There is a scene in the early stages of Quentin Tarantino’s “Once Upon a Time in Hollywood” where Hollywood stuntman Cliff Booth (Brad Pitt) is repairing a damaged rooftop TV antenna for television star — and his best friend — Rick Dalton (Leonardo DiCaprio).
Like many of the moments in “Once Upon a Time in Hollywood,” the sequence involving the TV antenna is fairly inconsequential to the movie’s plot (some have argued the movie has no discernible plot), but it does allow for a fun flashback of Booth sparring with Bruce Lee on the set of “The Green Hornet.”
It also symbolizes what this movie is all about — Tarantino’s unbridled nostalgia for an analog life lived outside the ether. In particular, the world of Hollywood in the late 1960s.
I must admit, there are many times I’d like to live in a world as seen through the rearview mirror of a 1966 Cadillac DeVille.
The movie’s primary focus is on the friendship between Booth and Dalton.
Both men represent an era in entertainment that has changed by the time 1969 rolls around.
Dalton is something of a has-been actor in the showbiz world. He is the former lead in the TV western “Bounty Law,” but has been relegated to guest star stints as the “heavy” in various TV series like “The F.B.I.” (there is a neat little sequence where Booth and Dalton watch the show, which was a real series that aired on ABC from 1965 to 1974).
It’s no secret that Tarantino is something of a method writer/director. He even wrote five episodes of the fictional “Bounty Law” series so DiCaprio would know what the show is all about.
Dalton has a lot of doubts about his future as a leading man in Hollywood. It is even suggested to Dalton that too much time spent playing “heavies” (villains) will cause the public (and entertainment industry) to forget his heroic persona built during “Bounty Law’s” run.
DiCaprio brings a sincerity to the role of an aging Hollywood star from a bygone era. You really sense the character’s lack of confidence — not quite on the verge of a nervous breakdown, but veering that direction.
It sounds like Dalton’s mental anguish might’ve been inspired by actor Pete Duel, who starred on 1960s series like “Gidget,” and committed suicide during his stint on the western “Alias Smith and Jones” (according to an interview with Tarantino and DiCaprio by “Vanity Fair”).
Most of Dalton’s self-doubt is played out during a guest stint on the western “Lancer.”
It is during this sequence that the audience is treated to one of the best scenes in “Once Upon a Time in Hollywood.”
Dalton (in hippy-influenced makeup and western regalia) strikes up a conversation with his 9-year-old co-star Trudi (Julia Butters) who plays Maribella on “Lancer.”
The exchange between Dalton and the precocious Trudi (as the two are reading books) is terrific. She talks about the fact that actors won’t succeed 100% of the time, but “it’s the pursuit that’s meaningful.”
Tarantino’s movies are known for this sort of gentle conversation — small moments that tie together his films and make the whole greater than the sum of its parts.
One of Tarantino’s best movie conversations took place with Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) in 1994’s “Pulp Fiction” over dinner at Jack Rabbit Slims.
While the exchange between Dalton and Trudi doesn't achieve that level, it is an example of Tarantino’s keen ability to write conversations.
The other main plot thread involves Sharon Tate, an up-and-coming actress who lives next door to Dalton. Tate is a real-life star (married to hot young director Roman Polanski during the events of “Once Upon a Time in Hollywood.”)
Dalton ponders the notion that his neighbors could help change the trajectory of his flagging career, hoping his next break is “one pool party away.”
Tate is portrayed by Margot Robbie, and she is really lovely in the role. Unfortunately, her character isn’t given a lot to do. Part of me wonders if Tarantino pulled back out of respect for the late actress’s family.
For those who don’t know, the real-life Sharon Tate was murdered in her home by members of the Manson Family in 1969.
Charles Manson (Damon Herriman) shows up at the Tate house early in the film, looking for a record producer.
There is another sequence where Booth picks up a hitchhiker (Margaret Qualley) and drives her to the Spahn Ranch — where the fictional “Bounty Law” was filmed, and where the Manson Family resides during the events of the movie.
Ultimately, the narrative threads involving Manson and Tate aren’t particularly intriguing or well developed. Quite honestly, most of those plot points weren’t terribly germane to the overall plot.
Therein lies the biggest flaw in “Once Upon a Time in Hollywood.” The movie feels bloated and over done. It’s a problem that also plagued Tarantino’s “The Hateful Eight.”
“Once Upon a Time in Hollywood” can also feel rather self-indulgent (for example, there were a number of sequences featuring characters driving around that seemingly served no purpose).
If the movie had been 30 minutes shorter, it had the potential to be Tarantino’s best.
There is a sequence at the Playboy Mansion that seems to serve little purpose other than showing how well Damian Lewis can play Steve McQueen. There are also certain scenes that felt like an excuse for Tarantino to give roles to his friends (including a husband-wife pair played by “Death Proof’s” Kurt Russell and Zoe Bell).
That said, for those who are patient, the last 20 minutes of the movie has a pretty terrific payoff (and is pretty hilarious).
I should note that the film has a beautiful production design.
There are all sorts of pop culture cues strewn throughout, including a mural from the movie “Giant” (one of my dad’s favorite movies; I remember watching the double-VHS version with him when it was first released on home video).
As the movie progressed, Dalton ends up overseas starring in “Spaghetti Westerns” (films that heavily influenced Tarantino’s films) and one of the movies he stars in is called “Nebraska Jim” (I’d love to have a poster for that fictional movie in my collection).
Only Quentin Tarantino could find a way to toss in a mention of former NFL quarterback Joe Namath’s biker gang movie “C.C. & Company.”
There are references to Tarantino’s fictional “Red Apple” brand cigarettes, a brand featured in a number of his films (be sure to stay through the end credits for a fun bit involving Rick Dalton with the cigarettes).
“Once Upon a Time in Hollywood” is a mixed bag. While I thought the film was bloated — and would have benefitted from some judicious editing — there were a number of sequences I really enjoyed. And the 1960s vibe was terrific.
In my mind, the focus of the film should have stayed on Dalton and Booth.
I think Tarantino is generally given too much latitude when crafting movies. While I appreciate his enthusiasm for the material (and his former-video-store-clerk-fanboy sensibility) he has a problem self-editing — something seen all-too-often in his recent films.
Less is more. Sometimes it’s better to employ a flamethrower in the editing room and come out with a taut, compelling narrative.
Tarantino has talked about retiring after ten movies. “Once Upon a Time in Hollywood” is his ninth.
He has written a script for a “Star Trek” film. I’d like to see the director take a break from his typical meme, and lend his talents to a popular sci-fi franchise.
Sometimes the best films are born when filmmakers step out of their comfort zone and try something different. Such a move might give Tarantino's films a fresh veneer.
If it can work for Rick Dalton, it can work for Quentin Tarantino. He’s just one pool party away...
Previous post: Movie Review: "Spider-Man: Far From Home"
