In Quentin Tarantino’s spectacularly successful Once Upon a Time…in Hollywood, two fictional characters, Rick Dalton (Leonardo DiCaprio) and Cliff Booth (Brad Pitt) and the actress Sharon Tate (Margot Robbie) navigate a changing Hollywood in 1969. The next evolution of Hollywood is filled only with promise for Sharon, but presents an unseen threat to Rick and Cliff.
Rick is an actor, a former star of TV Westerns who has aged into guest appearances on the shows of a new crop of TV stars. Cliff is Rick’s longtime stuntman, who now works as Rick’s driver, gofer and drinking buddy. Cliff lives in a San Fernando Valley trailer; Rick lives on exclusive Cielo Drive, next door to Sharon and her husband Roman Polanski, but he’s slipped too far down the showbiz ladder to know them.
Once Upon a Time…in Hollywood is about a lot of things, expertly braided together. It’s about a specific time and place. It’s about a woman, filled with innocence and zest, who is justifiably hopeful. It’s about two guys – one tortured and the other decidedly not – facing age and irrelevance. It’s about the guys’ relationship, at once interdependent and asymmetric. And it’s a love letter to vintage Hollywood, the Hollywood that six-year-old Quentin Tarantino lived near to, but was not a part of.
The story follows the three characters through a series of vignettes, right up to the most startling ending in recent cinema. This is a Quentin Tarantino masterpiece, right up there with his best, Jackie Brown and Pulp Fiction.
The movie’s title begins with “Once Upon a Time…“, so you are on notice that this isn’t actual history.
Once Upon a Time…in Hollywood is set in the locations most evocative of the 1969 Hollywood: movie studio sets, legendary showbiz hangout Musso & Frank, the Playboy Mansion, the ill-fated Cielo Drive and Spahn Ranch – famous for both its use as a movie set and as the home base of the Manson Family.
There’s a dazzling montage of neon signs being lit up at sunset. Not many contemporary directors still know how to film galloping horse riders, but Tarantino brings us some great shots from Spahn Ranch, where so many Westerns were shot.
Of course, Tarantino’s soundtrack takes us right into 1969 with superbly curated period radio hits like the Deep Purple version of Hush and the Jose Feliciano cover of California Dreamin’. A February scene is perfectly set to Neil Diamond’s Brother Love’s Traveling Salvation Show, with its hot August nights lyrics presaging the Manson murders to come in LA’s stifling August 1969. (Brother Love’s Traveling Salvation Show got me wondering how Tarantino restrained himself from using it in some – or all – of his previous films; it’s every bit as Tarantinoesque as Misirlou or Stuck in the Middle with You.) A snippet of a full-bearded Robert Goulet singing MacArthur Park even turns up on somebody’s TV.
In 1969, American culture and the nation itself were in turbulence. Hollywood showbiz was also being rocked – major movie studios were slipping both financially and creatively, floundering to react to the primacy of television and the public’s changing taste (and growing disinterest in Westerns). The studios were about to reach out in desperation to auteur directors like Polanski. Rick and Cliff are behind the curve – but they haven’t noticed that their world is dying.
As hedonists, Rick and Cliff have embraced the drugs and free sex of the counterculture. But they still drive gas guzzlers – a luxury sedan for Rick and a muscle car for Cliff – and refer to “dirty hippies”.
How does the Manson Family play into all this? There was a time when people actually believed that drug-infused peace and love would cure all that ailed us as a society. By 1969, the Summer of Love had already turned dark in San Francisco; but the Manson killings made the unmistakable point that the counterculture, for all its promise, didn’t have an answer to murderous psychopaths any more than did the mainstream.
We very briefly glimpse Manson himself (in an encounter that is pretty close to historically accurate). Tarantino knows that the best way to depict Manson’s evil is to reflect it in the cult he created.
DiCaprio’s Rick Dalton, drinking way, way too much, is still treated like a star around town, and he’s grown complacent – until the truth about his career staleness finally hits home. DiCaprio shines in the scene where Rick, cast as a one-dimensional villain in a disposable TV Western, shows his acting chops with an explosive performance; Rick, having internalized that his career may be over, lets it all go in the scene. The character of Rick has the movie’s greatest arc, but he’s less interesting overall than Cliff or Sharon.
Sharon Tate is the soul of Once Upon a Time…in Hollywood. Robbie is absolutely transcendent,. She doesn’t need a lot of lines to make her character unforgettable. Sharon gets a ticket to watch herself in a Dean Martin movie, and it’s impossible to imagine a moment with more goofy innocence.
Cliff Booth is one of Tarantino’s greatest characters. Cliff is secure in his abilities, without any need for recognition or self-promotion. Unambitious, he is absolutely content to be Rick’s second banana. That being said, he’s not going to take any shit from anyone.
In Once Upon a Time…in Hollywood, Brad Pitt shows us what a movie star is and why he is one. I haven’t been a Pitt enthusiast, although I’ve liked him in Fight Club, The Assassination of Jesse James, Moneyball and Inglorious Basterds. Pitts’ Cliff Booth is off the charts, and it’s tough to imagine any other actor in the role. Other male stars can match the physicality, but not the unique combination of confidence and humility.
Right up there with Pitt and Robbie is Margaret Qualley, who plays a fictional Manson girl named Pussycat. She is kooky in the cute way and kooky in the scary way. Qualley fills her with manic energy, brimming with wit and sensuality.
Julia Butters plays a precocious child actor in the pilot Rick is shooting; she’s the best possible counterpoint to Rick’s flabby professional complacency. Michael Moh is very funny in a send-up of Bruce Lee. Damien Lewis has a priceless moment as Steve McQueen.
For his supporting players, Tarantino pulls out an abundant cornucopia of acting talent and Tarantino sentimental favorites: Al Pacino, Dakota Fanning, Kurt Russell, Emile Hirsch, Brenda Vaccaro, Clu Gulager, Bruce Dern, Michael Madsen, Luke Perry, Timothy Olyphant, Zoë Bell , Clifton Collins Jr. (Perry Smith in Capote), Lena Durham and Scoot McNairy.
Tarantino’s exquisite filmmaking skills blend together the verisimilitude of time and place, the vivid performances and a rock ’em, sock ’em story to make Once Upon a Time…in Hollywood an instant classic.
Note: Deep into the closing credits, there’s an Easter egg.
