ONCE UPON A TIME IN HOLLYWOOD NARRATOR MOVIE
In the film’s first section, old Hollywood comes to life through montages of flashing neon signs, majestic old movie theater marquees on the Sunset Strip, and long-haired hippies hanging out on street corners, trying to bum rides from people who pass them by in their hot cars.
It’s an uncharacteristically thoughtful and sobering film for Tarantino, while somehow also being his funniest, and most casually entertaining. In this sense, the film is nothing less than Tarantino’s magnum opus-a sweeping statement on an entire generation of American popular culture and an almost expressionistic rendering of the counterculture forming at its margins, gradually growing in influence.
While Tarantino’s films tend to provide audiences with much evidence of where the auteur’s love of Hollywood’s lurid lore finds root (in blaxploitation, World War II dramas, kung-fu movies, or spaghetti westerns), Once Upon a Time…in Hollywood gets the closest of any to giving us the complete picture. And it’s a juxtaposition that shows old Hollywood in a time of transition, from dog days to death throes. But instead of just being a way to structure a piece of entertainment for commercial reasons-like the Grindhouse double feature, the two-part Kill Bill, and the “roadshow” version of The Hateful Eight, which was broken up by an intermission-this demarcation separates two distinct periods: the beginning of the end (February 1969) and the end itself (the summer of ‘69).
Quentin Tarantino’s Once Upon a Time…in Hollywood is presented, right down to the ellipses in its title, as a diptych.
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