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When the news was announced that the ninth film of Quentin Tarantino would take place in 1969 in Los Angeles and that Sharon Tate would be one of his main characters, many took a deep breath. The American author has already addressed enormous issues, including the Holocaust and slavery, in a controversial manner. What would the terrible old Hollywood child of a real heartbreaking crime that – along with the murder of Meredith Hunter in Altamont – marked the end of the dream of the 60s in America? This is a brilliant and limited masterpiece and the best film of the American author since Jackie Brown.
Once upon a time … in Hollywood Rick Dalton (Leonardo DiCaprio) and his best (and only) friend, Cliff Booth (Brad Pitt) are at the center of their concerns. Booth has been Dalton's doubler for years, although the work has been running out of steam since the rumors persist. Booth committed a horrible crime. Dalton relies on Booth as a confidant, driver and jack of all trades as he tries to steer his career after canceling a popular TV series. on Western Premium Law. The beautiful and successful Tate (Margot Robbie) lives next to Dalton and is married to Roman Polanski (Rafał Zawierucha). The troubling events of Polanski's life in Hollywood after 1969 are not mentioned.
In a film full of performances and memorable characters (some inspired by real characters, others entirely fictional), DiCaprio's iconic portrait of Dalton as a broken man chewed by fame and alcohol stands out. Like the tumultuous end of the 1960s, Dalton had big promises but became spoiled and torn. The second act of the film, where Dalton plays the role of a villain in a television series broadcast in Western Lancer, offers him redemption and, for the viewers, some of the biggest scenes of DiCaprio's career. Anxiety, anger, hope and relief are evoked in startling detail.
Meanwhile, Booth recovers the Pussycat hitchhiker (Margaret Qualley) and drives her to the Spahn Movie Ranch, in the north of the San Fernando Valley. The Spahn Ranch was the real home of Manson's "family" who had murdered Tate, and this is where the film is the scariest. Booth feels that something is wrong with the strange young women who now populate the ranch and insists that the elderly owner George Spahn be controlled. Tarantino's brilliant staging and cadence in this sequence are as moving and heartbreaking as the best horror film of the year.
While Dalton and Booth face professional and personal challenges, Tate simply enjoys his life. Robbie suffers from a lack of dialogue, but her on-screen presence is dazzling as she walks around Los Angeles and stops in a movie theater in Westwood to watch her movie. The crew in demolition (1968). She laughs and has fun on her seat in charming scenes, where it seems that little is happening, but her easy temperament and her daily happiness rebadure us.
Apart from Robbie, Pitt is a revelation. He plays the pragmatic stuntman with a melancholy charm but is also the funniest of his career, with irregular movements and twisted lines that even surpbad his comic work in 12 monkeys, Fight Club and Basterds without glory. There is even a scene reminiscent of his stoner's turn in the Tarantino scenario True romance.
Finally, Dalton goes to Italy to make spaghetti westerns – a subgenre that the former had previously hesitated to play in – accompanied by Booth. When the two men return to California with Dalton's new Italian wife, Francesca Cappucci (Lorenza Izzo), the friendship between the men seems threatened, until the clever plot of Tarantino and the last spectacular film of the film reveal the role that everyone will play in the cruel conclusion of this fairy tale.
Tarantino's films have always been obsessed with film and television. The director's debut Reserve dogs memorably taken his plot of Ringo Lam City on fire, its naming convention of the characters of Taking Pelham 123 and its structure The slaughter. His follow-up Palme d'Or, pulp Fiction, had obvious references to Jean Luc Godard Keeping to himself among other clbadics of the New Wave. All of Tarantino's films in the 20th and 21st centuries include radio stations broadcasting popular music, characters watching television and long discussions about films, their creators and their stars. With his latest epic in love with dirt and glamor, Tarantino has taken up all his cumulative reflections on pop culture and perfected them.
Here is an insider's look at Hollywood, but somehow devoid of cynicism. Yes, it has scenes of horrific violence and includes an absurd scene in which Bruce Lee (Mike Moh) ridicules himself in a fight against Booth. This point of improbable intrigue has angered Shannon, Lee's real girl. But in the end, it is a veiled fairy tale, like its elliptical title.
Fairy tale or not, the film looks like a dream. Robert Richardson's cinematography is never inferior to exceptional quality and the remarkable design of Barbara Ling's production is omnipresent. Whether it's the dirty huts of the Spahn ranch or the immaculate restaurants of the rich Hollywood, Ling and his production team are doing their best to recreate 1969.
While the three main actors will earn applause, a handful of minor roles shine. Among the best are Al Pacino's Marvin Schwarz, who is surely the most animated nabob on the screen since Tom Cruise ripped the screen of the movie The Grossman in Thunder in the tropics; the young Julia Butters, who plays the role of a young actor who consoles Dalton in tears and who is surely a future star; and Zoe Bell, furiously hilarious in a brief appearance as a woman with an understandable hostility to Booth.
The usual desire of Tarantino to reach the lost audience is well known, but if there is a shock, it is the sweetness of the film. Robbie is a delight, but it is the friendship between Dalton and Booth that is the key. DiCaprio and Pitt are warm and authentic, conveying a bonhomie cooked in the Californian sun. The director defines the Hangout movie as a movie in which you "spend so much time with the characters that they really become your friends". Tarantino has created for the ages an badault mug: times that change remarkably by a movie lover of cinema itself.
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