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One of the responses to Quentin Tarantino's novel, which I've read since the major premiere at Cannes, calls the director's first film in Hollywood, whose story is not driven by a desire for revenge. It's not true at all. The only difference is that this time it's not the character, but the author himself. And his weapon is the ultimate advantage of cinematography: the chance to dive into fiction for a moment.
Quentin Tarantino, a filmmaker, said long ago that he would hang his craft on the scissors after the tenth movie. It's no wonder that at that time in Hollywood, his number nine addition to a series of strange stories that never had to go far for a proper massacre, it was one of the most addictive of nostalgia.
This also reflects the fact that his latest film captures the atmosphere of a two-time breakup, which brings with it unfulfilled expectations and fears about what's to come. He chooses the end of the 1960s and the end of the so-called Golden Age of Hollywood, in which he locates the fictional but modeled reality of Rick Dalton (Leonardo DiCaprio).
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A Western actor gained fame in the 1950s on the television series The Law of Reward, but he never saw a big movie star, as everyone predicted. His frustration is compounded by the fact that he lives on the famous Sky Drive in Los Angeles, right next to Roman Polanski (Rafal Zawierucha), the hottest Hollywood director at the time, and his wife Sharon Tata (Margot Robbie), who never spoke to it. A small flowerbed between their entrances therefore only reminds him of the attainable reach of his dreams every day. So now he's a rather unstable bundle of nerves and a walking smoker that only Cliff Booth (Brad Pitt) can do.
A former stuntman pays Dalton's current cashier, babysitter and confidant. The film itself captures their relationship with the words "more than brothers, but less than husbands." Together, these two middle-aged men, whose career not only saw their peak, but managed to get out of it, are linked to memories in fear of what the future holds for them.
And, as Tarantino admits, then in Hollywood, it gets its name in the sense that it essentially lets us experience Dalton and Booth – the essence of movie characters that didn't exist but could – three days in sunny California years.
At dusk, the neon sign above the restaurant's entrance lights up. From street paintings he looks at the passers-by of the biggest stars on the silver screen. "It's nine o'clock in the City of Angels," reports radio DJ KHJ from radio. The advertisement calls for the purchase of a new beverage. The complex aspect of the distant times comes back to life and the guitar of the highly toxic hit Deep Purple, which is carried by the air accompanied by the Dalton Cadillac engine.
Tarantino is a very imaginative composing fragments of perceptions and images that he has stored in his memory. And it blends them together with stories of Hollywood legends that could equally well be used and invented. He takes an audience to a storm party at Hefner & # 39; s Playboy House, a film scene where a dramatic scene is filmed in a western tavern or an abandoned ranch where a bunch of hippies are busy. DiCapria's acting talent with Pitt completes a venerable show of less and more familiar faces in minor roles.
And as for the central couple of leaders, they enjoy their return to the film as if they were not trapped by the professional crisis. If I have reservations about Tarantino's novelty, none of them are geared towards DiCapria's truly delicate, completely humorous performances with Pitt.
Back in Hollywood
tragicomedy
United States, 2018, 162 min
Directed by:
Quentin Tarantino
Scenario:
Quentin Tarantino
Starring:
Leonardo DiCaprio, Brad Pitt, Margot Robbie, To Pacino, Kurt Russell, Tim Roth, Michael Madsen, Damian Lewis, Timothy Olyphant, Emile Hirsch, Dakota Fanning, Lena Dunham, Bruce Dern, Luke Perry
Mihalalka 70 %
But the same cannot be said of Margot Robbie and her role as Sharon Tate, over whom the tragic fate hung over. In 1969, she was the victim of a violent murder committed by Charlie Manson followers. But she will also be honored. Once in Hollywood, she portrays it in an idealized form of the personalized sun with two (as the viewer has repeatedly confirmed) perfectly healthy legs. Quentin Tarantino, however, in reserve and other weapons.
The structure of a three-day story, for which this time there is no need for chapters, irrevocably leads to a reflection on the meaning of films not only for those who appear in them, but also for those who have consumed them since childhood. For nearly three-hour footage, he moves from Tarantino's pure-conversation scenes full of instant iconic messages ("Don't cry to the Mexicans.") Into slow, somewhat thought-provoking moments that can be all magical even a little. Thus the film does not look as strong as it is at all, but rather protrudes into individual parts.
One thing, though, is clear. He takes his statement that Hollywood is a place where dreams come true. And it reminds us that movies are a refuge where we escape from hiding from reality. Even at the time in Hollywood, it made no difference.
Once Upon a Time in Hollywood Has premieres on August 15.
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