Watching Quentin Tarantino movies is an addiction. It starts with ‘Reserve Dogs’ and several hours later it ends in a marathon of ‘Kill Bill’, ‘Death Proof’ and ‘Inglorious Bastards’. But the fact that the director has such a wide filmography has also created as a consequence that, often, his films have references to other films (some, even trying to put all these tapes together in a chronology or a cinematic universe of Tarantino).
‘Once upon a time ... in Hollywood’ is no the exception to the rule. The film is already a tribute to the cinema and television of the 70s, but also has its own winks to Tarantino films. It has Tarantino's mark all over it, and this alone is why much of the audience will immediately love it, if you are a Tarantino fan is not just a declaration of nostalgy for the 60's era, but also a declaration of the vision of Tarantino himself, since he grew up in this city and he gives his touch and viewpoint to everything in the tape, watch it now to find out.
There are movies loaded with cinephilia and movies that are true declarations of love for cinema. This last variant is the least common. Quentin Tarantino does it again in his ninth film so clearly that he could even use it to justify or justify an eventual closing of his directorial career.
The treaty of cinematographic references that Tarantino writes in each of his works here has more pages than ever. Overflowing with quotes through posters, posters, trailers, television excerpts, radio audios, brands, advertisements and objects in bulk. That inexhaustible sum is not pure accumulation. It offers us the framework of an extraordinary story, in which reality and fiction merge ideally. A reality, incidentally, that could not have another instrument than the language of cinema (all its possibilities) to be represented.
As Tarantino deeply loves cinema (the cinema that has Hollywood as a lever that sets the world in motion) he also does so with the three great characters of his new film. In them (authentic workers, in short, of that dream factory) that crush, which installed in 1969, is a clear sight. A key year. There is Rick Dalton (Leonardo DiCaprio), a genre movie star (police, western) in the 50s, aware of his decline without resigning himself to that destiny. There is also Cliff Booth (Brad Pitt), his double risk, driver, confidant, friend. A modern cowboy with legal problems and amazing security to move on any terrain. And there's Sharon Tate (Margot Robbie), the girl who lives the dream of becoming a star and being recognized as such in a world that needs that kind of figures even if she doesn't recognize him. What the three actors do is extraordinary.
Tarantino chooses a narrative scheme that at the beginning could be disconcerting, but that reaches the narrative, visual and dramatic fullness when each of them has the moment to show what he feels, which is nothing more than to make sense, movement and enjoy the experience pure film. The director activates them at a time in history when classic Hollywood fades and another begins to take its place.
A cultural clash that is expressed in the tensions between cinema and TV, at the crossroads between Hollywood and the foreign experiences that take its forms (there is a great tribute here to Sergio Leone), between pleasures and outbreaks of violence. Tarantino's renowned narrative virtuosity becomes tender and understanding in his affection for his characters, who are basically his peers and who feel so strong that they even feel able to rewrite history, watch online the movie and experience this amazing work of art by yourself.