmates. I have to say, I was not initially sold on this film. However, when the story of survival presented itself, set against the beautiful music and harsh realities of the WWII Nazi occupancy, I couldn't help but become fully invested in the presentation. This film was screened at the Palm Springs International Film Festival #PSIFF2018
For a movie it means something to open the Berlinale 2017, and to be part of the Competition for the Golden Bear too. So I was expecting much but received much less
JvH4811 February 2017
This movie was shown at the festive opening of the Berlinale 2017, a gathering that attracts lots of important guests from all over the world, as well as sponsors and local politicians who want to be included and photographed. As usual, the general public is left uninvited (I digress, this being a different matter altogether). I had to go to a repeat screening the day after. Because this movie was also selected for the Competition for the prestigious Golden Bear, in addition to being chosen for the opening, all this gives rise to expectations. It brings you in the mood for something novel or original or discovering new grounds. Alas, neither of this was the case.
Though the central plot of this film is my favorite theme "how will I act in similar circumstances?", nothing that I saw here could involve me, nor did it show something that I consider thought provoking. I had even trouble staying awake (may have other reasons). It was nice to watch how they have reconstructed the buildings and dresses of the WWII time, but that is something that belongs to the trade of a costume drama or historical documentary, and these two genres mostly fail to attract me (I know of a few exceptions, however). Remains an intriguing plot or interesting dramatic developments, but my hopes disappeared little by little and none of these promises became fulfilled.
It looks like the main protagonist Django stretches his luck much farther than anyone should be trusted to do. Maybe because his music moves hearts and conquers even the strongest opponents, Django's usual experience is that everyone falls for it, giving him the last word, that is until now. His refusal to cooperate with the Germans is a daring act, but I think he did it for artistic reasons and nothing else (the Germans had a list of musical genres and especially rhythms he was not allowed). I doubt there were fundamental principles involved, nor had he thought of the consequences for others in his environment, like his family, his colleagues and his fellow-gypsies. This film lets us see how irresponsible that was, and what a powerful enemy like the German army can do in order to get what they want. On the other hand, the Germans were not shown as pushy either, since they could have brought in several other means of persuasion. Due to all of the above, all main protagonists felt like cardboard characters, unclear what makes them do what they do.
Finally, on a more positive note: In a final scene we saw and heard the presentation of a musical piece, one for which we saw that he had sketchy ideas years earlier. It was May 1945 so after WWII, a piece for choir, organ and orchestra as per his original sketches. We saw it being directed (very loosely) by Django himself (so Django survived; is that a spoiler?). It was a sort of Requiem, but I don't remember the details. It sounded impressive, as church music sometimes does, and the fragment we heard was much longer than just a few measures. I like this sort of music better than the "jazzy" notes we heard in abundance in the earlier scenes, but I wonder whether the average viewer can stand this "classical" sort of music, and especially the organ for which most people have nasty memories, and they spontaneously dislike the instrument because of it.
Though the central plot of this film is my favorite theme "how will I act in similar circumstances?", nothing that I saw here could involve me, nor did it show something that I consider thought provoking. I had even trouble staying awake (may have other reasons). It was nice to watch how they have reconstructed the buildings and dresses of the WWII time, but that is something that belongs to the trade of a costume drama or historical documentary, and these two genres mostly fail to attract me (I know of a few exceptions, however). Remains an intriguing plot or interesting dramatic developments, but my hopes disappeared little by little and none of these promises became fulfilled.
It looks like the main protagonist Django stretches his luck much farther than anyone should be trusted to do. Maybe because his music moves hearts and conquers even the strongest opponents, Django's usual experience is that everyone falls for it, giving him the last word, that is until now. His refusal to cooperate with the Germans is a daring act, but I think he did it for artistic reasons and nothing else (the Germans had a list of musical genres and especially rhythms he was not allowed). I doubt there were fundamental principles involved, nor had he thought of the consequences for others in his environment, like his family, his colleagues and his fellow-gypsies. This film lets us see how irresponsible that was, and what a powerful enemy like the German army can do in order to get what they want. On the other hand, the Germans were not shown as pushy either, since they could have brought in several other means of persuasion. Due to all of the above, all main protagonists felt like cardboard characters, unclear what makes them do what they do.
Finally, on a more positive note: In a final scene we saw and heard the presentation of a musical piece, one for which we saw that he had sketchy ideas years earlier. It was May 1945 so after WWII, a piece for choir, organ and orchestra as per his original sketches. We saw it being directed (very loosely) by Django himself (so Django survived; is that a spoiler?). It was a sort of Requiem, but I don't remember the details. It sounded impressive, as church music sometimes does, and the fragment we heard was much longer than just a few measures. I like this sort of music better than the "jazzy" notes we heard in abundance in the earlier scenes, but I wonder whether the average viewer can stand this "classical" sort of music, and especially the organ for which most people have nasty memories, and they spontaneously dislike the instrument because of it.
Exceptional artist caught in terribly cruel times
momirza6622 May 2017
This is story of an exceptional artist stuck in Nazi-occupied France and the treatment of his community of gypsies in the form of an adventure to escape the country. The most enjoyable bits are those in which he plays music with his band in front of Nazi or french audiences, where his style and technique transpires exceptionally well and the people are lifted to a trance. However, the subject of the movie is grim and filmed in no special way. Django Reinhardt is caught between the between a rock and a hard place and though the tale is told like an adventure, one feels frustrated by the melancholy and the hardship. No more than he of course!
Exceptional treatment of an exceptional European Jazz Musician
alexdeleonfilm12 February 2017
World Premier at Berlin film festival, Feb. 9, 2017. Django Reinhardt was one of the most brilliant pioneers of European jazz and the father of Gypsy Swing. "Django" portrays one chapter in the musician's eventful life and is a gripping tale of survival. Constant danger, flight and the atrocities committed against his family could not make him stop playing.
Rarely is an opening festival film so compelling and overwhelming that you feel as if the festival ended right there the trip to Berlin would have been justified. Reda Kateb as Django Reinhardt the gypsy musician with the German sounding name, made me forget I was watching an actor playing a part but felt like I was watching the jazz legend Django himself back from the great beyond in the flesh, carefully trimmed Gable moustache and all. This film like last year's Jazz Legend Berlin biopic "Miles Ahead" (Miles Davis) assumes that the audience knows the personality in question well enough not to require any back story and plunges right into a certain segment of the life under scrutiny. In actual fact, while Three fingered guitarist Django Reinhardt was highly regarded by black American Jazzmen such as Duke Ellington, Ornette Coleman, et alia, because his name is mainly associated with the french "Le Hot" jazz scene of the thirties and forties, he is not as well known to the general American public as he should be. Django was simply a musical genius whose hot jazz quintet was the hottest band around in France and surrounding countries up to and including the German occupation years of WW II. This film focuses on two things: The incredible music of Django with half a dozen virtuoso foot stomping musical sequences, and (2) the persecution of Gypsies under Nazi racism. The musical sections show in great detail the fantastic guitar fingerings of the inimitable Django as well as his backup musicians, notably the clarinetist who was also jamtastic.
A German officer who is a great fan of Django's lines up a German tour for the Hot Quintet to entertain Nazi bigwigs in Germany. However there are restrictions that must be met supposedly removing all Black Jazz elements such as the Blues and certain percussion instruments deemed as racially impure by the Nazis. Django finally realizing that if he goes on the tour he will probably never return flees with his feisty mother and family south hoping to make it over the border to Switzerland and safety. Apprehended there he is forced to stage a concert for a group of high level Nazis at a luxurious lakeside villa, but the heat of Djangos hot jazz drives the Germans into a Frenzy and results in a riot. Django escapes in the confusion and survives the war. At the very end after France is liberated a Requiem he composed to honor the Exterminated Gypsies is played on a momentous church organ and Django's heroism is recognized. A final message on screen notifies us that all but the opening bars of Django's requiem were lost, but have been reconstructed by serious musicians to prove that Reinhardt was not only a virtuoso performer but a noteworthy composer as well. Magnificent, beyond words. Cécile de France was also captivating as Django's fictionalized Gadjo (Non-Gypsy) girlfriend who marries a Nazi to save her own life but risks it at the end to save Django, and the old woman who plays Django's mother is a scene stealer every time she appears. Director Étienne Comar has done both the film and music worlds a great service with this remarkable picture.
PS: By no means to be confused with Q. Tarantino's comic book entitled "Django Unchained" under penalty of death!
Rarely is an opening festival film so compelling and overwhelming that you feel as if the festival ended right there the trip to Berlin would have been justified. Reda Kateb as Django Reinhardt the gypsy musician with the German sounding name, made me forget I was watching an actor playing a part but felt like I was watching the jazz legend Django himself back from the great beyond in the flesh, carefully trimmed Gable moustache and all. This film like last year's Jazz Legend Berlin biopic "Miles Ahead" (Miles Davis) assumes that the audience knows the personality in question well enough not to require any back story and plunges right into a certain segment of the life under scrutiny. In actual fact, while Three fingered guitarist Django Reinhardt was highly regarded by black American Jazzmen such as Duke Ellington, Ornette Coleman, et alia, because his name is mainly associated with the french "Le Hot" jazz scene of the thirties and forties, he is not as well known to the general American public as he should be. Django was simply a musical genius whose hot jazz quintet was the hottest band around in France and surrounding countries up to and including the German occupation years of WW II. This film focuses on two things: The incredible music of Django with half a dozen virtuoso foot stomping musical sequences, and (2) the persecution of Gypsies under Nazi racism. The musical sections show in great detail the fantastic guitar fingerings of the inimitable Django as well as his backup musicians, notably the clarinetist who was also jamtastic.
A German officer who is a great fan of Django's lines up a German tour for the Hot Quintet to entertain Nazi bigwigs in Germany. However there are restrictions that must be met supposedly removing all Black Jazz elements such as the Blues and certain percussion instruments deemed as racially impure by the Nazis. Django finally realizing that if he goes on the tour he will probably never return flees with his feisty mother and family south hoping to make it over the border to Switzerland and safety. Apprehended there he is forced to stage a concert for a group of high level Nazis at a luxurious lakeside villa, but the heat of Djangos hot jazz drives the Germans into a Frenzy and results in a riot. Django escapes in the confusion and survives the war. At the very end after France is liberated a Requiem he composed to honor the Exterminated Gypsies is played on a momentous church organ and Django's heroism is recognized. A final message on screen notifies us that all but the opening bars of Django's requiem were lost, but have been reconstructed by serious musicians to prove that Reinhardt was not only a virtuoso performer but a noteworthy composer as well. Magnificent, beyond words. Cécile de France was also captivating as Django's fictionalized Gadjo (Non-Gypsy) girlfriend who marries a Nazi to save her own life but risks it at the end to save Django, and the old woman who plays Django's mother is a scene stealer every time she appears. Director Étienne Comar has done both the film and music worlds a great service with this remarkable picture.
PS: By no means to be confused with Q. Tarantino's comic book entitled "Django Unchained" under penalty of death!
Not his entire life story...but very good.
planktonrules25 October 2017
This film covers mostly 1943 as well as a bit in May, 1945 at the end. So, obviously this film is not Django Reinhardt's entire life story. It's a shame but I can certainly understand why they chose this path. If you want to know more about the man, check Wikipedia and go from there.
The film picks up in the middle of WWII. Django is a big star in Paris and is even loved by the occupying Nazis. What makes this so unusual is that he was one of the Romani (aka Gypseys) and they were hated and persecuted by the Reich. Additionally, he played swing...a style music associated with black Americans...a group also despised by the German government. Problems develop when the Nazis insist he do a tour of Germany and Django is worried he'll never return. So, they decide to make a run for it. The movie is all about this period of time.
The film is something I really appreciated because tons of films have been done about the Jewish Holocaust. These are excellent films but the Romani were also gassed in large numbers and I can't think of a single film that covers it other than this one. It makes for a sad viewing experience...but also a masterfully crafted one well worth your time.
The film picks up in the middle of WWII. Django is a big star in Paris and is even loved by the occupying Nazis. What makes this so unusual is that he was one of the Romani (aka Gypseys) and they were hated and persecuted by the Reich. Additionally, he played swing...a style music associated with black Americans...a group also despised by the German government. Problems develop when the Nazis insist he do a tour of Germany and Django is worried he'll never return. So, they decide to make a run for it. The movie is all about this period of time.
The film is something I really appreciated because tons of films have been done about the Jewish Holocaust. These are excellent films but the Romani were also gassed in large numbers and I can't think of a single film that covers it other than this one. It makes for a sad viewing experience...but also a masterfully crafted one well worth your time.
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