Once Upon a Time in Hollywood is Tarantinos fun, haunting homage to the summer of 69 – Vox.com

Once Upon a Time in Hollywood is Tarantino\s fun, haunting homage to the summer of \69 - Vox.com

Quentin Tarantino Gave A Cringeworthy Answer To This Question About Margot Robbie

Once Upon a Time in Hollywood is a historical drama, sort of. Tarantino has often worked in the historical mode; in films like Inglourious Basterds and Django Unchained, he also fantasized about the past. In those movies, he chooses to rewrite history as a kind of act of revenge and righting of wrongs.

vox-mark vox-mark vox-mark vox-mark Before the films Cannes premiere, the director issued a request to those whod be seeing the film that they not reveal plot spoilers, which — given those known historical predilections — mostly succeeded in sparking murmured speculation about what he was up to. After all, we know Once Upon a Time in Hollywood is at least partly about the grisly, infamous 1969 Charles Manson family murders, which claimed the lives of five people, including director Roman Polanskis wife, actress Sharon Tate.

EVERY ONE of Quentin Tarantinos films has been a love letter to pop culture in general and to cinema in particular, but none of those odes has been as explicit or as gushing as Once Upon a Time…in Hollywood. A two-and-three-quarter-hour tribute to Tinseltown, the film is a loosely bound anthology of vignettes extolling the charms of the dream factory as it was in 1969: the cars, the clothes, the on-set camaraderie. Its a sleepy and ultimately happy comedy—too happy, perhaps, given that it stirs fact and fiction together, and features the Charles Manson cult and the murder of Sharon Tate. Mr Tarantino is so deeply in love with the movie business that he cant peer at its dark side for long before returning to its sunlit swimming pools and studio backlots. 

Quentin Tarantino Says He May Recut Once Upon a Time in Hollywood to Make it Longer

And, of course, Im not going to tell you what happens (not because of Tarantinos request, but because Im a professional movie critic). But you dont need to have any idea of the plot of the film to understand that, if Inglourious Basterds and Django Unchained (and, to an extent, even The Hateful Eight) are fantastical, revisionist histories, Tarantinos latest movie is wish fulfillment on a much grander scale — but simultaneously a more intimate one.

Tarantino, famously obsessed with the history of cinema and its preservation, has recreated a world he wishes he could have worked in with such care and skill and love that, for the most part, it feels like his most personal film. Once Upon a Time in Hollywood is lots of fun, but its also strangely, hauntingly sad.

The film begins with a fun black-and-white clip of an actor and his stunt double being interviewed in the 1950s. The actor is Rick Dalton (Leonardo DiCaprio), the earnest, buffoonish star of a hit TV series about a sharp-shooting bounty hunter in the Wild West. The stunt double is Cliff Booth (Brad Pitt), Ricks easy-going best friend. When the audience sees the duo again, a decade has passed—and what a difference a decade makes. Rick has been reduced to humiliating cameo appearances on variety shows. Cliff, meanwhile, hasnt had any stunt work for a while, but he sticks by Rick as his driver, handyman and drinking buddy.

Love letters to La La Land Once Upon a Time…in Hollywood is entertaining but empty

I should start by confessing that I usually find myself put off by Tarantinos films. He is clearly one of the most technically competent filmmakers of our time — probably of all time — but his storytelling frequently strikes me as sophomoric and smug, sometimes interested in taunting the audience for their love of violence and sometimes too seemingly pleased with its own cleverness.

That is typical of the films mellow mood. Early on, an agent (Al Pacino) tries to persuade Rick to make spaghetti westerns in Italy, but he has to be the kindest and most honest agent who has ever been portrayed on screen. Roman Polanski (Rafal Zawierucha) moves in next door to Rick with his starlet wife, the aforementioned Tate (Margot Robbie). There is a whisper that Tates ex, Jay Sebring (Emile Hirsch), is planning to steal her away, but Mr Tarantino doesnt elaborate: the director prefers simply to gaze at Tate as she strolls around in her white mini-skirt and boots. 

I say all that because it sets up my own reaction to Once Upon a Time in Hollywood. On the whole, I really liked it, possibly more than Ive liked any of Tarantinos other films. This is the story of Rick Dalton (Leonardo DiCaprio), an actor who was huge in the 1950s but whose star is fading. Ricks stunt double, Cliff Booth (Brad Pitt, who is mesmerizing in this role), also acts as his driver, best friend, and pep talk provider.

Their bromance is the heart of Once Upon a Time…in Hollywood, although it might have been more affecting if it was clearer what Cliff got out of it. After he has chauffeured Rick back to his house in the hills every evening, he gets out of the actors Cadillac, gets into his own battered car and drives back to his trailer to feed his dog and eat food out of a packet. He shows no sign whatsoever of resentment, and no desire for companionship that isnt provided by a dog or an employer. 

Brad Pitt in Once Upon a Time in Hollywood. Columbia Pictures By 1969, Rick, as it turns out, is living next door to the Polanskis on Cielo Drive. He doesnt know them at all, though he catches sight of Roman (Rafal Zawierucha) and Sharon (Margot Robbie) sometimes as they come up the driveway, living the life he covets.

The films most interesting and unsettling conceit is that the ranch where Rick and Cliff once shot their TV show is now occupied by Charles Manson and his brainwashed acolytes, and Cliff suspects the ranchs owner (Bruce Dern) has been kidnapped—or worse—by the interlopers. But, again, Mr Tarantino prefers to see the funny side of the situation.

Two main stories run on parallel tracks in Once Upon a Time in Hollywood. One concerns Sharon, who is carefree, innocent, and eager to please. The other follows Rick and Cliff, which often splits into two stories of its own: Ricks struggle to be an actor of real worth in a changing industry, and Cliffs brush with a group of teenaged girls (and a few guys) living on an abandoned ranch that once functioned as a movie set. That group, of course, turns out to be the Manson family.

Published since September 1843 to take part in a severe contest between intelligence, which presses forward, and an unworthy, timid ignorance obstructing our progress.

Once Upon a Time in Hollywood is a wistful story about the past thats obviously meant to speak to the present, both eras of a fiercely changing industry. There are nuggets scattered throughout for cinephiles and classic Hollywood aficionados, but also things that recall todays Hollywood: discussions of various characters whispered indiscretions and violent pasts that nobody dares to act on; the small screen threatening to overtake the big screen; young people with different tastes and morals than their elders; cheap knock-offs and factory-line productions imitating earlier, groundbreaking films, that are churned out to make fast bucks. Its a movie about 2019 as much as 1969.

Once Upon a Time…in Hollywood will be released in America on July 26th and in Britain on August 14th

But on its surface, this is a movie that walks and talks and acts like its 1969, and its obvious that Tarantino simply loves that time in cinema. Theres a glow over the whole film that feels partly like its just California and partly like its a retrofitted Golden Age made literal. Part of what makes the director so interesting — and so beloved at history-obsessed film festivals like Cannes — is that hes possibly the most skilled contemporary wielder of cinematic pastiche: He borrows images, sounds, techniques, and music from different eras but always manages to make them his own.

Leonardo DiCaprio in Once Upon a Time in Hollywood. Columbia Pictures Thats clear right down to the way he shoots his two main leads, Pitt and DiCaprio, who feel almost Redford- and Newman-esque in the way they swagger and talk and flash a grin. Its also strangely clear (by design or not, I cant say for sure) in the fact that Robbie, despite being third billed in the films credits (behind Pitt and DiCaprio and ahead of a lengthy list of other stars), doesnt have a lot to say or do in the film.

Tarantino received some heat at the Cannes Film Festival for his (unnecessarily combative) response to a journalists question at a press conference, in which he vehemently told a New York Times reporter who asked about Robbies relatively small number of lines in the film that he rejected [her] hypothesis. But as the actress herself said in her response, her character has some of the films most moving scenes. Sharon Tate is often remembered as little more than the actress from Valley of the Dolls, the wife of Roman Polanski, and the girl who got murdered by the Manson family. Once Upon a Time in Hollywood gives her emotional depth.

Margot Robbie as Sharon Tate in Once Upon a Time in Hollywood. Columbia Pictures I cant quite explain this part without giving anything away, so youll just have to trust me: The way Once Upon a Time in Hollywood unwinds its story makes it clear that its more of a lament — a requiem for a past age, one that he deeply wishes didnt have to pass away.

Tarantino is not alone in this. Joan Didion, who was an acquaintance of Tates, wrote in her famous essay The White Album of the murders on Cielo Drive as the marker for many people of the end of the 60s. It was the moment when the tension broke, she writes, but its also one of the most significant events of the summer of 1969, one that made her feel as though the world had quit making sense and was going to pieces.

Popular culture has continued to try to make sense of the event, which takes on mythic proportions. Movies from 1976s Helter Skelter to 2015s Manson Family Vacation and TV shows like NBCs Aquarius and FXs American Horror Story: Cult have replayed the story and its cultural legacy, either literally or as a template for stories about cults and killings. Hollywood historian Karina Longworths excellent podcast You Must Remember This devoted an entire season to Mansons Hollywood. In 2016, Emma Clines novel The Girls fictionalized the events in an attempt to look inside the Manson girls psychology. Two movies have already come out in 2019 about Manson and the murders: Charlie Says and The Haunting of Sharon Tate.

But for Tarantino, the murders arent the main interest. Hes most fascinated by the world around them, in the fact that Manson ultimately wound up in Hollywood and not some other place. The factors that might drive girls to follow a man like Manson might also be linked to what caused Rick Daltons star to start fading.

Tarantino is nostalgic for that time, and Once Upon a Time in Hollywood is more his tribute than an unpacking or analysis of what it all means (unlike, for instance, the Coen brothers 2016 film Hail, Caesar!, which has something to say about warring ideologies in the industry at the same time).

By the end of the film, Tarantino falls back into some of his familiar tropes. Its as though he just cant stop himself from dipping into old habits but doesnt really know why and isnt sure how to stick the landing. But until that point, it is a star-studded joy to watch. Once Upon a Time in Hollywood doesnt have a lot to say, in the end. And yet it manages to capture some of that old-time Hollywood movie magic.

Once Upon a Time in Hollywood premiered at the Cannes Film Festival in May. It opens in US theaters on July 26.

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