It doesn’t have quite the cathartic kick that Basterds did-the stakes were higher in that film, which made the fantastical historical reboot all the more satisfying-but it fits these shifting, compelling characters who find themselves passing each other in the Hollywood food chain. In a way that’s not dissimilar from Basterds, and similarly pleasant, Tarantino is attempting to correct the historical record, to recreate history the way it should have been rather than the way it was.
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The greatest achievement Tarantino pulls off here is, by pure force, to yank this era back to life, to recreate it and revive it as if driven by some sort of religious mania. But it’s all leading up to the moment when they all cross paths, and history both gets in the way and is shoved aside.Ĥ.
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The movie leisurely weaves in their stories, sometimes down narrative cul-de-sacs, sometimes their goings-on simply an excuse to dance through Tarantino’s meticulous, almost sensuous recreation of 1969 Hollywood. And then there’s Sharon Tate (Margot Robbie), the Sharon Tate, an up-and-coming movie star who lives just down the road from Dalton with her husband Roman Polanski, with the whole world ahead of her but with … occasional strange characters showing up outside her house. There’s Cliff Booth (Brad Pitt), Dalton’s old stunt man and full-time assistant/gofer, a man with a dark past but the sunny, sun-splashed disposition of a guy who’s always going to get away with it.
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There’s Rick Dalton (Leonardo DiCaprio), an old-time television star with talent but an alcohol problem whose time seems to be passing him by, symbolized by a series of villainous guest spots on TV shows with diminishing returns. We follow three characters with three stories, though it takes a while for two of the stories to separate and they all end up in the same place.
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The difference is that this time he wants you to live there with him.ģ. But more than anything, this is the most Hang Out Film of any of Tarantino’s films, a world that he wants to live in and roll around in and maybe just spend forever in. It’s an elegy for a long-dead Los Angeles that Tarantino both wants to sell us on and vigorously stir back to life, an era that, because it ended in violence, can only be resuscitated through that same violence. Is it possible Tarantino, at 56, has finally decided to share? This is a film that luxuriates in its indulgence, but it opens the door for us, at last lets us in. Once Upon a Time in Hollywood is as much a run through Tarantino’s obsessions as any of his other movies-Spaghetti Westerns, bad ’60s television, Los Angeles subculture, so, so many women’s feet-but there is an odd, almost casual generosity that I’d argue is entirely new to him. We’ve been watching him making movies more than we’ve been, you know, watching movies.Ģ. But since that film, and since the tragic death of his editor Sally Menke, he has been spinning in circles, making movies to scratch only his own itches. This isn’t always a bad thing: Inglourious Basterds might be his masterpiece because Tarantino is allowed to be so gloriously unrestrained. The Tarantino of Jackie Brown, the one who could warmly merge someone else’s sensibility with his own, has been gone for more than a decade now this playground is his and his only. His indulgence, and our encouragement of that indulgence, can occasionally feel like we have given a child so many toys that he can not play with anyone but himself. His movies are uniquely his in a way that sometimes does them a disservice.
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For all the criticism that Wes Anderson is a dollhouse filmmaker-an artist who creates special, delicate little worlds that exist solely for themselves to roam in-Quentin Tarantino has always struck me as the most self-contained American director.