Quentin Goes to Hollywood

When director Quentin Tarantino announced his ninth film would take place in Hollywood in 1969, it was a given that I would be excited to see the movie. As his PR machine deftly released casting notices, and lurid plot points (Would it or would it not be about the Manson killings- wait, Margot Robbie is playing Sharon Tate- it must be!) I prepared myself to manage my expectations so I wouldn't go in wanting more than Tarantino could give me. I'm happy to report Once Upon a Time in Hollywood (2019) delivers on some of my highest hopes.

As the title suggests Once takes place in Hollywood and follows the intersection of the lives of three people in 1969: fading TV actor Rick Dalton (the not fading Leonardo DiCaprio), aging stuntman and professional best buddy Cliff Booth (Brad Pitt- more on him later), and doomed actress Sharon Tate (the appropriately Sharon, Margot Robbie).

Dalton is watching his career fade away in an angry haze of booze and cigarettes. Booth tries to keep his drunk and emphysema-level hacking friend together enough so Dalton can shoot any number of "heavy" Western roles. Booth is struggling himself though- a stuntman whose rumor-fueled past keeps him from actually stunting. He's a Hollywood appendage who has an unappreciated body of his own.

Tate is Dalton's neighbor and acts as the propellant for the unavoidable ending- a sort of blond tracking shot that leads Dalton and Booth to the historic events on Cielo Drive on August 8, 1969.

Tarantino's evolution as a director is in full flower. His earlier predilection to allow the Tarantino style of cleverness and cultural curation to overwhelm his story is actually used in Once to immerse us in this dizzying, mod world.

Like a pubescent teen who can't shuttup about the latest new thing he's discovered, Tarantino floods the screen with a multitude of 60's uber-specific references: radio ads, TV show footage, movie marquees, neon-signed Hollywood hotspots, eclectic soundtrack, and even dog food cans.

Cool Hollywood cameos are in abundance: Steve McQueen (Damian Lewis), Bruce Lee (hilariously pompous Mike Moh), Mama Cass (Rachel Redleaf), George Spahn (Bruce Dern still giving us acting realness at age 83), and the cast of infamous "hippies" that inhabited the Spahn Ranch.

Tarantino has a field day showing us that no one knows more about this time period than he does. But wisely, these gorgeous details are kept as elements of the setting- like a trippy kaleidoscope that his leads walk through as they navigate their show business destinies.

Tarantino has also learned to master the art of dramatic suspense- not in a thriller sort of way- but as a creeping dread. From the moment we see Tate and Polanski depart the Pan Am airplane, we know what the ending is.

I practically squeezed my theater armrest to shreds imagining how Tarantino was going to shoot the Manson Murders. It allows Tarantino to stretch out the apprehension to sometimes unendurable levels, while at the same time creating fantastic and hilarious moments of subverted expectations.

That dread is mirrored in the lives of Dalton and Booth because as surely as we know the fate of the occupants of 10050 Cielo Drive, we also know Hollywood is about to fall apart and these two showbiz brahs could wind-up as the detritus of a new age.

As Booth, Dalton, and Tate cross paths the tension of what must happen provides enervating fuel, raising the stakes of this oft-told story of unfulfilled and empty Hollywood lives. It's like the first gut-knot inducing scene of Inglorious Basterds (2009) stretched out over a whole, swinging movie.

I also have to give Tarantino credit for giving Brad Pitt a role that fits him like a torn and used glove. Pitt is perfection as a Lebowski-level cool guy who is nonetheless aware that he's a hanger-on. While he isn't really sure what he should be doing- he knows he's wasting himself. Pitt's screen charm is electric and so casual, it's hard to tell he's acting at all. I suspect with the success of this film, Pitt can look for an Oscar nom come next year.

Is the film too long? Yes. Are there long stretches where actors play actors acting? Yes. But the ending of this film is as satisfying as anything I've seen recently. Tarantino believes that movies can redeem and save us. Once graphically illustrates that belief.