Some things feel like they'll never arrive. "Quentin Tarantino's Manson Family Movie" has been on the horizon for a while now, and now that it's finally here, what do we do with ourselves? This is (apparently) his penultimate film, and now that it's here and all of the speculation is done, we now feel dreadfully close to the end of an era. Which is apt, because that's kind of what Once Upon a Time in Hollywood is about. Set in 1969, it follows a down on his luck actor and his stuntman, who's also his best/only friend. Parallel to their story is the story of Sharon Tate, who would be murdered my the followers of Charles Manson. This story has been told many times in many films, most of them shit and tasteless. Once Upon a Time does something very, very different with it. Exactly what happens won't be spoiled, but rest assured, it's a typically wild take, while also being his most purely passionate film in years
I said this film was about the end of an era, and even though it's only set over the course of four-ish days, you really feel the decline of the Old Hollywood of '69, and the impending arrival of the New Hollywood of '70 as you're watching it. Rick Dalton and his trusty stuntman Cliff Booth are definitely feeling the sting of this, with Dalton steadily heading towards total stagnation, only getting roles as "the heavy" in TV westerns. Booth, on the other hand, is pretty much Cliff's assistant, spending the day drifting around town doing various errands for him.
Right off the bat, the film's sense of time and place is easily its greatest strength. The atmosphere here is incredible, and the way Tarantino sets the tone is really something special. 1969 Hollywood is reconstructed meticulously and deliberately, with no detail left out. As a result, the stage upon which the plot plays out feels more real. It's easy to get lost in this film's depiction of Hollywood. It's a place you want to spend time in and absorb the sights and sounds of. The plot is pretty minimal here, but that's because it's not really the focus. You're essentially following these characters around Hollywood for a couple of days, and although those days are specifically chosen, the stuff that happens during them feels particularly incidental. These are just things that are happening to these people living in a town that's so rich with mythology that it almost doesn't feel real. And that proves to be interesting in itself, as the lore and mythos of old Hollywood comes to life on the screen, enveloping the viewer in such a specific experience. Tarantino has painstakingly recreated everything and made it look so easy, and the result is a town that's not only its own character, but also just a damn fun place to hang out in
It helps that the characters you're hanging out with are so interesting. Rick Dalton is a perfect portrayal of all of the actors of that time who found themselves left behind by the advent of new Hollywood, and his obselescence is something that fuels most of his plot. This allows Tarantino to paint a portrait of the unsung heroes of a transitioning industry, something that Leonardo DiCaprio brings to life wonderfully. His quest to reignite his career is something that we're right there with him on, and seeing how that develops is all the more fascinating because if how genuine it feels. True, his plot feels the most aimless, but even then it is interesting, and becomes seriously rewarding in the movie's home stretch.
Cliff Booth is far and away the best character in the film, and maybe one of my favourite Tarantino characters overall. I could honestly watch this guy wander around for hours, and although some of his plot falters (the Bruce Lee scene is pretty unnecessary), it's mostly Tarantino at the height of his powers, especially when the Cliffster wanders into Spahn Ranch, aka the Manson Family hangout. This scene is electric, powerful filmmaking, slow, unbearable and utterly thrilling. It makes use of the setting wonderfully, and is a standout scene in a film of many. Brad Pitt is amazing in this film, capturing Cliff's freewheeling antics while also nailing his devotion to Rick, without ever having that be his defining character trait. His are the eyes that '69 Hollywood are best seen through, and the casual nature of his plot let us wander around with him and take everything in, and this is where the film's scope is at its most breathtaking
The amount of attention given to Sharon Tate is something that caused controversy at Cannes. True, she doesn't have as many lines as Cliff and Rick, but having now seen the film, that's not actually something that bothers me. Her plot is a passionate tribute to the real Tate, and although she just kind of wanders around being delightful, that kind of makes her story all the more wonderful. It's obvious that Tarantino adores her, and so having all these scenes that basically play out as passionately told vignettes feels like the perfect celebration. This is not a story about Sharon Tate's murder, and it's so refreshing to have a film that just focuses on her and just wants to celebrate her. As for Margot Robbie's portrayal, it's absolutely wonderful. She's such a pleasant screen presence, and her involvement in the plot allows QT to exercise some sensitivity. The lightness of this whole storyline makes it such a pleasure to witness, and watching how it feeds into the climax is incredibly interesting, especially when Tarantino deftly swerves away from obvious bad taste in favour of something that pulses with a genuine love for a actress taken way too soon.
The actual events of the climax won't be discussed here, but just know that it's absolutely bonkers. This is Tarantino in Inglorious Basterds mode, shedding the relative restraint that he's shown with he violence for most of the film and delivering his own wildly violent, strangely funny take on tragedy. Seeing him cut loose with the bloodthirsty madness is definitely awesome, but what makes this scene work so well is the sincerity of it. Again, I won't say anything specific, but Tarantino is easily at his most genuine here, telling an alternate version of the truth that, while violent, also has a lot of love in it. The whole film had been his ode to the era, a broad love letter to the music and the movie stars, but the film is at its absolute best when it gets down to that one specific moment, because it's Tarantino speaking from the heart, and it's astonishing conclusion really feels like the reason he made it. It's such a poignant ending, one that brings everything in this epic to a perfect close
Once Upon a Time in Hollywood is kind of amazing. There's a lot to talk about with this movie, and summarising my thoughts on it is pretty difficult. I've only seen it once, and I have no doubt that when I watch it again, I'll notice so much more in it. Any new release by Tarantino is a privilege to witness, and this one feels particularly special because of how much love is in it. This is a really good natured film, one that sees QT working with his best intentions. The result is a hangout movie that throbs with genuine love for a bygone era, a loving tribute to things gone way too soon, be that the studio productions of Old Hollywood, or an actress taken before she could really get started. He replaces the pain of what actually was with an idealistic and sincere what-if, and in the process, highlights the power of film to alter time and reality. This is him using cinema to heal it's most painful wounds, and if his next film really is his last one, then I really, really hope that he uses the same honesty, empathy and kindness that he brings this film to life with. It's not something he does enough, and this movie proves that it's something that he can actually do really well. This is one of the absolute best films of the year, and it leaves me eagerly awaiting whatever he's gonna do next. So yeah, it's pretty Once Upon a Time in Hollygood
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