Once Upon A Time In Hollywood
Tarantino, who wrote and directed (he'll have you know it's his ninth film) is known for audaciously violating the rules of screen writing, and does so here, as the film really doesn't have a plot, or a spine. It's just following two guys in the movie business who have gone into middle age and seen their career prospects dim considerably. And they intersect with the Manson Family.
That last bit drives the movie, a sinister undercurrent to all the proceedings. I suppose there are young people out there who don't know about the Tate-LoBianca murders, and they will see Once Upon A Time In Hollywood far differently than those who do, because old-timers are watching waiting for what Tarantino will do with those murders.
No spoilers, but Tarantino does provide alternative history, sort of like what he did with Hitler in Inglorious Basterds. But just what he is going to do keeps one interested here. The film is very long, but I could have watched more, and was never bored, mainly because I was waiting for that fateful night in August, 1969.
Our two heroes are Rick Dalton (Leonardo DiCaprio), who once had his own Western show on TV, but is now reduced to playing guest spots on other shows, always as the villain, always losing. A Hollywood big shot (Al Pacino) explains how this is killing his career, and suggests he go to Europe to make Spaghetti Westerns. DiCaprio's constant companion and factotum is his stunt man, Cliff Booth (Brad Pitt), who is a laconic sidekick. Pitt hasn't worked in a long time, and we are shown why when he tosses Bruce Lee into a car (I would imagine the friends and family of Lee are not happy with his being characterized as a pompous ass who can get bested by a fifty-ish white guy).
DiCaprio lives next door to a house being rented by Roman Polanski and his wife, Sharon Tate (Margot Robbie). Of course, Tate was one of those killed by the Manson cult, and she's presented as an idealized female right out of Playboy (pointedly there is a scene of a party at the Playboy Mansion). I found the characterization of Tate the one problematic thing in the picture, as we watch her go about her day. She is presented as sweet, innocent, and empty-headed (she prefers bubblegum pop to hard rock), and her existence in the movie, it seems to me, is to lead up to the night of the murders--there is a scene when she actually sees Charles Manson, who thinks that the house is occupied by Terry Melcher, a music producer with whom he had a beef (this is thought to be why that house was targeted).
But, the film is still great, and I would put it only behind Pulp Fiction in Tarantino's oeuvre. Yes, the film meanders, but it is always fascinating. A few scenes stand out. The best is when Pitt gives a ride to one of Manson's girls to the Spahn Movie Ranch, where they holed up. The scene is full of dread, as the stoned hippies stand around like Children of the Corn. Pitt visits the owner of the ranch (Bruce Dern), who doesn't remember him, and then Pitt beats the shit out of a hippie who slashes his tire.
Another long scene that has great rewards is DiCaprio playing a role on the pilot for Lancer (which was a real show). He has a long talk with a precocious, method child actress, explaining the plot of the book he's reading, and then a bravura scene when he is in his trailer, beating himself up for missing a line. Another odd but enjoyable scene has DiCaprio inserted into Steve McQueen's role in The Great Escape.
All the while there are many references to the time period. I could watch again just to note all the movie marquees with period films--Romeo And Juliet, "now in its eighth month," The Night They Raided Minsky's, Three In The Attic, and The Wrecking Crew, the film that Tate watches, featuring herself (it's one of the many films and TV shows that Tarantino uses actual footage from). There are vintage radio and TV commercials, and a scene from the ABC series The FBI, altered to have DiCaprio as the role of the villain. Of course the soundtrack is eclectic and important, ranging from Paul Revere and the Raiders to the opening strains of Vanilla Fudge's "You Keep Me Hanging On" as shit hits the fan. Oh, and "Snoopy vs. The Red Baron!"
DiCaprio is great, but Pitt exercises some real scene stealing, usually given one or two great lines of dialogue, such as when DiCaprio breaks down in tears (which he does often) and Pitt says, "Don't cry in front of the Mexicans." In the film's climactic scene, he is the embodiment of a superhero. Just imagine, if only for a pit bull terrier and a pitcher of margarita's, Charles Manson might never have been heard of.
The film features many other stars from past and present in cameos, like Luke Perry, Clu Gulager, Kurt Russell, Dakota Fanning (as Squeaky Fromme), Lena Dunham, and the offspring of stars, like Maya Hawke (Ethan Hawke and Uma Thurman) Rumer Willis (Bruce Willis and Demi Moore), Harley Quinn Smith (Kevin Smith) and Margaret Qualley (Andie MacDowell). Some real people are portrayed, such as Steve McQueen (by Damian Lewis), Michelle Phillips and Mama Cass, and Connie Stevens. For those of a certain age, it's a blast from the past, while to those younger it may be, "Who?"
Tarantino, as always, has wonderful details. Tate buys a copy of Tess Of The D'urbervilles for Polanski--he would later make a film of the book. Actor James Stacy, who is played by Timothy Olyphant, is seen hopping on a motorcycle--he would be in a horrific motorcycle accident that would cost him a leg. Red Apple cigarettes, a staple in Tarantino's films, makes an appearance, as does a new brand, Wolf Tooth Dog Food, "Good food for mean dogs," that comes in rat and raccoon flavors.
I think Once Upon A Time In Hollywood is a great film, though I do buy the gripe that Tarantino has a woman problem (really, have women ever been fully developed in his films?) I'm sure I will purchase it when it becomes available, as it requires more than one viewing. And I didn't stay for the post-credits scene.
Comments
Post a Comment