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Rating: Contains spoilers and is not a review.
I thank Tarantino for giving me his Cinema.
I thank him because for many years every one of his releases is an event that fills my heart. Because each of his works is a declaration of love for cinema, because my eyes are illuminated by his creation.
The plot... But is the plot important? Tarantino rewrites history by turning it around, changing everything. He did it with Hitler, massacred inside a French cinema. And to think that even today there are those who haven't understood the meaning of that epic scene. He does it again today with the Cielo Drive massacre and with Manson's damned hippies. He reserves small parts for great actors and legends. Who else can afford such things? Because Tarantino is Tarantino.
He creates his most touching film, revealing an unseen side of himself. Age advances for everyone, time is a sentence. Time is God, as I used to say speaking of DARK. Today Quentin is settled, married, waiting for his firstborn. Once Upon a Time in Hollywood turns out to be his most mature and intimate work.
Tarantino didn't invent postmodern cinema, but he made it a paradigm, a lifestyle, a revolution of popular culture. Tarantino quotes Corbucci ("The second-best spaghetti western director in the world", says Al Pacino) and Margheriti, whom 99% of his film's viewers have never even heard of. Even though they were always honored and cited in Inglourious Basterds and Django Unchained. And, if anything, not even the poor Rick Dalton.
Tarantino is able to surpass himself with each new film. Once Upon a Time in Hollywood is a definitive work. The magnum opus of postmodern cinema. The magna carta of cinematography.
Tarantino who quotes and self-quotes without ever becoming a mere manner of himself or making one think he has nothing more to say.
Tarantino makes every actor perform like no one else.
Tarantino aesthetically moves towards something never before seen. He reproduces a distant era, making it relive in his own film universe. Real characters and fictional characters, real events and distorted events. He evokes ways of producing and making cinema that no longer exist, like those of Spaghetti Westerns and Italian and European genre cinema (and more) of the '50s and '60s, where foreign actors acted only to be dubbed shortly after. And where many American actors on the decline could find themselves rediscovered. It was so with Lee Van Cleef, a name above all. Even Orson Welles, who acted with the legendary Tomas Milian.
He pays a vast homage to fetishists around the world.
He honors and exalts, in every single frame, the disproportionate beauty of Margot Robbie, making many rediscover the poor Sharon Tate. He makes that commune of hippie girls more unsettling than ever, where Brad Pitt briefly passes through to find his old friend Bruce Dern.
He makes a pitbull an added protagonist and hero.
He makes the stuntman (another archetypal figure of Tarantinian cinema) Pitt fight with Bruce Lee in a scene already considered cult. He makes Robbie go to see a film of the real Tate, in which the magic and enchantment of cinema have rarely been expressed at this level.
He makes DiCaprio cry multiple times, eventually having him use the flamethrower from one of his Rick Dalton movies to finally finish off the last remaining hippie. But what are we even talking about?
Tarantino is Cinema. And I will always love him.
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Other reviews
By joe strummer
This is the filmmaker’s testament, he has nothing more to say because here he says it all.
The soul of cinema is in realities, it is the real that creates cinema, and this art cannot simply self-sustain.
By JOHNDOE
The rhythm is different too, it’s not electric, it doesn’t shoot barrages... it’s a waltz.
QT is a great director, the greatest pop director ever I believe, but on a human level, I think he’s a piece of shit.
By Mayham
"Tarantino’s work is poetry. Pure."
"For two hours and thirty-five minutes, we drove those cars, sipped those cocktails, smoked those cigarettes... lived that dream."
By franchina a v.
We are now used to a 'fast and furious' cinema and we have forgotten that there is no boom boom finale without a bit of healthy geriatric suspense.
If you haven’t seen it, do so, even if only to be able to say: 'yeah, but this isn’t Tarantino!' Oh, it is him alright, there’s everything that amuses him the most in the world, including the criticism!
