Once Upon A Time In Hollywood is the first film by Quentin Tarantino that I wished went on longer. It’s not because of any reason relating to a sense of unfulfillment, but mainly because it’s clear that this is the kind of film that Tarantino has been building up to for his entire career, and there is so much pleasure to be had in seeing a storyteller relish in a playground that suits their sensibilities. In this case, we’re transported to Tinseltown in the year 1969, but one that is just one step out of reality, presenting something closer to a dreamy and nostalgic reflection of that time and place informed by the movies and movie stars that Tarantino grew up with and idolized from that era.
It’s unlike anything the filmmaker has done up to this point, but you draw lines from this to elements of his previous work such as the hangout quality of Jackie Brown, the deep cut indulgences of Death Proof, and the literary qualities that define his films’ structuring and pacing from Inglourious Basterds and onward. Once Upon A Time In Hollywood is a mostly plotless hangout movie where we spend most of the first two-thirds of the film following some of the day-to-day activities of our main characters.
We mainly follow Rick Dalton (Leonardo DiCaprio) and Cliff Booth (Brad Pitt). Rick is an aging TV star, known for playing the lead in a Western series from the 50s called Bounty Law, which is now cancelled. Cliff is his longtime bodyguard, driver, and best friend, providing Rick the emotional support he needs as he navigates his routine of guest appearances on newer shows such as Lancer. Rick struggles to deal with the fact that he’s peaked a long time ago, and is no longer relevant. He’s given the opportunity from producer, Marvin Schwarzs (Al Pacino), who offers Rick the chance to star in spaghetti westerns over in Italy, which doesn’t excite Rick in the least.
The film will also occasionally cut to Sharon Tate (Margot), who lives right next door to Rick. These moments are usually brief, but they offer an interesting counter to all the stuff with Rick and Cliff. Whereas their story is all about coming to terms with the end of an era, Sharon is framed in a way that captures her in a very angelic quality. She’s not so much a character as she is an idea, one that deals with a melancholic longing for the glitz, glamour, and optimism that Hollywood represented at that time, which was, in a manner of speaking, snatched by her tragic death at the hands of members of the Manson family. Hollywood has never been quite the same, and the film is about relishing in that idea, interrogating it, and questioning what could’ve been had it not been for what happened on that night in August 8th, 1969. It’s where I found OUATIH to be at its most moving.
Although, it should be noted that this is still far from a Manson movie. Charles Manson (Damon Herriman) is only featured in one scene, and has fewer lines than some of the celebrity cameos spread throughout the film like Steve McQueen (Damian Lewis), Wayne Maunder (Luke Perry), Sam Wanamaker (Nicholas Hammond), and Bruce Lee (Mike Moh), just to name a few. Rick and Cliff’s misadventures and hangouts in Hollywood take up most of the story, before it eventually collides with the plot thread involving Sharon and members of the Manson family.
Less forgiving moviegoers will find the meandering nature of the film to be a bit of a struggle. It lacks the snap, crackle, and pop of most Tarantino films. It’s more talky, even by his standards, with conversations being pushed as far as possible, extended cutaways, even a flashback within a flashback shows up at one point. That combined with a structure that has us spending time mellowing out within a few days in February for the first two-thirds before cutting to August 8th for the final stretch of a lengthy two hour and 41 minute runtime is bound to test people’s patience.
And yet, like I said at the start of this, when the film was over, I was disappointed, hoping it kept going. Seeing the filmmakers play around in this era is satisfying to see unfold. From the way it shows all the behind-the-scenes action on some of the shows Rick takes part in to simply watching Rick and Cliff drink beer while they watch the latest episode of The F.B.I. These moments where nothing really happens, and the actors are left to just riff and react and settle into the environment are among my favorite moments in the film.
Now, that’s not to say I think it’s flawless. I can understand the pacing to be a hindrance for some. There are details and moments that I’m not very sure of. One particular moment involving characters joking about how Cliff supposedly “killed his wife and got away with it.” It’s just an odd thing to throw at an audience, and I don’t think it added anything to the story, themes, or character. And then there’s the ending, which I’m sure many can probably already guess what will happen, but I won’t spoil it for anyone who wants to enjoy the surprise. I’m still struggling with my feelings on it, as I’m sure many others will, but I can’t help shake the feeling that there’s no way this specific movie could come to a close in any other way. Granted, this is only from one viewing, it could certainly change for better or for worse.
Once Upon A Time In Hollywood is Quentin Tarantino completely unrestrained. As such, it does feel like the work of an artist occasionally getting in the way of himself, sometimes making for an experience that isn’t as thematically cohesive as it could’ve been. However, it is by far and away the most deeply felt of his films, this is him at his most sentimental. It’s nostalgic underpinnings endeared me from the get-go, and the cast is completely in tune with Tarantino’s vision, delivering excellent performances across the board. It’s a beautifully made love letter to 60s Hollywood, and even when there were moments that I weren’t totally into, there were other things to admire, enjoy, laugh at, and think about, which is something all great art should aspire to.