Reflections
on “Once Upon a Time in Hollywood”
Written
and directed by Quentin Tarantino
Starring
Leonardo DiCaprio, Brad Pitt and Margot Robbie
A video presentation of this material is available here.
The first point to make
about “Once Upon a Time in Hollywood” is that, absorbing though it is, it does
not have much of a plot. Essentially it is a snapshot, à la Tarantino, of Hollywood
and its multitude of influences on popular culture in 1969, though there is a
nod toward a linking plotline by incorporating references to the real-life Manson
Family and the infamous murders they committed at that time. However, even that
unifying plotline based on historical figures is manipulated and altered to
suit Mr Tarantino’s vision for his film.
The film consists largely
of a nostalgic revisiting of the atmosphere, fashions, music, films,
television, transport, language and mores of what is frequently referred to as
the end of the Golden Age of Hollywood. Virtually every scene recalls some
element of the time in which it is set and that alone makes the film highly enjoyable
for viewers of a certain age. We also encounter numerous actors and
personalities of the time, adding to the sense of nostalgia and giving the
audience some insight into their true natures, as perceived by Mr Tarantino.
All this is conveyed
principally through the experiences of Rick Dalton, a former TV star whose
career is on the wane, and Cliff Booth, Rick’s loyal and down-to-earth stuntman
and friend. These characters, their relationship and their dealings with others
are quite brilliantly captured and conveyed. There can be no doubt whatsoever
about Quentin Tarantino’s talent as a writer. In this film, as in his others,
he creates complex characters whose traits, strengths, weaknesses and quirks
are all conveyed in exchanges with others without recourse to direct
exposition. We have a clear idea of what makes these characters tick through
their dialogue and their attitudes displayed in interaction with others.
Though recognisably
derived from the careers of a couple of Hollywood icons, Rick is nonetheless
his own character – he is sensitive but ambitious, talented but self-doubting
and confident yet given to angst and stress. He stammers slightly when dealing
with his own affairs yet speaks clearly and confidently when in character,
suggesting he is at ease only in others’ skins.
Cliff, on the other hand,
seems entirely happy in his own skin. He is quietly confident, does not impose
his views but is willing to express himself and act on his convictions as
required, and is loyal, reasonable, realistic and unburdened by huge ambition
or ego. He appears to be happy with his modest lot and is Rick’s best friend.
They appear to balance,
complement and enable one another, allowing each to be more successful than he
would be without the other’s input. Cliff offers a calm foundation to Rick’s
anxiety-laden but talented aspiration. In the end, Cliff deals with reality, values
and action while actor Rick deals with ego, people and direction. Combined,
they make an effective unit.
Brad Pitt is convincingly
natural and thoroughly engaging as the solid, self-assured stuntman and friend
who may serve as a source of security and authenticity for his friend and
employer, Rick. Leonardo DiCaprio is equally impressive as the sensitive and
angst-ridden Rick, capturing the insecurity, skill and drive of a dedicated and
ambitious actor.
In contrast to Rick’s
tortured approach to acting and fame, we see Sharon Tate enjoying her stardom
and gaining pleasure and satisfaction from the audience reaction to her scenes
with Dean Martin in “The Wrecking Crew”, a light and breezy James Bond
pastiche. Quentin Tarantino may have intended us to draw comparisons between
this airy and undemanding approach to film-making and acting, Rick’s desperate
and self-absorbed efforts to prepare and get into character and, of course, the
calculating, intelligent and professional 8-year-old Trudi Fraser (who may
represent the coolly analytical younger generation of actors).
However, all of them
compare badly to Cliff who may be Quentin Tarantino’s most admirable character to
date as he behaves like a thoughtful and caring human being while the others
act and indulge themselves. I wonder if Mr Tarantino is pointing out the
difference between reality and façade.
Tarantino’s characters
are always clearly defined, quirky and memorable, even his minor characters,
and thus the interaction between them is always entertaining and of interest
even if their encounters don’t always serve to immediately advance the
storyline. He has the talent and confidence to spend time establishing and
developing character rather than constantly drive forward the plot.
Of course, this can be a
difficult balancing act to achieve. While the building of character may
strengthen emotional and intellectual engagement with the figures in a film, if
that film seems to be going nowhere or lack any clear or consistent direction,
such engagement will tend to dissipate. Mr Tarantino does seem to invest
heavily in characterisation, often at the expense of pace and plot development.
At various points in this
film he injects, very effectively, unease and even foreboding with regard to
the Manson Family. He creates a sense of danger and threat, though this is not
really in keeping with the atmosphere of the rest of the film and it doesn’t
provide an effective story arc that might have drawn together the various
component parts. Each element works very well, but they don’t blend to make a harmonious
and integrated whole.
The confrontation at the
end of the film involves members of the Manson Family and although this is
outrageously entertaining, it is certainly not in keeping with historical fact.
It was only as the end titles appeared that it struck me Mr Tarantino was
perhaps tilting at Hollywood’s tendency to re-write history and has provided a
satisfying ending in which the perpetrators of a hideous and savage crime get
their comeuppance, while the positive and touching portrayal of Sharon Tate serves
to underline the tragedy and brutality of her murder. That said, within the
framework of the film, this ending does rather call in to question the need for
her very presence in the film.
I thoroughly enjoyed this
film as I was watching it – I found virtually every scene involving and
entertaining. It was only on reflection that I began to question its narrative
strength and overall direction. Mr Tarantino’s great and undeniable strength is
his writing of characters and their interplay, but they are not always
supported by a lucid, engaging and consistent storyline. He has utter belief
and confidence in his own judgment, imagination and constructed world. He
exercises control over and teases his audience as he effortlessly and entertainingly
dips into elements of different genres and explores character and relationships,
but the danger is that substance and relevance may fall victim to his playful
and often self-indulgent direction.
My thanks for taking the
time to read this article – I hope you found it of some value.
Stuart Fernie
I can be contacted at stuartfernie@yahoo.co.uk
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