“Once Upon a Time in Hollywood” occurs “Once upon a time in a land far, far away” to younger generations recognizing Marilyn as the maniacal Manson.
Beautiful people permeate the cast, but the only Manson involved is Charlie. Quentin Tarantino’s latest cinematic extravaganza unravels a historical fairy tale allowing 1969 Manson Family murder victim Sharon Tate (Margot Robbie) to live happily ever after. However, the film nestles itself under the blanket of authentic audio and visuals of late 1960s nostalgia.
Dejected Westerns headliner Rick Dalton (Leonardo DiCaprio) struggles to accept that Hollywood’s evolution ensures he will run out of steam before bullets. True to the life of obsolete outlaws, Dalton’s attempt to medicate his mediocrity with alcohol worsens his problems. Dalton’s longtime stunt double and best friend Cliff Booth (Brad Pitt) bears a reputation closer to John Wilkes Booth following unsubstantiated-yet-unyielding rumors that Cliff murdered his own wife. Facing deceased careers in America, the two seek resurrection in Italy via Spaghetti Westerns, as suggested by casting agent Marvin Schwarz (Al Pacino). This main plotline digresses into Tate’s antics and ultimately intersects with Manson Family mayhem.
Pitt and DiCaprio’s pairing makes performance purists swoon as swiftly as lustful ladies. DiCaprio adds another gem to his extensive collection of shining silver screen showcases. Vulnerability blends with rugged badassery soothed by effortless comedic timing. DiCaprio’s dichotomy produces a cocktail of well-served emotions and expressions that tastes quite palatable to the Academy, evidenced by a Best Actor nomination. Though Joaquin Phoenix’s Joker tasting victory seems inevitable, all fans share the last laugh emitted from the delight of watching another master uphold his sterling status.
Fellow stunning face and performer Pitt provides ample support through a fun performance that takes spectators on a wild roller coaster. Thrills include an unexpected beatdown of Bruce Lee. Side effects of partaking in viewership include torrid heart rates and abdomen contractions in Manson Family showdowns that fuse humor and horror. Pitt emerges from the zany ride as the projected frontrunner for Best Supporting Actor. Sensational alone, Pitt and Dicaprio demonstrate automatic chemistry together.
Robbie doesn’t receive the same chance to shine. She stays far busier playing Harley Quinn but fulfills her less psychotic “Hollywood” duty of conveying Tate’s bubbly, carefree spirit. In this fictional world, she represents a feel-good force, rather than an unfortunate footnote in the bloodstained pages of true criminal history.
Meanwhile, Tarantino authors another astounding writing/directing chapter of his storybook career. The man’s boundless passion for the time period acts as the ink that, when dried, produces an entertainment extravaganza worthy of universal acclaim. Avid fans fill the entire Tarantino Bingo Card. The ever-eccentric, ever-talented mastermind concocts unique situations and extensive dialogue with charisma and his signature blend of humor and zaniness. As usual, that comedy relieves considerable tension during bursts of sporadic yet gratuitous violence. Tarantino dips his directive toe into his foot fetish again, this time showcasing that even Robbie’s feet are worthy of aesthetic adulation.
A toe-tapping, infectious soundtrack encapsulates 1969’s smoke and serenity-filled spirit as effectively as the script. Specifically, The Buchan Brothers’ “I’m the Son of a Lovin’ Man” performs in audiences’ cerebral concert halls for a particularly long time. The vibrant cinematography closes any opening for eye jealousy. Every image hits the emotional target Tarantino aims at, whether gunning for eye-lighting guffaws, eye-covering violence, or eye-catching colorfulness.
Though Tarantino crafts his latest artwork using largely the same toolkit, one shiny, new addition is a foray into horror. The heart-wrenching unease of the Manson Family spearheads several scenes that follow in the maroon footsteps of “Texas Chainsaw Massacre”’s Sawyer Family. Perhaps the deviation teases Tarantino’s future. He stated in several interviews that directing a horror movie ranks among the top considerations for the decorated director’s 10th and final feature film.
Though the future forecasts uncertainty, “Once Upon a Time in Hollywood” guarantees satisfaction for all Tarantino fans and a wide demographic of moviegoers. Only two blemishes invade this film’s beauty. The final moments feel dull, sequelish and very disproportionate to the preceding confrontation. Additionally, Robbie and Pacino arguably are underutilized. Of course, even Michael Jordan facilitated some nights and as mentioned, Robbie played an underappreciated part in scoring crucial sentimental/feel-good points.
Nobody should be surprised if this excellent team effort walks away with the Oscar’s NBA Championship equivalent: Best Picture.
Rating: 4.5/5
