Related Content from And There Came A Day
- Yesterday – A Movie Review
- Spider-Man Far From Home – A SPOILER FREE Movie Review
- Late Night – A Movie Review
- Toy Story 4 – A Movie Review
I cannot think of a movie I have recently seen that left me with one immediate impression upon leaving the theater that morphed into a different impression within a few days. Once Upon a Time in Hollywood is one of the strangest, weirdest most self-indulgent movies I have ever seen. I defy anyone who has seen it to describe the plot of the movie in one sentence.
First, let me state that I understand having a discernible and clear plot is not the point of the movie. I do get that. There were, however, multiple times – especially during the first two acts of the movie – where I wondered just what in the hell was going on. And, upon reflection, I understand, too, that that is part of Quentin Tarantino’s point.
I am not a Tarantino aficionado. No expert in his movies (I’ve not seen his classics), I came to Once Upon a Time in Hollywood not knowing what to expect but excited by the story (I am interested in the Manson story), by the director’s renown for brilliant use of music (and the soundtrack is so very well composed and evocative) and by actors assembled for the movie. What a shockingly stocked set of performers Tarantino had with which to play.
The cast does not let one done. Leonardo DiCaprio has been labeled the last real movie star in America for all kinds of reasons – from his acting choices to his image to his talent. He is a towering presence in the movie in a role that requires far more bravery from him than one might gather watching the previews. Paired with Brad Pitt, whose Cliff Booth is just as an indelible creation as the actor’s Rick Dalton, DiCaprio shines even as his character is supposed to be fading into the background. His friendship with Pitt’s Booth – the character I loved best in the film – is the through line of the picture, and it’s a good one. Once Upon a Time in Hollywood is at its best when the two are on screen together, although Pitt’s solo scenes – especially as tension mounts as he tours the infamous Spahn Movie Ranch – is commanding.
Rounding out the trio of mega stars is the ubiquitous Margot Robbie. Playing the ill-fated actress Sharon Tate with a light, comedic and blissful air, Robbie is captivating. As pressures mount towards the end of the movie, the mind juxtaposes this beautiful creation of Robbie’s with the end that is coming. Robbie’s work here is a love letter not only to the actress, but to a time in Hollywood that has passed by and will never return.
And this, clearly, is one of the themes on which Tarantino built the movie. In 1969, Hollywood was being blown apart by forces within and without and actors like Rick Dalton were discovering they no longer had a clear role to play. One wonders if Tarantino in this age of CGI and superhero franchises and re-cycled concept after sequel films wonders if his time is almost up.
I believed this was on his mind right up until the last act of the movie. In that last act, Tarantino through his 3 lead characters issues a most visual and visceral middle finger to the idea that his time is up. And the last act is simply stunning.
The more time that passes the more I want to see Once Upon a Time in Hollywood again. It is a lyrical sledgehammer that remains with the viewer far after the brilliant closing credits wrap.
ONCE UPON A TIME IN HOLLYWOOD receives THREE AND A HALF SPAGHETTI WESTERNS out of a possible FIVE