One of the greatest cinematic experiences of 2019 has come home on DVD, Blu-Ray, digital download formats and On Demand. Once Upon a Time … in Hollywood is the ninth film from auteur extraordinaire Quentin Tarantino and features all the hallmarks of QT filmmaking, from whip smart dialogue, too cool for school characters that are so layered that if they were a house, they would put folks like Frank Lloyd Wright on notice.
Many people have claimed that Tarantino’s latest is a love letter to Hollywood. The thing is all his films have been adoration celebrations in honor of the art of film in one form or another. For example, The Hateful Eight is an “I love you” tribute to the Italian Spaghetti Westerns of T’s youth. Heck, he even utilized one of the milieu’s most recognizable composers, Ennio Morricone—who won an Oscar for his work. Then, there’s Jackie Brown, which was his tip of the cap to Foxy Brown. The thing about calling what he gave us with his ninth film a love letter to Hollywood, is it underwhelmingly describes the filmmaker’s masterpiece.
There was a swell of collective creative juices that was marinating as the 60s became the 70s in Tinsel Town. The hippies were calling for drastic, often radical, change to the social fabric and economic disparity that existed in America during that period. There was an old(er) guard, who although not necessarily straight and narrow, yearned for a world with rules, consequences and a system in place that rewards experience and knowledge.
Leonardo DiCaprio stars as Rick Dalton, an on the verge of being washed-up western actor working a steady stream of parts as the “heavy” on television westerns that were all the rage as the 60s faded into the history books. Cliff Booth (a sublimely understated Brad Pitt) is Rick’s stunt double, although he’s been acting as his personal driver, gofer and confidant latterly more than any death defying stunt work. Dalton’s new neighbors on Cielo Lane are none other than Roman Polanski and Sharon Tate. The nightmare headlines have told us of how the Manson Family’s home invasion slayed a 9-months pregnant budding superstar in Tate along three of her friends, who were staying with her while Roman was prepping a film in London.
As Tarantino reimagines it (as he did Hitler’s demise in Inglorious Basterds) Tate, Dalton, Booth, Manson and his followers are all on a fateful collision course, but it is one that firmly lives in the Kill Bill helmer’s bombastically brilliant mind.
DiCaprio gives a performance that is historic. His character is straddling a line between being a “has-been” and forging a future that commands that it firmly include Rick Dalton. The actor embodies an actor at a crossroads, as is the town that he repeatedly talks about adoring. Tarantino has crafted a character that does so much more than deliver emotions and forge a storytelling narrative. In the hands of DiCaprio, QT could not have asked for anything better than what the Oscar winner delivers. His Dalton is incredibly accomplished at what he does, and nobody does it better. As Hollywood is known to do, they have pigeon-holed the actor. He had been comfortable with it, but after meeting with Pacino’s character, our story gets a shot in the arm of potential and that works wonder for the overall trajectory of Tarantino’s world.
Much has been made of how much or how little Robbie has to do or say in the film. Whatever the stopwatch reads or the keeper tracker of lines, what her turn as Tate does is give us a taste of a world where the beautiful light of a Tate is not extinguished. Her presence hangs heavily over the entire entity that is the film. That’s impressive, given that this is a two-star lead heavy production, with the rest of the cast firmly serving their supporting ensemble role. Then, there’s Robbie as Tate. Her performance reminds me of a shooting star—dazzling to see, the rarest of moments and has the power to linger in your subconscious long after its vaporized in the atmosphere. That what was required of her with Tarantino’s script and just like she did with Martin Scorsese in The Wolf of Wall Street, the Aussie actress took thespian risks with her characterization because she knew she was in good (and supportive) hands with her legendary helmer. With Tarantino behind the camera, it is clear that Robbie felt empowered to take back Tate’s memory from those who robbed her life and infuse it with layers of compassion, sensitivity, a window into a budding talent and an expectant mother whose maternal instincts are divinely pure.
Then, there’s Pitt. He is surreal in lighting up Booth with his scandalous past, exciting and rewarding recent past and present … and a wide-open and mysterious future. He, among his many character duties, serves as a tour guide for the viewer through 1969’s Hollywood that runs from the glamour of movie sets, to Hollywood hot spots (like the Musso and Franks Grill), movie stars’ homes in the Hollywood Hills to where he lives—behind a Van Nuys drive-in theater in a simply, yet cozy trailer with his pit bull, Brandy.
There is a subtly to his performance that is unlike anything we’ve ever seen from the veteran actor. The star emits a quiet command of Booth that achieves two things. It allows others (most notably his buddy/employer Dalton) to define him and showcase what it is about him that is so special. He’s a loyal friend and confidant, who also is so mailable as a stuntman that, as Dalton puts him, “you can do anything to him.” There is nothing more fitting than the current Oscar buzz surrounding Pitt that honestly, could very easily result in him winning. He has crafted a character in Cliff Booth that will go down as one of the greatest of his career and one of the finest crafted by a guy who knows a thing or two about building iconic characters.
Supporting ensemble is rich and that is hardly a surprise. When QT comes calling, there is no such thing as a small part. Al Pacino plays the part of a Hollywood heavy to a “T.” His Marvin Schwarz is firmly in the know and it is his guidance that aides Rick to make a potentially career saving move. Other standouts include Emile Hirsch as a pal of Tate’s, Timothy Olyphant as the star of a pilot that Rick works on, Dakota Fanning does so much with so little in her take on a Manson Family member whose protective mamma bear instincts puts her firmly in the way of Booth in one of the more jaw-dropping moments in the film. Bruce Dern, Luke Perry, Damian Lewis, Michael Madsen and Maya Hawke also shine brilliantly.
By altering history, Tarantino does something that is stunning. He frames history by taking away a voice for those who previously anchored the event and shifts that vocal power to those who embody souls who didn’t have a voice or had theirs taken by a monster. The screenwriter in Tarantino worked overtime with Once Upon a Time in Hollywood. Not only do timelines seamlessly match up, but potential throw-away pieces of dialogue serve like road maps to how the drama will play out by the film’s conclusion. He is always one to gift his performers some of the richest material they will ever have the privilege of uttering and in the hands of this cast, that has never been truer. Also, with so many in the ensemble, it takes a lot of work to weave them seamlessly into the narrative, as well as properly define them in such a way that empowers the actor. QT has become an expert at that last part and the proof of strewn throughout the pudding that is his latest.
There is not a wasted minute in Once Upon a Time in Hollywood. It pulsates through 161 of them. We bask in a living legend, who is working at the top of his game, find ways to top himself around every turn. For example, the music. Nobody does the sonic cinematic succulence like Tarantino, except maybe Martin Scorsese. But they are two beautiful branches on the same tree. QT gest to mine the California music scene of his youth and in the process not only brings back some classics that need to be exposed to a series of young(er) generations, but the tracks also provide a priceless tonal setting for the drama, comedy and countless movie moments of film Zen.
The bonus features of a QT film are a varied bunch, but they all add up to an impeccable amount of insight into his thought process. That is gleaned from his extended and deleted scenes presentation on the Blu-Ray and DVD. First, scenes that were cut illustrates something rare in Hollywood. Most writers who are also their film’s directors, have a bit of trouble discerning what works for the overall arc of the film and what is slowing down that forwards momentum. A couple of deleted scenes are featured that are fascinating to watch but can easily see why they were left on the cutting room floor. Then, there are those extended scenes. When the filmmaker chose to only include certain parts of a scene, it further educates us on what most precisely makes the scene’s “point” and at what point, it begins to detract from it.
There are five behind-the-scenes featurettes, and each does an incredible job of illustrating the cult of QT and why actors and audiences adore him equally. Quentin Tarantino’s Love Letter to Hollywood is a five-minute extra that has some fascinating interviews concerning the magic of the filmmaker. Bob Richardson – For the Love of Film does a dazzling job at introducing the world to the filmmaking prowess of QT’s cinematographer. Their working relationship is a stunning one to watch. Shop Talk – The Cars of 1969 illustrates how important the casting of autos is due to what each vehicle says about the person that drives it (or is driven in it). Especially cool is how the cars were retrofitted so they could include camera works and POV shots that add priceless feel to the film.
Restoring Hollywood – The Production Design of Once Upon a Time…in Hollywood is probably the most simultaneously entertaining and enlightening of the featurettes. Living in LA, I saw how the filmmaker had taken over parts of town (like Hollywood for example) and changed store fronts, awnings and the like to as they were in 1969. Sure, one can achieve that other ways, but the practical set is a priceless addition to the tone and more. Production Designer Barbara Lane gets her due in this almost 10-minute featurette.
Lastly, The Fashion of 1969 salutes Arianne Phillips and shows how the costume designer outdid herself with her latest film work. Many an actor have said that it is the costume that puts the final touches on their characterization. One can see how the ensemble of Tarantino’s Once Upon a Time in Hollywood owes Phillips quite a lot of credit for her contribution to their stellar work.
Film Grade: A+
Bonus Features: A