Era Uma Vez em... Hollywood

Once Upon a Time... in Hollywood is maybe proof that Quentin Tarantino ranks alongside Stanley Kubrick. Both started to make overlong movies and were lionised by critics, many who were afraid to be critical of them.

This might be Tarantino's most self indulgent film so far despite being a glorious period piece.

Set in Los Angeles 1969. The film is an alternate history as it focuses on Rick Dalton (Leonardo DiCaprio) who was once a star of the hit television show Bounty Law. Now Dalton's career is fading. He drinks too much, he does not remember his lines and his regular work is guest starring as the villain of the week.

Accompanying Dalton is his stunt double Cliff Booth (Brad Pitt) who acts as his driver and gofer. Booth is also short of work as he has a bad reputation in the stunt industry.

Living next door to Dalton in LA is actress Sharon Tate (Margot Robbie) who has just moved in with her director husband Roman Polanski. Life for her is attending parties and going to the cinema to see her latest movie.

Dalton wonders if he should take up a suggestion to go and work in Italy and make spaghetti westerns which could kick start his career. Booth gave a pretty hippy a lift to a ranch which is full of strange people belonging to a cult. Booth seemed to have rubbed them up the wrong way.

Eventually the various people cross paths in this reimagining of what might have happened on a fateful night in 1969.

There is no doubt that that DiCaprio and Pitt give their all in this film as two middle aged men fading away at an uncertain time. Tarantino seems to have given this film a conservative hue, he really dislikes the counterculture. I wonder if he is angry with the #metoo movement which destroyed his friend Harvey Weinstein and raised questions over his own conduct in the past.

Clocking in at under 3 hours this film meanders until it reaches its explosive climax. Until then you wonder what exactly is the story. The movie is a series of vignettes that hints at a director/screenwriter who is past his prime and seems to be obsessed with bare feet.

Greetings again from the darkness. Hippies, westerns, short skirts, pompadours, catchy pop songs ... all have (mostly) disappeared from our world. Back to save the day and the memories, and twist a little history, is Quentin Tarantino, the ultimate film geek. His latest reminds us of a bygone era of movie stars and old school filmmaking ... a once beloved industry which has been described as being on life support. There have been plenty of big screen love letters to Hollywood, but few if any, were filmed with so many personal touches and call-backs to the director's own films.

In keeping with the request from Mr. Tarantino, this review will not include any spoilers or details that might negatively impact anyone's initial viewing of the film. It's a reasonable request since the film is so unique and literally packed with nostalgia, sight gags, and historical bits and pieces - some accurate, some not so much. There is a lot to take in and process, and the full impact of the initial viewing might result in awe, shock or disgust ... and maybe even all of the above. So this will be a pretty simple overview peppered with some insight that should enhance rather than spoil the experience.

The film covers about 6 months in 1969, but in reality, it all takes place (at least what we see on screen) in 3 days. Leonardo DiCaprio (possibly his best ever performance) plays Rick Dalton, an actor who had a hit (fictional) TV western series in the 50's and 60's entitled "Bounty Law". Since the show ended, Rick has been unable to make the successful transition to movies. For comparison, think of Clint Eastwood, Steve McQueen and Burt Reynolds - all actors in TV westerns who found greater career success in movies. Brad Pitt (the epitome of cool) stars as Cliff Booth, Rick's stunt double, friend, driver, handyman, etc. While Rick is desperate to find the next stage of his career and fend off being forgotten, Cliff, a Vietnam vet, is accepting of his lot in life. Rick lives in a swanky Hollywood Hills home next door to hotshot director Roman Polanski and his starlet wife Sharon Tate; and Cliff lives in a trailer behind the Van Nuys Drive-In with his well-trained Rottweiler Brandy.

There are multiple parallel stories to follow, and a key one involves the aforementioned Sharon Tate. Margot Robbie nails the role and bounces about town with the energy and sweet aura that we imagine she possessed. All 3 of the lead actors - DiCaprio, Pitt, Robbie - have knockout scenes that I'd love to be able to discuss, but I'm not sure how without giving away too much. What I can say is that each of these three talented actors prove that movie stars still exist.

This is Tarantino's 9th film as a director (he counts the 2-part KILL BILL as one film), and he claims he will stop making films after number 10. There are multiple features we can count on in a QT film, and a ridiculously deep supporting cast is one. Going through each of the characters played by actors you will recognize would take a page and a half, so I'll cover only a few here. Margaret Qualley is a scene stealer as Pussycat, one of the Manson family girls. You likely remember her from the recent "Fosse/Verdon" or "The Leftovers", and here she fully embraces the hippie look and spirit. Emile Hirsch plays hairdresser Jay Sebring, one of those in the house with Ms. Tate on that fateful night, and Mike Moh plays Bruce Lee so convincingly that I was momentarily confused when he took off his sunglasses. Also making appearances are some Tarantino regulars: Kurt Russell (as a stunt coordinator and narrator), Michael Madsen (as an actor), and Bruce Dern as George Spahn (a late replacement after Burt Reynolds passed away). Others of note include Maya Hawke (Uma Thurman's daughter), Austin Butler (recently cast in the title role of Baz Luhrmann's Elvis biopic) as Tex Watson, Rumer Willis (Bruce's daughter) as actress Joanna Pettet, Damian Lewis as Steve McQueen, Al Pacino as agent Marvin Schwarzs, Dakota Fanning as Squeaky Fromme, and the late Luke Perry as actor Wayne Maunder ("Lancer"). 90 year old Clu Gulager ("The Virginian", THE LAST PICTURE SHOW) makes an appearance, and Nicholas Hammond (Friedrich from THE SOUND OF MUSIC) tears into his role with gusto as director Sam Wanamaker. There is even a TV Guide cover featuring the late great character actor Andrew Duggan ("Lancer"). Some of these, and many more, are like cameos, but it's still fascinating to see the faces.

1969 was 50 years ago, and Tarantino does a remarkable job of recreating the look of Sunset Boulevard, Hollywood Boulevard, Cielo Drive, and studio backlots. Much credit goes to Production Designer Barbara Ling and Set Decorator Nancy Haigh (frequent Coen Brothers collaborator and an Oscar winner for BUGSY). Arianne Phillips does a tremendous job with the costumes that look natural for the time period, and not like something right off the wardrobe racks. Three-time Oscar winning Cinematographer Robert Richardson (HUGO, THE AVIATOR, JFK) is back for his 6th Tarantino film, and he captures the look and feel and vibe of a time that is so personal to the director.

It's been three and a half years since THE HATEFUL EIGHT, Tarantino's most recent film, and probably his worst received. This one is clearly personal as it captures the time and place that he fell in love with movies. The dichotomy of rising starlet and fading cowboy as neighbors is a brilliant way to make a point about times changing. This was a time of transition in the United States - a new culture was upon us, and whatever innocence remained, was surely snuffed out on a hot August night in 1969. As usual, his use of music serves a purpose. We are treated to Roy Head, The Royal Guardsmen, and Paul Revere and the Raiders, among others. QT also shows us plenty of bare feet (another trademark). What is unusual is that the film lacks the trademark mass dialogue. This one kind of meanders ... right up until it doesn't.

Quentin Tarantino is a living, breathing film geek (that's a compliment) who has earned the right to make the movies he wants to make. This one took him a lifetime to live, 5 years to write, and it will take you 161 minutes to watch. It was warmly received at Cannes, but no one can expect to "catch" everything Mr. Tarantino has served up in one viewing. That said, one viewing will likely be one too many for quite a few folks (especially many under 40 who have no recollection of this Hollywood). Some will categorize this as an overindulgent nostalgia trip for movie nerds. And they are likely correct. But for those of us who complain that too many movies are remakes, re-treads and comic books, there is no denying Tarantino delivers a unique and creative viewing experience - and it's not meant for everyone.

Before watching this film, it is CRITICAL that you have somewhat of a knowledge about Charles Manson (and Sharron Tate). If I did not have my sister next to me pointing out the small references to this serial killer's story, I would not have understood at least 80% of the movie. Understanding the significant details adds a specific intensity in every other scene, like you know something that the characters don't, and always keeps your eyes glued to the screen.

Although I can see how a few scenes were fairly slow, and the middle was not particularly engaging, Tarantino definitely had a purpose for each scene, even if I don't have all the answers. Even the smallest of details, like a gun holster of beer or the way the characters drive down the highway, reveals hidden thoughts, feelings, and backstories to the audience. If you do not catch onto these specific details, I can understand how some points seem overindulgent of "the golden age" of Hollywood. But the beautifully nostalgic filming in these moments is what makes this film not only entertaining, but a piece of art.

It's the juxtaposition of Sharron and Dalton's storyline, it's the wonder and the dimensional characters, it's the brilliant manipulation of the audience's emotions, causing you to laugh, scream, and cry (sometimes simultaneously) that makes this film utterly perfect.

The ending leaves you wondering "What if..." over and over again, questioning what reality would look like if these fictional characters of Rick Dalton and Cliff Booth actually existed. And I think that's when I realized how perfect the title was: it's a humorous, fairy-tale (although not completely violent-free) ending to the tragic fate of Hollywood in the 60s...

Not one of Tarantino's best. But still a pretty damn good and smart movie with cool sequences, great acting and directing, music and scenes that will stay with you long after the movie and you would love to watch again. Loved the combo Pitt-DiCaprio but loved more seeing some famous characters in this film such as Steve Mcqueen and Bruce Lee, who are absolutely hilarious in the movie! 8/10

I don't typically leave IMDb reviews but this film deserves so much praise for its risky screenplay in such a dark true crime setting.

For 2 hrs, 41 minutes, I was taken 50 years back, experiencing Hollywood's film industry as a comedic drama filled with desire, tension and everyday life.

I liked Brad's character the most, but Leo easily matched with his own performance. A definite see-it-in-theatres watch. Bring your sense of humor though. There are lines of dialogue and laugh out loud bits that completely satisfy your curious mind. Expect everything you would from Tarantino, but also what you wouldn't.

I gave it a perfect 10 because I forgot I was watching a nearly 3 hour film, even though it still wasn't long enough for me. I would like to see a director's cut up to an hour longer as I think this is a unique case that extra footage would only help such an already powerful story.

I had the privilege to watch an early 70mm screening of this film at the cinerama dome with the director, Tarantino, in the audience. It was a surreal experience I'll never forget.