Quentin Tarantino is, without a doubt, one of the most important film directors of our time. This director, who arouses love and hate, arrives this week on the billboard with his ninth film Once Upon a Time ... in Hollywood preceded by a great success at the Cannes festival and with the expectation of the public and critics, whose opinions were quite divided in their two most recent projects.
The same director has said that he will only make ten feature films in his career, which allows to infer that this will be his penultimate film. Beyond fulfilling his promise, watching this feature film will be, parodying Vito Corleone, an offer that we should not refuse. If you have not seen the movie yet, we invite you to watch it now. If you saw it, you can continue reading this text that contains some important spoilers of the plot.
We could say that Tarantino's filmography is split into two fundamental moments that, not coincidentally, coincide with the unfortunate death of his editor, Sally Menke, who died in 2010 and who managed to accompany the director in the assembly of his films to Inglorious Bastards in 2009. Until that time, the director's films had a rhythm and a complete and much more conceptual setting than in the most recent ones. In fact, we could notice that much of the success of films like Pulp fiction and Kill Bill are related to the montage, its narrative and the resources of the staging.
After Menke's death, we have seen a Tarantino that costs a little more to cut and his most recent films have not only been long but also excessive. Added to this is the fact that Tarantino has been practically forced to present long bloodbaths in his films to be "more faithful" to his style. We are not saying that we do not enjoy it, only that under this realism, which we saw from Kill Bill, other characteristic and more interesting elements of his cinematographic style have been sacrificed.
Once Upon a Time... in Hollywood can be a good reconciliation between the public of always and the new generations with the cinema of Tarantino. Those of us who longed for character design, the long dialogues that mix the trivial and the deep, the particular and novel points of view and a narrative that is beyond the effects without losing the mordacity of the story, we are pleased with the tone and language of this movie. This movie, again, focuses on the characters and manages to make a deep reflection without being pretentious.
The good chemistry on the scene and the definition of the main roles is wonderful and, in addition to the good performances, each of the characters acts as an alter ego that complements their pair and their roles go beyond the strictly labor. The actor lives on glamor, appearance, and applause; the double lives on emotions, danger and the knowledge necessary for the actor. The outcome makes clear the place that each one occupies in history and in this cinematographic friendship that is, perhaps, the most endearing of Tarantino's filmography.
Finally, it is important to comment on the director's fascination with twisting the story. He had already done it when he harshly roasted Hitler and his henchmen ending the Second World War in Inglorious Bastards and he does it again in this film when playing with the spectators in the face of the expectation of the fulfillment of the tragedy of Sharon Tate and Roman Polanski. Tarantino forces the limits of fiction to reinvent history.
Concerning the use of violence in this film, the director generates expectations that he will not necessarily meet and this anti-climactic element ends up generating a climax effect when he finds that, contrary to what one might think, Tarantino does not want to be so predictable. A good example of this is the well-accomplished sequence of the double incursion into the Spahn ranch.
Once Upon a Time... in Hollywood, it is a film impregnated by nostalgia, a journey through the 60’s, but not by the real ones but by those who Hollywood represented on and off the screen… a cardboard reality dressed in glamor, watch it now to be as impressed as we are.