Review: Once Upon A Time… In Hollywood

Brad Pitt and Leonardo DiCaprio in Once Upon A Time In Hollywood

Leonardo DiCaprio and Brad Pitt are established stars of the Tarantino empire and have made another corker with his 9th film. Is it his 9th? You have to count Kill Bill volumes 1 and 2 as one long epic, and remember that even though the Hateful Eight felt like it was 19 hours long, it was still only the one film. The director has repeatedly said that he only ever planned to make 10, so the pressure’s building to go out with a bang.

It’s 1969, Charles Manson is on the loose, Roman Polanski’s still a welcome neighbour and the Hollywood bubble is thriving in Los Angeles. Leonardo DiCaprio plays Rick Dalton, an actor fading out of his 30s and his cinematic heyday, with Brad Pitt as his put-upon sidekick/stuntman/driver/dogsbody Cliff Booth.

Rick is known for a 50’s cowboy TV show and as the film starts the series has come to an end so Rick is on the hunt for his next job. His flavour of dashing leading man is no longer in vogue and increasingly typecast as the villain in one-off shows and movies, Rick looks to Europe and the booming spaghetti western scene. Cliff’s career follows Rick’s, albeit in a less fortunate way. Cliff does as he’s told, travels in economy class and patiently tags along, accompanied by his faithful hound Brandy. Cliff and Brandy live in an out-of-the-way trailer, which is a far cry from Rick’s gated community mansion in the Hollywood hills where Roman Polanski and Sharon Tate are new neighbours Rick hopes to befriend to help boost his fading stardom.

There are snippets of life on set and their past filmmaking experiences, including an on-set brawl between Cliff and Bruce Lee and Rick’s encounter with a wise-before-her-time child star. We’re given some wonderful flashbacks to films he’s auditioned for and starred in, including an alternative version of a 60’s classic and one where he tackles Nazis with a flame-thrower. Like the Machete trailer in the Grindhouse double-feature, part of me hopes that we could one day see the rest of the film, although I’m afraid Tarantino might just have shown us the ending.

Once Upon A Time… skips between the big story and the small and inconsequential in a familiar way if you’ve seen any of Tarantino’s previous 8 films. Rick and Cliff chew the fat when they’re driving in a way that has a very similar feel to the ‘royale with cheese’ conversation in Pulp Fiction and the bursts of violence at the ranch and in the climactic scenes yell Tarantino’s name. He clearly isn’t squeamish about subjecting younger, female characters to the same kind of nastiness we’ve more often seen his leading men dole out to each other. He might not be squeamish about it, but I found the dynamic of those fight scenes quite difficult to watch.

If you don’t know what happened when the Manson family met Sharon Tate, you can probably ignore the departure from reality, but I’m torn about it being an alternative history when the real things that happened were so terrible. Injecting new characters on the edges of a real-life story is one thing, but then changing how that story plays out made me uneasy. I’ve read that it could be seen as a way of paying homage to Tate, a way of wishing away the truth, but I can’t help but wonder if that’s a bit of a self-indulgent fantasy on Tarantino’s part.

Misgivings aside, I enjoyed the Once Upon A Time… In Hollywood. It’s long, but checking back I’m surprised it’s as long as 160 minutes. Hollywood glamour on the cusp of the 70s, the flash cars and constant sunshine set the backdrop for an immersive ride. If it’s really to be Tarantino’s penultimate film, it lives up to his catalogue so far and sets an exciting tone for a blow-out number 10.

Hannah Bingle

2 thoughts on “Review: Once Upon A Time… In Hollywood

  1. At the last annual general meeting we were encouraged to comment on entries here. That was ages ago, but here’s a comment. First, I do read and appreciate the stuff on this site – thank you everyone! Thank you for this review in particular! For my part, I agree about the counter-factual stuff being a self-indulgent fantasy, but unlike you it doesn’t make me uneasy—cinema should be free to revel in self-indulgent fantasy in the name of entertainment!
    Anyway, here’s what I thought, which may contain spoilers:
    Such a lot of fun. It’s not short, but the easy confidence and the style kept me entertained from beginning to end—truly a class act. Never looks like it’s trying too hard. The sort of cool that looks effortless, accompanied by perfect, spot-on pop selections. Unpredictable too—I never for a moment knew where it was going to go. Didn’t really care either, it’s not the sort of movie where you get invested in the characters, there’s not a lot of plot, I was just along for the ride.
    Rather than telling a story, Tarantino’s latest is about character and place. The two main male characters have hidden depths and fully-realised interior lives, brilliantly portrayed. The recreation of 70’s Los Angeles is detailed and holistic and exact to a degree that only obsession could achieve, gloriously reverent towards Hollywood movies and the people who made them, big and small, while acknowledging the sadness and darkness therein. The counter-factual dénouement brings to mind the climax of his Inglourious Basterds which utterly bamboozled me at the time—’He can’t do that!’—except it’s a movie. He can do anything he wants. So it is here, with a bizarre, funny, bloody climax and a happy ending that no-one deserves, least of all us, the audience, but bang, here we are. That’s quality entertainment, that is.
    As the title suggests, this is about a real and particular time and place, and it’s nice to know some of the background: the story of Sharon Tate and the Manson family; a lot of the movies and personalities involved or referred to or who provided inspiration. And it’s also a mythic LA, fully saturated, and sometimes it feels elegiac but at the end it feels as though it could go on forever.
    DiCaprio’s character is not a great actor, and we get to see a lot of his work. I’m always fascinated to see good actors portraying bad acting. This is a masterclass.

    Liked by 1 person

  2. Pingback: 2019 At Hyde Park Picture House | Friends of Hyde Park Picture House

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