History Heartwarming / DjangoUnchained

* On that note, the Marshal with whom Django and Shultz spend the winter deserves a mention. He'd have to be blind to not notice Django is black (and he obviously isn't) but, like every other white man in the film barring Schultz, does he so much as bat an eye at Django riding a horse, carrying a gun, or killing white folk? [[ReasonableAuthorityFigure Nope.]] When he and Schultz return with some fresh bounties, all he does in greet them both warmly and invite them in for some hot coffee and some leftover birthday cake (which he himself calls 'pretty good').

* Right at the end, Django has a flashback to Schultz telling him that he's going to be "the fastest gun in the south". This is heartwarming for two reasons; one, it shows just how much respect and hope Schultz has for Django, since he's basically admitted (without any rancour at at all,) that Django is better than him. Two, it means that [[spoiler: the last image we have of Schultz is the fatherly mentor, rather than the pathetic, huddled corpse that had just been tossed aside in a shed with its face turned to the wall]].

* [[spoiler: Right before he shoots the sorry bastards who had him killed, Django shouts the name of the poor slave whom they killed with their dogs so the bastards know ''exactly'' who he is avenging before they die. Granted, it's a horrifically violent scene, but it also proves that Django really did care about seeing a fellow slave suffer a horrible death.]]

** Especially when Django is simply marveled that a white man like Schultz is treating him as an equal.

* Excluding Schultz's friendship with Django and Broomhilda, the scene at the beginning where Schultz treats the other slaves he has no personal interest just as well as Django. He politely thanks one for raising the lantern to help him write, treats them as credible witnesses in a time where the word of a black man would count for nothing, and frees them when he leaves with Django. Just to show not every white man in that movie was a racist bastard.

* Whenever Django did a first as a free man and the innocent look on his face was adorable, and this troper is a straight man. for example when he had a drink of his first beer, or when he got to pick out his own clothes and when he learned to read.

* Excluding Schultz's friendship with Django and Brunhilde, the scene at the beginning where Schultz treats the other slaves he has no personal interest just as well as Django. He politely thanks one for raising the lantern to help him write, treats them as credible witnesses in a time where the word of a black man would count for nothing, and frees them when he leaves with Django. Just to show not every white man in that movie was a racist bastard.

--> Django: I know.

* Franco Nero's cameo. If you didn't already think this thing was a love letter to Westerns, that sealed it.

* Even though he's a racist prick who was there to help kill Schultz and Django, it was kind of nice to see that one proto-KKK member getting pissed at the other members for badmouthing his wife's hard work on their hoods [[ScrewThisImOutOfHere and storming off in a huff.]] EvenEvilHasLovedOnes.

* The smile on that one slave's face after Django kills the mine's slave drivers and rides back towards Candieland. It's just such a contrast to the sullen DeathGlare he gave Django earlier when he believed he was just another slaver. You can see Django's earned his respect.

--->"The boy's a natural!"

* When Schultz speaks to Broomhilda in his room, she is clearly on edge, no doubt assuming she is about to be raped. However, throughout the entire scene, Schultz treats her very kindly, pouring her a drink, and chatting amicably with her in German. He then reveals that he's there to help her escape and seems genuinely happy at the prospect of reuniting her and Django. For someone who has no real reason to care, it's clear Schultz is invested in seeing his friend rescue his wife.

* When Schultz speaks to Broomhilda in his room, she is clearly on edge, no doubt assuming she is about to be raped. However, throughout the entire scene, Schultz treats her very kindly, pouring her a drink, and chatting amicably with her in German. He then reveals that he's there to help her escape and seems genuinely happy at the prospect of reuniting her and Django. For someone who has no real reason to care, it's clear Schultz is invested in seeing his friend rescue his wife.

* We see Django stick an empty bottle into a pile of snow in order to practice his quick-draw skills. We see him shoot it dead on. The camera pulls into a wideshot. We discover that Django had inserted the bottle into a snowman. ''Django and Schultz built a snowman together.''

* We see Django stick an empty bottle into a pile of snow in order to practice his quick-draw skills. We see him shoot it dead on. The camera pulls into a wideshot. We discover that Django had inserted the bottle into a snowman. ''Django and Schutz built a snowman together.''

* Whenever Django did a first as a free man and the innocent look on his face was adorable, and this troper is a straight man. for example when he had a drink of his first beer, or when he got to pick out his own clothes and when he learned to read.

* when ever django did a first as a free man and the innocent look on his face was adorable, and this troper is a straight man. for example when he had a drink of his first beer, or when he got to pick out his own clothes and when he learned to read.

* [[spoiler: Right before he shoots the sorry bastards who had him killed, Django shouts the name of the poor slave whom they killed with their dogs so the bastards know ''exactly'' who he is avenging before they die. Granted, it's a horrifically violent scene, but it also proves that Django really did care about seeing a fellow slave suffer a horrible death.]]

* [spoiler: Right before he shoots the sorry bastards who had him killed, Django shouts the name of the poor slave whom they killed with their dogs so the bastards know ''exactly'' who he is avenging before they die. Granted, it's a horrifically violent scene, but it also proves that Django really did care about seeing a fellow slave suffer a horrible death.]]

* The friendship between Django and Schultz. The last time Django sees Schultz [[spoiler:or at least his corpse]], he tells him "Auf Wiedersehen" -- which, as Schultz has pointed out, means "Until we meet again".

* ''Everything'' between Django and Brumhilde. They clearly have that operatic level of mutual love--he would walk through hellfire for her, and she will wait till the end of time for him.