Baby Driver is a film of absolute purity. While leaving I tried to think of a witty way to describe it. I settled on cocaine, thought it was good enough, wrote it down, posted it, moved on. I told my friends that I loved it, but I wouldn’t be able to watch it again any time soon. There was just something about it that stunk of a one-and-done affair, call it the come down? The next day I felt it calling in the back of my head as I told my family about it and discussed it with friends. The day after, I was longing for it even more. Watching the first five or so minutes online, trailer after trailer, seeking that same buzz again.
Westerns haven’t died out as much as I thought they had, now I think about it. I mean, they did but they are still popping up around the place. I remember in “Argo” in a scene when they are trying to come up with a fake movie idea to cover up their plans to enter Iraq, they decided not to feature a horse because that would automatically make the film a western, and “nobody makes westerns anymore”. That was just after John Wayne had died, one of the kings of the genre back in its hay day. Now though, films like “3:10 to Yuma”, the “True Grit” remake from the Coen brothers, the overtly lengthily named “The Assassination of Jesse James by the Coward Robert Ford” and even “Rango” which is by all means a fine Western. These are all fine Westerns, but the beauty of “Django Unchained” is the way it truly brings us back to what a Western was and still can be. It’s not just about dusty brown backgrounds, small towns with saloons and a Sheriff with a star badge, though that is a big part of it. The nostalgia “Django” will bring to lovers of classic Westerns will be just one of the things that make the film truly great and in this day and age, unique.