Once Upon a Time in Hollywood (2019)

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Allstar
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Durden wrote: ↑
July 28th, 2019, 7:13 pm
Didn’t read accidental to me. Loved that he cut it short though. That whole flashback was great.
Maybe but he could have just been threatening her, then she went nuts (she was already pretty heated) and then something happened accidental. I feel QT purposely leaves it ambiguous to a degree.
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Cilogy
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Still don't know what to make of this.

While the Leo/Pitt dynamic is fantastic, I feel like whether you get the tension in certain parts of the film really hinges on how well you know the facts.
I know Sharon Tate was murdered, but thats about all I know. So, ultimately, I found Robbie to be mostly pointless.

Also, not sure what QT is trying to say by changing the course of history. Doesn't feel like Basterds, where I think the ending is kind of a self-aware commentary on propaganda.

I mean it guess it kinda works as a comedy, where Cliff and Rick stumble into the path of history kid of like Stewie and Brian in those time travel episodes of Family Guy.
I definitely enjoyed this more than Django and Hateful Eight, but I still think QT peaked with Basterds.

Almost feel like QT got a little lost in his 60s Hollyood fetish.
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Allstar
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He changed history to give Sharon a fairy tale happily ever after ending. It’s pretty simple but beautifully done.
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Vader182
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Cilogy wrote: ↑
July 29th, 2019, 2:46 am
 Still don't know what to make of this.

While the Leo/Pitt dynamic is fantastic, I feel like whether you get the tension in certain parts of the film really hinges on how well you know the facts.
I know Sharon Tate was murdered, but thats about all I know. So, ultimately, I found Robbie to be mostly pointless.

Also, not sure what QT is trying to say by changing the course of history. Doesn't feel like Basterds, where I think the ending is kind of a self-aware commentary on propaganda.

I mean it guess it kinda works as a comedy, where Cliff and Rick stumble into the path of history kid of like Stewie and Brian in those time travel episodes of Family Guy.
I definitely enjoyed this more than Django and Hateful Eight, but I still think QT peaked with Basterds.

Almost feel like QT got a little lost in his 60s Hollyood fetish.
This is my take on what this aspect (mainly the ending) of this movie is about:
Saving Sharon allowed Cliff and Rick to rediscover their usefulness once again, specifically in a way that allowed them to use their "film careers" to do it. It's a fairy tale fantasy, not only because Sharon Tate is left alive, but because these two men are able to be the ones to do it, metaphorically living out their film careers in real life.

And ultimately allowed Rick, who is a catch-all symbol for Classic Hollywood (Golden Age Hollywood) to unite with New Hollywood by Sharon eventually inviting him into the Polanski residence. Is his career now rescued as he speculated earlier? Probably!

It's a metaphor for how New Hollywood will no longer make men like Rick obsolete while Sharon Tate, who was groomed to be the next major "It Girl" can also reach her potential. This isn't just Tarantino's memory of 1969 ala his Roma, it's also a surprisingly intimate prayer for what is possible not only in Hollywood, but in the movies themselves as a medium.

It's a similar device as the "What-If" final musical number of La La Land.
I almost teared up at the ending. That's never happened to me for a Tarantino movie before. It's beautiful.


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When the gates open to Sharon’s house it is almost as if the pearly gates opening to heaven for Rick, he is welcome in, the music choice was perfect. Kill Bill Vol. 2 also had a tender ending.
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Artemis
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Man
I'm still thinking about the dreamy driving scenes and Tate from this movie. This never happened to me with a Tarantino movie before.
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Durden
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Allstar wrote: ↑
July 29th, 2019, 11:09 am
When the gates open to Sharon’s house it is almost as if the pearly gates opening to heaven for Rick, he is welcome in, the music choice was perfect. Kill Bill Vol. 2 also had a tender ending.
It really is a perfect ending. He occasionally surprises me with how well he incorporates more intimate emotion. I remember seeing Django and the Freedom flashback with the Brittle brothers and getting chills.
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Geoffrey
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Cilogy wrote: ↑
July 29th, 2019, 2:46 am
I know Sharon Tate was murdered, but thats about all I know. So, ultimately, I found Robbie to be mostly pointless.
How dare you critique Sharron Tate?! I'll have you know her role is perfect! Reported!
"/s"
Also, it isn't just a foot fetish, it's a fully-blown leg fetish too. There were so many shots of Margot Robbie's, Dakota Fanning's, and Margaret Qualley's legs.
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Geoffrey wrote: ↑
July 29th, 2019, 3:40 pm
Cilogy wrote: ↑
July 29th, 2019, 2:46 am
I know Sharon Tate was murdered, but thats about all I know. So, ultimately, I found Robbie to be mostly pointless.
How dare you critique Sharron Tate?! I'll have you know her role is perfect! Reported!
"/s"
Also, it isn't just a foot fetish, it's a fully-blown leg fetish too. There were so many shots of Margot Robbie's, Dakota Fanning's, and Margaret Qualley's legs.
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Cilogy
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The other thing is, I loved:
how the ending sequence is essentially a more extreme example of Cliff and Rick's relationship. Cliff (being the stunt double) is the one who does the dirty work; gets hurt and bloody killing two of the hippies, and leaves in an ambulance. Meanwhile Rick (being the star) gets the glory; using the flamethrower and barely having to do much and then having Tate's gate opened to him as if he's "finally made it" in Hollywood. And yet they still seem to respect/love each other.
The Pitt/Leo absolutely thing is the best thing about the film, but it's just unfortunate (at least IMO) that nothing else in the movie really matches it.
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