In Once Upon a Time… in Hollywood, his ninth feature film as director, Quentin Tarantino reminds us that even when movies are based on very real events, their stories are in the hands of the filmmaker.
USA
4*
Director:
Quentin Tarantino
Screenwriter:
Quentin Tarantino
Director of Photography:
Robert Richardson
Running time: 160 minutes
At the end of his Second World War drama and perhaps his greatest film, Inglourious Basterds, Quentin Tarantino did something shocking: He recast history to give us the successful assassination of Adolf Hitler and Joseph Goebbels in a movie theatre in 1944. While the viewer often suspends disbelief to follow the story of fictional characters in a recognisable historical setting, there tends to be an assumption that the main events will remain, in large part, intact and unaltered. But Tarantino says (correctly) that the filmmaker is in control of his or her depiction of history: Since a representation is already separate from the original, why not go even further and rewrite history for the purpose of entertainment, especially when there is no risk that anyone would mistake the film for actual history?
In Once Upon a Time… in Hollywood, his ninth feature in the director’s chair, Tarantino is his revisionist self again: He tells a wholly fictional story within a recognisable context (Hollywood in 1969) with all the meticulous attention we would expect from David Fincher before reminding us that he can change the facts of history because the real world is only applicable to the extent he wants it to be. Many of the characters are very close to their real-life counterparts, but only up to a point. And in the tension between real life and representation lies the possibility to create great art.
Released exactly 50 years after the tumultuous year it depicts, Tarantino’s film is set in Tinseltown of the late 1960s, where we find the curious combination of a yearning for the innocence of yore, the hippy rebellion against the status quo and an invisible sword of Damocles hanging over it all because Hollywood in 1969 means only one name: Sharon Tate. Tate, an up-and-coming 20-something actress, had married Polish director Roman Polanski the previous year, a few months before the release of one of the highlights of his career, the classic Rosemary’s Baby. A little more than a year later, eight months into her pregnancy, she and three of her friends were slaughtered by followers of Charles Manson.
Sharon Tate is played by Margot Robbie in Tarantino’s film, but the real Sharon Tate does show up onscreen when Robbie’s Tate goes to watch The Wrecking Crew at the cinema, and we see Robbie as Tate watching the real Tate play an awkward Danish blonde named Freya Carlson. And yet, while many viewers might notice these are technically different people, the entire setup is clearly one of make-believe, so the suspension of disbelief holds. What has been more controversial, however, is the clear divergence from historical fact at the film’s climax, even though the entire film is, by definition, covered by a “This is fiction” disclaimer.
So, what is this fiction all about? Despite all this talk about Tate, the film is actually primarily interested in her next-door neighbour on Cielo Drive: a former cowboy television star named Rick Dalton (Leonardo DiCaprio), whose friendship with his long-time stuntman, Cliff Booth (Brad Pitt), is by far the most intimate he ever allows himself to get with another human being. Missouri-born Rick’s career has gone downhill since his starring turn in Bounty Law in the 1950s, and he is scared of having to pack up his bags and say goodbye to Hollywood. But Cliff, who lives with his pit bull, Brandy, in a caravan next to a drive-in, is always available as his driver, a shoulder to cry on and a constant companion through thick and thin.
The plot, most of which unfolds over two days (one in February, the other in August), follows Rick and Cliff, together and separately, as well as Sharon, who spends most of her day at the cinema watching herself. Rick, who has all but given up on himself, meets a child actress (although she refers to herself as an “actor“) who will change his life. Meanwhile, Cliff gives a young hippie a lift to Spahn Ranch, where mistrust hangs thick in the air. At the ranch, peopled almost exclusively by young white girls, Cliff seeks out an old friend, the owner, George Spahn (Bruce Dern), who has gone blind since Cliff last filmed on the ranch and has shacked up with the most domineering girl in the group.
DiCaprio and Pitt both give some of their best performances ever here. DiCaprio, whose appearance is still strikingly boyish more than two decades after Titanic, conveys the sentiment of being an outsider very well simply by showing up. His character goes through multiple ups and downs, and we can always see the gears grinding behind his eyes during his silences. Pitt, by contrast, is the epitome of cool and easily outshines the character of Steve McQueen, who makes a brief appearance in a very unnecessary late-night party scene at the Playboy Mansion. Channelling the energy (and still sporting the looks) of a man half his age, he is kind to everyone but is not beyond striking a very hard blow, as we find out in a memorable interaction with Bruce Lee and a hilarious flashback with his former wife, whose demise he is very likely responsible for.
A major improvement on Tarantino’s previous film, The Hateful Eight, Once Upon a Time… in Hollywood gives itself space to breathe but never meanders. Two of the longest scenes – the one at Spahn Ranch and the wholly immersive production of the television show Lancer, in which the dialogue and the actions run almost indefinitely, without cuts or camera changes – have very good reasons for being there, albeit in retrospect. Spahn Ranch upends our expectations and introduces us to some very important characters, while Lancer marks a major turning point in Rick’s perception of his own potential.
But ultimately, after more than two and a half hours of leisurely comedic drama, most people will only talk about the ending. Those who know the story of the Tate/Manson murders will have a sickening feeling towards the end of the film when we see the eight-month-pregnant Sharon Tate and it appears Tarantino is about to shift from the leisurely fifth gear out on the highway right into first gear. But then, the director intervenes like God to give us a rousing version of history instead. In fact, knowing what really happened to Tate makes the events of the film, by comparison, all the more exhilarating, just as Tarantino had done with Hitler in Inglourious Basterds. He doesn’t skimp on the violence but directs it elsewhere and even borrows a flamethrower from his Second World War masterpiece for added showmanship.
The final moments include one of the most acute examples of dramatic irony imaginable, as Jay Sebring, unaware that in a parallel universe (i.e. the real world) he has just been brutally shot and stabbed in a bloodbath, invites Rick over to Sharon’s house after the Manson trio has been taken away by the police. He has no idea what happened to his counterpart in the real world. But we know. And this discrepancy between the real and the fictional is particularly poignant because, in a sense, these characters are real to us, and the fictional murderers have gotten what was coming to them. When they are killed, we feel like they are punished not only for attacking Rick and Cliff but also for murdering the real Tate and her friends.
It is unfortunate, however, that the film does not make the connection with real life more concrete. While he appears on one occasion, Charles Manson’s name is all but left out altogether (his followers refer to him as “Charlie”, but he is never seen in their company). But perhaps Tarantino wanted his film to exist more in the world of make-believe than as a representation of history, which is why an infrequent and incongruous narration (by Kurt Russell, who plays a minor character here) pops up on the soundtrack.
To take the term used by André Bazin, a representation is always at best an “asymptote of reality” and never reality itself. So much focus has been on the closeness of those two lines as the film draws to a close, but few have extolled the artistic tension that results from that intimacy. Once Upon a Time… in Hollywood would have been entertaining enough without the last 30 minutes, but what happens there reaffirms its director’s capacity to amaze us.
