Tarantino IX: Once Upon A Time In Hollywood

Health insurance rip off lying FDA big bankers buying
Fake computer crashes dining
Cloning while they're multiplying
Fashion shoots with Beck and Hanson
Courtney Love, and Marilyn Manson
You're all fakes
Run to your mansions
Come around
We'll kick your ass in

Postby dada » Sat Aug 03, 2019 5:32 pm

also, idk if its been mentioned cause I don't read more than page, but this got huge laughs in the theater I was at. The flame thrower call back ruledToggle Spoiler
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Postby tricksforchips » Sat Aug 03, 2019 6:04 pm

I found that flame thrower call back to be really trite and lame tbh. It's just a dumb joke.
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Postby manvstrees » Sat Aug 03, 2019 6:38 pm

what's dumb and trite would not be using it when you're set up to call back to it
fuck kinda movie does that
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Postby shame dawg » Sat Aug 03, 2019 6:41 pm

I can see that, it landed for me bc it felt timed just right not just in that scene but in relation to the pace and vibe of the prior 2+ hours. Idk I couldn’t help but appreciate how he actually hit his mark and went full bonkers there instead of it being another in a series of 10-15 variations of knowing, flame thrower call back scenes or whatever it might be. His tendency to grossly over indulge things like that or Christoph waltz scene chewing etc is what always takes me out of some of his other work, gets eye-rolly pretty quickly for me at least. I’m a fan of the economical flame thrower callback use, QT!
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Postby hologram » Sat Aug 03, 2019 6:44 pm

It makes sense on account of the sixties and nazis
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Postby shame dawg » Sat Aug 03, 2019 6:44 pm

Also on account of it looking fucking sick ass
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Postby manvstrees » Sat Aug 03, 2019 6:45 pm

it's about the last time he rewrote history
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Postby landspeedrecord » Sat Aug 03, 2019 6:50 pm

mike d’angelo felt that tarantino pulling the same trick in basterds made the it less effective a second time around, and I tend to agree with that
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Postby manvstrees » Sat Aug 03, 2019 6:52 pm

landspeedrecord wrote:mike d’angelo felt that tarantino pulling the same trick in basterds made the it less effective a second time around, and I tend to agree with that


when the trick is good you can keep doing it
reeks of needing to write something about the piece and being stuck
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Postby hologram » Sat Aug 03, 2019 6:54 pm

He doesn't need to write about it though maybe that's why he's stuck
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Postby Eyeball Kid » Sat Aug 03, 2019 6:54 pm

It's another history rewrite, but to a different end. The final scene that results from it is bittersweet and genuinely moving, something Tarantino hasn't done outside of Jackie Brown and the second Kill Bill.
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Postby The Producer » Sat Aug 03, 2019 7:12 pm

it works the opposite way though, we expect Tate to die, we didnt Hitler, it's legit surprising and exciting instead of just a stupid nonsequitor (yet fitting end to the already-stupid Basterds) (altho there's something to be said for Hollywood's revisionism using Basterd's as context)

also QT using Tate's screentime to show someone full of life and happiness (and with the theater scene I think he's empathizing with her in an autobiographical way) is a real tribute to someone instead of further shaming victims of genocide and slavery for not fitting hero paradigms of the movies he only knows everything from

edit: also showing her actual image in the Dino movie is even stronger tribute than the revisionism since all most people know abt her is her death and not her work, anyone iffy on this movie yet stanning Basterds is WRONG
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Postby landspeedrecord » Sat Aug 03, 2019 7:21 pm

manvstrees wrote:
landspeedrecord wrote:mike d’angelo felt that tarantino pulling the same trick in basterds made the it less effective a second time around, and I tend to agree with that


when the trick is good you can keep doing it
reeks of needing to write something about the piece and being stuck

he didn't write it for a publication/deadline and his piece is 3x as long as his normal pieces, but yes, please assume
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Postby manvstrees » Sat Aug 03, 2019 7:23 pm

i mean someone just did a p good job taking it down above
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Postby landspeedrecord » Sat Aug 03, 2019 7:24 pm

I went into the once upon a time expecting tate to be saved because of tarantino's past films (plus it's right there in the title!)

how the work goes about it was different than I expected, which I appreciated
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Postby razzle » Sat Aug 03, 2019 7:27 pm

Is Leo's character based on Burt Reynolds? I got some lee marvin vibes
At least we have Hamilton
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Postby landspeedrecord » Sat Aug 03, 2019 7:27 pm

d'angelo's piece is great. he gave the film one of his best grades of the year

it essentially echos exactly what eyeball kid + the producer said above, just with the caveat that the shock of the twist is lessened by the fact that it's happened before

he likens it to what if hitchcock had suddenly/randomly killed one of his protagonists off in a film before he had made psycho

I don't think it's a crazy thing to point out. once upon a time's twist works differently with less knowledge of its author's other work
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Postby manvstrees » Sat Aug 03, 2019 7:28 pm

landspeedrecord wrote:I went into the once upon a time expecting tate to be saved because of tarantino's past films (plus it's right there in the title!)

how the work goes about it was different than I expected, which I appreciated


same and i was suprised, knowing it was coming, how much the tension still held until i was positive the murders had been averted
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Postby fester » Sat Aug 03, 2019 7:50 pm

this was the most fun i've had watching a movie in a long time
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Postby Eyeball Kid » Sat Aug 03, 2019 8:05 pm

My effusive praise earlier ITT failed to mention that among the many things I love about this wonderful film is the decision to leave Tate in the scenes shown from The Wrecking Crew, when Tarantino could have done what he did when he CGIed DiCaprio into The Great Escape. All the completely dunderheadingly WRONG takes circulating that this movie is an anti-hippie reactionary screed are especially infuriating in light of what's actually being shown. (Also the whole why-wasn't-the-Manson-family-humanized thing, but enough about that.)
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Postby came to wreck » Sat Aug 03, 2019 8:22 pm

yeah ppl saying he didnt respect sharon tate but her scenes are some of the best in the whole movie and like you said he left her in the scenes for a reason/tribute
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Postby The Producer » Sat Aug 03, 2019 8:36 pm

also the whole "Sorry I dont know every fascist actor from the 50s" exchange is interesting in that the killers are operating without our having seen Manson send them, they're after Cliff for his ranch visit, and there's a level of agency in their mission being to make an example of violent entertainment peddlers instead of servicing Manson's revenge+racewar incitement which I recall being entirely absent from the film (unless in his scene he asks for Melcher? or in the car do the killers discuss Manson's instructions? I was really drunk both times, but going back sober on Tuesday), I think there's a kind of fuck you to Manson in that?

I've thought about Tate dancing while packing every day for the past week, I wanna be that joyful doing mundane shit...

[edit: nvm Im completely wrong here, they drive right past Cliff and were "told to go to Terry's house and make it witchy"]
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Postby FourLegsGood » Sat Aug 03, 2019 8:45 pm

QT walks a very fine line in making this both a tribute to Tate and a revisionist history of a terrible American tragedy and the more fictional dialogue you give her the further it moves away from her as a historical person. I think whatever criticism there is about this particular take on her should start with her immediate family and this seems to be the only picture her sister has ever expressed any enthusiasm for so I feel the lack of dialogue is really, really extra contextual in this case. I loved the film but I'm not the biggest QT defender. However, I'll be the first to note that we are dealing with a depiction of a real person, not a Tarantino creation and it'd probably be more problematic if he put more of his words in her mouth.
#weirdnight
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Postby a is jump » Sat Aug 03, 2019 8:49 pm

I can't really carve out a cogent point regarding this, but there's something going on in this movie about artifice vs reality that I find really intriguing, almost in a Lynchian way-- haven't felt this many Lynch vibes from a Tarantino movie in a while. You've got QT digitally inserting Leo into Steve McQueen's role in The Great Escape, after having shown a fictionalized Steve McQueen earlier. There's Margot playing Sharon Tate watching the real Sharon Tate playing a role. Sharon Tate performs stunts choreographed by Bruce Lee, who is played in the movie by Mike Moh, and we see Margot Robbie and Mike Moh rehearsing scenes that are then played out for real by Sharon Tate. Neil Diamond has a song of his own on the soundtrack, and another of his songs is covered by Deep Purple (who also have an original composition on the soundtrack). The Mamas and the Papas have a song of their own on the soundtrack, and another of their songs is covered by Jose Feliciano. One of the actors also performs a Mamas and the Papas song (oh, the Mamas and the Papas are also portrayed earlier in the film by actors).

I dunno.
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Postby FourLegsGood » Sat Aug 03, 2019 8:55 pm

It'd be a bit of a shame for Tarantino to finally move into this pantheon of filmmaking right at the self-imposed end of his career instead of spending his later years refining this kinda vision
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Postby manvstrees » Sat Aug 03, 2019 8:56 pm

he'll make another
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Postby Dennis Moore » Sat Aug 03, 2019 9:04 pm

FourLegsGood wrote:QT walks a very fine line in making this both a tribute to Tate and a revisionist history of a terrible American tragedy and the more fictional dialogue you give her the further it moves away from her as a historical person. I think whatever criticism there is about this particular take on her should start with her immediate family and this seems to be the only picture her sister has ever expressed any enthusiasm for so I feel the lack of dialogue is really, really extra contextual in this case. I loved the film but I'm not the biggest QT defender. However, I'll be the first to note that we are dealing with a depiction of a real person, not a Tarantino creation and it'd probably be more problematic if he put more of his words in her mouth.


Amen.
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Postby davideotape » Sat Aug 03, 2019 9:35 pm

a is jump wrote:I can't really carve out a cogent point regarding this, but there's something going on in this movie about artifice vs reality that I find really intriguing, almost in a Lynchian way-- haven't felt this many Lynch vibes from a Tarantino movie in a while. You've got QT digitally inserting Leo into Steve McQueen's role in The Great Escape, after having shown a fictionalized Steve McQueen earlier. There's Margot playing Sharon Tate watching the real Sharon Tate playing a role. Sharon Tate performs stunts choreographed by Bruce Lee, who is played in the movie by Mike Moh, and we see Margot Robbie and Mike Moh rehearsing scenes that are then played out for real by Sharon Tate. Neil Diamond has a song of his own on the soundtrack, and another of his songs is covered by Deep Purple (who also have an original composition on the soundtrack). The Mamas and the Papas have a song of their own on the soundtrack, and another of their songs is covered by Jose Feliciano. One of the actors also performs a Mamas and the Papas song (oh, the Mamas and the Papas are also portrayed earlier in the film by actors).

I dunno.



Yeah i felt this too. Hollywood “Movie magic” being used to revise/“remake” a real life hollywood tragedy is surreal, remembering things how hollywood wants to, with actors portraying real people talking about (and sometimes replacing) other real people and watching/starring in shows that existed but with different fake people in them. Its dizzying. its why i liked that bruce lee scene opening with him talking about boxing as reality vs hollywood. Seemed to be a useful part of the movie.

That along with QT seemingly being less “present” in the film as a director (except for all the feet), and more restrained for lack of a better term, had a real hazy hollywood surreality to it, like the oblivious hollywood industry gained sentience and built this movie as an artifact in an attempt to ignore a traumatic event that changed it. And in some ways thats probably because a mutant who was raised by hollywood made it and its how he sees his “parents” now that hes an adult.

(Im not stoned but i might be losing it, been in a weird mood all day today)
i agree with every take, good/bad/hot
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Postby Pops Freshenmeyer » Sat Aug 03, 2019 9:49 pm

Don’t think I liked this very much except for Leo and the dog
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Postby easy » Sat Aug 03, 2019 9:52 pm

this ruled
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