Opinion | Noah Berlatsky: 'The tragedy of Hollywood, for plenty of people who work there, is that many of the swaggering geniuses who love the industry and the thrill of storytelling treat their subordinates with exploitive, disdainful cruelty'
This is all good fun, and delightfully watchable, even at 160 minutes. But it's also uncomfortably vacuous. In his best movies, Tarantino comments on, or reworks, his source material. “Inglourious Basterds,” for example, raises questions about what it means that American anti-fascist films are so similar to Nazi cinema. “Pulp Fiction” bends and twists pulp narratives to see if they can avoid the same violent end.
“Once Upon a Time in Hollywood,” though, is so caught up in its mythmaking that it starts to feel hollow and uncanny, like you're watching"Invasion of the Body Snatchers." That's most evident in the film’s portrayal of Sharon Tate. You'd think that part of the point of a film like this would be to remind us that Tate was a human being, not just a famous murder victim. But Tarantino treats her as nothing more than a pretty image.
The insistence that the Hollywood you see is the Hollywood you get is partly an elegiac wish. Tarantino wants to remake reality, like Hollywood does, and turn it into something better. It's an understandable impulse. If “Once Upon a Time in Hollywood” were truer to life, it would likely be an intolerable film.
Want more articles like this? Sign up for the THINK newsletter to get updates on the week's most important cultural analysis But Tarantino's fantasies in this case aren't just covering up someone else's ugly history. They're covering up his own. At one point, Dalton jokingly says that the filmmakers can do anything they want to his stunt double — drop him off a building, or set him on fire, if that's what they need to do to get the shot done. It's a joke.
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