Once Upon a Time in Hollywood Review
R: For language throughout, some strong graphic violence, drug use, and sexual references
Studio: Columbia Pictures, Bona Film Group, Heyday Films, Visiona Romantica
Run Time: 2 Hrs and 43 Minutes
Writer/Director: Quentin Tarantino
Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, Margaret Qualley, Timothy Olyphant, Austin Butler, Dakota Fanning, Bruce Dern, Al Pacino
Release Date: July 26, 2019
Quentin Tarantino's Once Upon a Time... in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt) make their way around an industry they hardly recognize anymore. The ninth film from the writer-director features a large ensemble cast and multiple storylines in a tribute to the final moments of Hollywood's golden age.
Kick up your bare feet, sling some guns, and hold on to your n-words ‘cause Quentin is back in town with his 9th feature film, Once Upon a Time in Hollywood, a passionate love letter to the golden age of cinema that is undoubtedly his most charming feature to date.
First thing’s first: as an African-American cinephile, I have my personal gripes with Tarantino, especially the excessive (if not unnecessary) usage of a certain word present in a majority of his pictures. So, it is my absolute pleasure to say that Once Upon a Time in Hollywood does not contain a single use of the n-word.
Given it’s a very Caucasian-centric cast and the location where this film takes place, it’s quite relieving to be spared of it for once. Talk about some mature growth!
All jokes aside, this feature is one of the director’s most ambitious projects to date and he achieves this through his craftsmanship, his comedy, and his characters. Out of all the films in his catalog, this might be the most heartwarming, charming, and sweetest film Tarantino has ever made, which is a lot to say because of how well-known he is for his grit.
The film follows Rick Dalton (DiCaprio), a sensitive and aging actor who was on a very famous TV show back in the ‘50s, and his easy-going, slightly dim-witted, but well-meaning stuntman/best friend/valet Cliff Booth as they try to navigate through an endlessly evolving Hollywood. Dalton goes through a series of personal failures as he tries to regain his confidence in being a good actor, wishing to be relevant again, and Booth goes through a series of adventures leading him to the residency of the Manson family.
The story is structured similarly to an episode of Seinfeld where there is truly nothing of an urgent plot or narrative going on, but you’re following a set of likable characters navigating their environment and the comedic shenanigans they get into, mixed with a humorous satirization of Hollywood culture similar to Bojack Horseman. As you follow Dalton and Booth, you witness the tiers of the people working in production, ranging from the fun and glamorous to the rich and lonesome. Though they are completely fictional characters, Dalton and Booth are so well written, humanized, and depicted as actual people that you love them. Their dynamic is irresistible given their characters, and watching them together makes for the best scenes.
Making a film set through vignettes is a difficult and ambitious feat to accomplish, but it all comes down to the writing, which works more often than not. The script keeps you entertained with scenes that are hilarious and sometimes heartwarming, making for some of the most memorable and quotable moments of 2019.
While Tarantino is simultaneously spoofing and romancing the Golden Age of Hollywood through his fantasy, you’re enamored by the way he brings this era to life. From the opening frame as the ‘60s era Columbia Pictures logo appears, you’re immediately transported to Hollywood in 1969. The production design is incredible. From the props to the architecture of the homes in LA, the landscape, and the costuming, he makes you feel as if you’re either on a movie set or attending a lavish party. First off, I highly recommend you see this a non-DCP format. Whether your options are 35mm or 75mm, seeing this in a film format adds a layer of authenticity to the time period, the style of the film itself, the cutaway gags of Dalton’s filmography, and an immersiveness to the viewing.
The ensemble cast is great. Every cast member is given their time to shine, but out of all of the performances in the film, the one who stands out is Brad Pitt. Focusing on a purely comedic role for the first time since that Coen brothers movie that brought us this timeless moment --
-- Pitt returns with a performance that is refreshingly welcoming and fun. Every time the film cuts to Booth on his misadventures, the film shines its brightest. With a calm demeanor and a take-no-shit attitude similar to the likes of Lebowski, Pitt elevates each scene with the timing of his delivery and the dialogue he’s given. By the climax, he has a scene so side-splittingly funny, it validates his worthiness of the Best Supporting Actor trophy when award season rolls around.
Speaking of timing, another aspect about the movie that I love is the film’s editing and how well it aligns with Tarantino’s comic timing. Aforementioned, there are jokes that are made through cutaways satirizing the industry, but the editor knows exactly how to time a cut to let a scene speak for itself and garner huge laughs. Think of the golden age of Family Guy and how well they used to deliver effective cutaway gags. The tone is reminiscent of that and the comic timing is impeccable.
When Tarantino stays away from the n-word, another fetish of his comes through and that’s... feet. He doesn’t even hide it because so many dirty feet are up in the foreground in so many frames that it’s uncomfortable. Uncomfortable in the sense that you know he has a fixation with feet and he’s not going to do a damn thing about it. Hell, if you don’t have a foot fetish, he’s going to force you to develop one through this movie.
Margot Robbie, while bearing physical similarities to Tate, isn’t given much to do. She has a wholesome subplot that is adorable to watch and has a solid portrayal of validation long before social media was invented, but her role is so minimal. She’s more like a caricature of Tate rather than a fleshed out person like the leads. The same goes for Mike Moh who steals the show with his portrayal of Bruce Lee, but also doesn’t have much to do.
Personally, I love vignettes and this film is an enjoyable ride, but I’d be lying to myself if I didn’t say that after 105 of 164 minutes, the film wears out its welcome. It is very Tarantino how committed he is to this time period, but the longer it goes on -- relying more on his gags and extensive sequences of comedy and recreation of inspired spaghetti television westerns -- you start to wonder how much of his self-indulgences you can endure. By the climax (which is hysterical and very distinct to his nature), you enter the over-the-top, outlandish fantasy world of Tarantino that you either love or hate. Given the dog days of summer we’re approaching, it’s nice to have a feature that’s laid back and aims for you to have a gay ol’ time. And in the end, this film achieves just that.
Ambitiously inspired, meticulously crafted, cleverly written, and just as self-indulgent as you’d expect, Tarantino’s Once Upon a Time in Hollywood is a passionately hand-crafted love letter that doubles as a fun summer release.
Rating: 3.5/5 | 72%
