Once Upon a Time... in Hollywood

For Dad

Written and directed by Quentin Tarantino, Once Upon a Time… in Hollywood is the story of an aging TV actor and his stunt double trying to make a name for themselves in Hollywood during the final years of Hollywood’s golden age before the emergence of New Hollywood. The film is a fictional look into the world of 1960s American cinema at a time when it was transitioning from big-budget spectacles in favor of more personal filmmaking as well as a look at what some saw as the end of a period of innocence following the murders committed the Charles Manson family. Starring Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, Margaret Qualley, Dakota Fanning, Austin Butler, Bruce Dern, and Al Pacino. Once Upon a Time… in Hollywood is a rapturous and evocative film from Quentin Tarantino.

It’s 1969 as the film follows the parallel journeys of an aging TV actor known for TV westerns and his next door neighbor in rising film star Sharon Tate (Margot Robbie). It play into two actors who live next door yet haven’t met each other due to the trajectories of their careers yet the TV actor Rick Dalton (Leonardo DiCaprio) is coping with a career that is fading as he’s bringing along his stunt double Cliff Booth (Brad Pitt) who has now become Dalton’s driver/assistant due to his own reputation that prevented him from doing stunt work. Quentin Tarantino’s screenplay doesn’t just the explore of these paralleling career trajectories but also this emergence of something much darker that is happening in the background as it relates to the Charles Manson family as some say marked the end of a period of innocence for the 1960s and Hollywood before the emergence of the much-more personal filmmaking world of New Hollywood.

Tarantino’s script has a unique structure where its first two acts takes place during a weekend in Hollywood as the first act relates to Dalton’s career woes and the lack of options he has in his career as he’s also succumb to alcoholism with Booth helping him out anyway he can. The script would also show flashbacks into how Booth received notoriety not just for what he did in his personal life but also how he would lose his job due to a friendly tussle with Bruce Lee (Mike Moh). The first act also has Dalton meet with producer/agent Marvin Schwarz (Al Pacino) who knows that Dalton still has some juice left but is also aware of the limited options he has as he would offer him work in Italy for some Spaghetti Westerns which Dalton is unsure about as he’s doing work on TV guest appearances for money.

The second act is about Dalton doing a TV show as he struggles to remember his lines while Booth does some repairs at Dalton’s home where he would later encounter a young hippie in Pussycat (Margaret Qualley) who had been flirting with him from afar as he gives her a ride home only to realize where she lives as it’s also the home of a man whom Booth and Dalton worked at a TV show the latter starred in George Spahn (Bruce Dern). The first and second act also showcase the life that Tate was having as she is someone on the rise and married to filmmaker Roman Polanski (Rafal Zawierucha) as she would go to parties with Polanski and her longtime friend Jay Sebring (Emile Hirsch) and on the next day would watch herself in one of her films in The Wrecking Crew with an audience as they praise her while she would earlier receive a copy of Thomas Hardy’s Tess of the d’Urbervilles. The film’s third act takes place six months after the events of the first two act on August of 1969 where Tate, Sebring, and others would be killed by the Manson family. Yet, it’s more about the direction that Dalton has taken with his career as well as this end of an era for himself and Booth with this sense of change in Hollywood.

Tarantino’s direction definitely bears a lot of visual styles that play into this world of 1969 Los Angeles/Hollywood where it is shot on location in the city as it also serves as a character of the film itself. While there are some wide shots of the city including in some locations and this atmosphere of what it was like back in 1969 in this transition from the 1960s to the 1970s. Tarantino also maintains an intimacy but also this romanticism of a craftsmanship of what it was like working in Hollywood on studio lots and sound stages during those times. Notably in TV westerns that Dalton starred in as he would work on a western while reveal what goes on behind the scenes as it does showcase the struggles of an actor and what some will do to pass the time such as Booth’s tussle with Bruce Lee. Tarantino’s usage of high crane shots to get a look into the locations including the city itself as well as tracking shots for parts of the film showcase a filmmaker definitely taking everything he’s done and refining it to showcase a world that was rich and exciting.

Tarantino’s usage of close-ups and medium shots are important as it play into conversations between characters including one key moment where Dalton is on set shooting for a TV pilot where he converses with a young actress named Trudi Fraser (Julia Butters) who takes her work seriously yet understands what it means to be an actor even though she’s only 8 years old. It’s a small little scene in the film that does play into Dalton’s own insecurities and the realization that he’s on his way out but this young girl would give him a sense of hope into who he is and why he still matters despite the changing times. The film does feature some off-screen narration by a stunt coordinator in Randy (Kurt Russell) who only appears in one sequence of the film but his narration does play into the narrative as it relate to the different paths that Dalton and Tate would embark on. Even in the film’s third act as it relates to the infamous night of the Tate-LaBianca murders on August as there is this sense of something that is coming to an end. Yet, Tarantino builds up the drama and suspense slowly to play into the climax but with an added sense of mania and terror in the most unexpected way. Overall, Tarantino crafts a riveting and exhilarating film about a fading TV actor and his stunt double trying to survive the final days of Hollywood’s Golden Age just as a young starlet is on the rise against the backdrop of the Charles Manson family.

Cinematographer Robert Richardson does incredible work with the film’s cinematography from the way the interiors of a western set is lit in the daytime as well as the usage of low-key lights for some of the interior/exterior scenes at night as it’s a highlight of the film. Editor Fred Raskin does amazing work with the editing with its stylish usage of jump-cuts, freeze-frames, and other stylish cuts to play into some of the film’s humor and drama as well as these abrupt cuts for some of the flashback sequences. Production designer Barbara Ling, with set decorator Nancy Haigh and supervising art director Richard L. Johnson, does brilliant work with the film’s set design including the home that Dalton lives in as well as the trailer that Booth lives in with his pitbull Brandy and some of the sets that Dalton works at as an actor.

Costume designer Arianne Phillips does excellent work with the costumes from the stylish clothes that Tate wore including the go-go boots and some of the clothes of the men including the leather jacket that Dalton wears. Prosthetic makeup artist Stephen Bettles does fantastic work with the makeup in the look that Dalton would sport for the TV appearance he would be in as well as the look he would have later on in its third act. Special effects supervisor Jeremy Hays and visual effects designer John Dykstra do terrific work with the special effects with Hays providing some effects in some of the weapons Dalton uses on set including a flamethrower for a World War II film he made while Dykstra creates some visual effects that include a shot of Dalton doing a scene in The Great Escape as well as the look of TV shows during that time.

Sound editor Wylie Stateman does superb work with the sound in creating an atmosphere into some of the settings including the party at the Playboy Mansion as well as in some of the locations including the sparse texture of Booth’s encounter with the hippies at an old ranch. Music supervisor Mary Ramos does wonderful work with the film’s music soundtrack as it features an array of music ranging from a score piece by Maurice Jarre to the music of the times from the likes of Deep Purple, Neil Diamond, Paul Revere and the Raiders, Jose Feliciano, Vanilla Fudge, Los Bravos, Dee Clark, Chad & Jeremy, Simon & Garfunkel, Bob Seger, the Box Tops, Mitch Ryder, Buffy Sainte-Marie, and the Buchanan Brothers.

The casting by Victoria Thomas is great as it feature some notable small roles and appearances from Damian Lewis as Steve McQueen, Dreama Walker as Connie Stevens, Rebecca Rittenhouse as Michelle Phillips, Rachel Redleaf as Cass Elliot, Damon Herriman as Charles Manson, Rumer Willis as Tate’s friend Joanna Pettet, Samantha Robinson and Costa Ronin in their respective roles as Tate’s friends Abigail Folger and Wojciech Frykowski, Rafal Zawierucha as Tate’s husband in filmmaker Roman Polanski, Ramon Franco as a movie theater manager, Clu Gulager as a book store owner, Nicholas Hammond as American actor/director Sam Wanamaker, Kate Berlant as a movie ticket booth attendant, and Spencer Garrett as TV personality Allen Kincaid. In the roles as hippies and members of the Manson family include Sydney Sweeney as Snake, Harley Quinn Smith as Froggie, Kansas Bowling as Sandra Good, Danielle Harris, James Landry Herbert as Steve Grogan, Victoria Pedretti as Leslie Van Houten, Lena Dunham as Catherine Share, and as the trio of women who would take part in the murders in Madisen Beaty as Patricia Krenwinkel, Mikey Madisen as Susan “Sadie” Atkins, and Maya Hawke as a reluctant Linda Kasabian.

Other film appearances and cameos include Michael Madsen as a sheriff on Dalton’s hit TV show Bounty Law, Martin Kove and James Remar as villains in Bounty Law, Marco Rodriguez as a bartender in the show Dalton is appearing as a guest in Lancer, Scoot McNairy as a gunslinger in Lancer, Clifton Collins Jr. as a cowboy in Lancer, Rebecca Gayheart as Booth’s wife in a flashback scene, Lorenza Izzo as an Italian actress Dalton meets in the third act, Zoe Bell as Randy’s stunt coordinator wife Janet, Mike Moh as the kung fu legend Bruce Lee, and Luke Perry in a terrific appearance in one of his final performances as the famed Canadian actor Wayne Maunder who also makes an appearance on the show Lancer. Bruce Dern is superb in his brief role as ranch owner George Spahn whom Booth knew a long time ago and wanted to say hi with Dern playing someone unaware of whom he’s renting his land to while Dakota Fanning is fantastic as Manson family follower Lynette “Squeaky” Fromme who sort of runs the land for Manson.

Austin Butler is terrific in his role as Manson family follower Charles “Tex” Watson who is considered Manson’s enforcer as he leads the killings on that dark August night. Julia Butters is excellent as Trudi Fraser as a child actress that Dalton meets on the set of Lancer as she is a young method actor who is committed to her craft while giving Dalton some confidence. Emile Hirsch is brilliant as Jay Sebring as Tate’s former fiancée who has become a revered hairstylist as well as a close friend of Tate and Polanski as someone who is enjoying the ride of Tate’s rising fame while Margaret Qualley is amazing as Pussycat as a young hippie who flirts and befriends Dalton while would introduce him to the people from the Manson family. Timothy Olyphant is marvelous in his small role as TV star James Stacy who is the lead in the show Lancer as he wants to help Dalton by giving him a guest spot on the show as a way to pay him back. Kurt Russell is great as the stunt coordinator/off-screen narrator Randy as a guy who is aware of Booth’s reputation but is also someone that isn’t afraid to call out on other people’s bullshit. Al Pacino is remarkable as Marvin Schwarz as an agent/producer who wants to help Dalton out but also remind him of the small prospects he has left as he knows what might help and save his career for a while even if Dalton wouldn’t like it.

Margot Robbie is incredible as Sharon Tate as this actress on the rise who is a woman of innocence as she is enjoying her life and growing fame but is also someone that is also kind and gracious to others where Robbie just exudes all of those qualities that Tate was known for. Finally, there’s the duo of Leonardo DiCaprio and Brad Pitt in phenomenal performances in their respective roles as Rick Dalton and Cliff Booth. Pitt’s performance as Booth is full of charisma but also someone who definitely is more of a real cowboy than the characters that Dalton play as he is also someone who doesn’t live lavishly but is more grounded as well as be supportive for Dalton anyway he can while carrying his pitbull Brandy who gets to steal parts of the film herself. DiCaprio’s performance as Dalton is someone filled with charm and good looks, that was typical of actors from the late 50s/early 60s, yet is dealing with alcoholism and a fading career as he struggles to figure out what to do next as it’s truly one of DiCaprio’s great performances while his scenes with Pitt are just magical to watch.

Once Upon a Time… in Hollywood is a magnificent film from Quentin Tarantino. Featuring a great ensemble cast, gorgeous visuals, a compelling and insightful script, throwbacks to the late 1960s, exploration of Hollywood innocence and its Golden Age, and a rocking music soundtrack. The film is definitely an entertaining as well as a beautiful portrait of a moment in time when Hollywood was more than just a city for the stars but a place where dreams can come true. In the end, Once Upon a Time… in Hollywood is an outstanding film from Quentin Tarantino.

Quentin Tarantino Films: Reservoir Dogs - Pulp Fiction - Four Rooms-The Man from Hollywood - Jackie Brown - Kill Bill - Grindhouse-Death Proof - Inglourious Basterds - Django Unchained - The Hateful Eight

Related: The Auteurs #17: Quentin Tarantino - Growing Up with Quentin Tarantino

© thevoid99 2019

Rango

Directed by Gore Verbinski and screenplay by John Logan from a story by Verbinski, Logan, and James Ward Byrkit, Rango is about a pet chameleon who finds himself in a desert town where he becomes an unlikely sheriff to fight off villains. The animated film is a modern-day approach to the western as it features various film references while making it accessible for a wider audience. With a voice cast led by Johnny Depp, Isla Fisher, Abigail Breslin, Ned Beatty, Alfred Molina, Bill Nighy, Harry Dean Stanton, Ray Winstone, and Timothy Olyphant. Rango is a stylish and very entertaining animated-western from Gore Verbinski.

An unnamed pet chameleon (Johnny Depp) gets stranded somewhere in the middle of the desert where he meets a wounded armadillo named Roadkill (Alfred Molina) who is trying to find the mysterious Spirit of the West. With the chameleon trying to survive the hot desert and its surroundings, he meets up with a desert iguana named Bean (Isla Fisher) who is a rancher’s daughter trying to save her land. She takes the chameleon to a town called Dirt as the locals are trying to deal with a water shortage where the chameleon ends up calling himself Rango where he deals with a small posse led by Bad Bill (Ray Winstone) and later a hawk whom he accidentally kills. Rango’s antics impress the town’s mayor (Ned Beatty) who appoints him as sheriff as Rango’s claims of his adventures has him trying to figure out the water shortage.

Rango gathers a posse that includes Bean to figure out what’s going on as the water jug bank had been stolen by a group of moles led by Balthazar (Harry Dean Stanton). During the journey, Rango and the posse makes some discovery as they retrieve the jug only to realize something is up where Balthazar isn’t the one they’re after. Rango suspects that the mayor is involved since he states that he who controls the water controls everything where Rango is forced to deal with a vicious gunslinger named Rattlesnake Jake (Bill Nighy). After revealing what he really is, Rango reluctantly leaves town until he meets the mystical Spirit of the West (Timothy Olyphant) who provides him with the answers Rango needs.

The film is essentially a modern-day genre-bending film where a pet chameleon, with a wild sense of imagination, suddenly finds himself in a Western town where he faces a world of corruption where a bunch of locals are finding hope in this horrible drought. That’s pretty much what the film is about as it’s filled with numerous film references including the classic westerns of Sergio Leone and Roman Polanski’s Chinatown in relation to the drought storyline. Screenwriter John Logan does manage to infuse these storylines and film references to create a very compelling yet fun western that is filled with lots of silly humor and character development. Notably for the titular character who is just a lizard that likes to act as indicated in the opening scene while he realizes that he might have to go full-on with this role.

While the script is sort of predictable in its set-up and creating characters that are essentially archetypes of various characters in the western genre. They all manage to still be very interesting and engaging while Logan also adds surreal elements that play up with the genre. Overall, Logan creates a very crafty and thrilling script that doesn’t get boring and create a western that does a lot for what is expected in its genre.

Gore Verbinski’s direction is definitely full of style as he creates lots of wide compositions, character close-ups and scenery where some of it is really a tribute to the visual style of Sergio Leone. The animation from supervisor Hal T. Hickel is truly whimsical in the way Verbinski wants to create this world where it’s a clash between the old world and a new one that the mayor wants. With additional help from renowned cinematographer Roger Deakins for the visuals, Verbinski is able to create a look that is true to the western but also dream-like for some of its nighttime scenes. Overall, Verbinski creates a truly engaging and visually-astonishing film that brings more to what an animated-western does and make it a whole lot of fun.

Editor Craig Wood does superb work with the editing to play up with some of the film‘s humor and suspense along with some amazing rhythmic cuts for a huge chase scene and stylized ones for the showdowns. Production designer Mark “Crash” McCreery, along with art directors John Bell and Aaron McBride, does excellent work in the set pieces created for the town of Dirt where everything looks decayed. Visual effects supervisor John Knoll does fantastic work with the visual effects to play up some of the surreal imagery that Rango encounters in his journey. Sound designer Peter Miller and sound editor Addison Teague do amazing work with the sound to help set a mood for some of the film‘s suspense and in the showdowns that occur.

The film’s score by Hans Zimmer is marvelous for its mixture of bombast and orchestral flourishes that is also very operatic. Notably as the score is very similar to the music of Ennio Morricone with its huge arrangements, twangy guitars, and blaring trumpets to help set the mood. Along with some contributions from Johann Strauss and Richard Wagner to play with the score and contributions from Los Lobos for some of the original songs and the industrial band Lard in the score. The music that Zimmer creates is definitely one of his best as it’s a major highlight of the film.

The voice casting by Denise Chaiman is brilliant for the cast that is assembled as the actors that contribute to smaller characters in the film include Beth Grant, Vincent Kartheiser, Alana Ulbach, Chris Parsons, Blake Clark, Patrika Darbo, director Gore Verbinski, and Stephen Root who voices some of the characters including the bank manager Merrimack. Other notable small voice roles include Timothy Olyphant as the mysterious Spirit of the West, Alfred Molina as the Don Quixote armadillo Roadkill, Abigil Breslin as the witty cactus mouse Priscilla, Ray Winstone as the gila monster Bad Bill, and Harry Dean Stanton as the old-timer mole Balthazar. Bill Nighy is excellent as the cool, Lee Van Cleef-inspired villain Rattlesnake Jake while Ned Beatty is funny in doing a great John Huston impression as the town’s corrupt mayor. Isla Fisher is wonderful as the cunning desert Iguana Beans who tries to fight for her land while helping Rango out. Finally, there’s Johnny Depp in a fantastic performance as the titular character as he brings a lot of humor and swagger to his character making it one of the most enjoyable animated characters on film.

Rango is an extraordinarily rich and whimsical animated film from Gore Verbinski. Thanks to a very talented voice cast led by Johnny Depp, the film is truly an animated film that appeals more than just a young audience. Notably as it features numerous film references that film buffs can enjoy and elements of the western that western aficionados can love. In the end, Rango is a superb animated-western from Gore Verbinski.

Gore Verbinski Films: (MouseHunt) - (The Mexican) - (The Ring (2002 film)) - (Pirates of the Caribbean: Curse of the Black Pearl) - (The Weather Man) - (Pirates of the Caribbean: Dead Man’s Chest) - (Pirates of the Caribbean: At World’s End) - (Lone Ranger (2013 film))

© thevoid99 2012

Ellen Foster (TV movie)

Based on Kaye Gibbons’ novel, Ellen Foster is the story of a young girl who is shifted from one home to another due to the death of her mother and the abuse she suffers from her father. Directed by John Erman and teleplay by Maria Nation and William Hanley, the TV movie revolves around a girl trying to find a home and someone to care for her as Jena Malone plays the titular character. Also starring Julie Harris, Ted Levine, Glynnis O’Connor, Zeljko Ivanek, Bill Nunn, Amanda Peet, and Timothy Olyphant. Ellen Foster is a harrowing yet heartfelt melodrama from John Erman.

Ellen is a young 10-year old child living in the South during the 1970s as she lives poorly with an alcoholic father Bill Hammond (Ted Levine) and her ailing mother Charlotte (Glynnis O’Connor), who is suffering from rheumatic flu. After Charlotte’s death, Ellen remains at home living by the money she gets from her uncle to pay bills and food that she can get. Though she was invited to stay at the holiday at the home of her friend Starletta (Allison Jones) and her parents (Bill Nunn and Lynne Moody), they couldn’t adopt her. While her father remains gone for days and her well-meaning aunts looking after her, she remains alone as her father eventually returns to beat her as her art teacher Julia Hobbs (Amanda Peet) notices.

Living temporarily with Julia and her husband Roy (Timothy Olyphant) before the court figures out what to do, Ellen seems to enjoy her new family life until her father arrives outside her school leading to a court case on who would get custody. Though the judge was sympathetic to Ellen’s plight, Ellen is forced to live with her grandmother Lenora Nelson (Julie Harris) whom Ellen never really liked. Despite being cared for by Lenora’s maid and dealing with her grandmother, Ellen was able to have a home until Lenora suffers a stroke. Ellen is once again shifted to another home as she’s given to the care of her aunt Nadine (Debra Monk). Ellen, once again, feels unloved as she’s forced to deal with her bratty cousin Dora (Kimberly J. Brown). Realizing that her only salvation could be in a woman (Kate Burton) that is a foster parent, Ellen wonders if she will ever be taken by a family who loves her.

The TV movie is about a young girl whose broken family life has her shifted from one home to another where she finds herself lost and seeking for someone to care for her. While there’s a few people in young Hobbs couple, an African-American family, and an ideal foster mother that cares for this young girl. This young girl is forced to be shifted to homes to people in her family that don’t really care about her while others might consider her to be a burden which includes her flighty aunt Betsy (Barbara Garrick). Throughout this journey in trying to find some home and family that will take care of her, she eventually change her last name from Hammond to Foster to exemplify what she had just gone through.

While the teleplay does dwell into heavy melodrama because of the girl’s plight along with a few characters that are essentially stereotypes due to its 1970s Southern setting. The script does succeed in exploring the plight of what this young girl through as it’s told largely in her perspective with some voice-over narration that reflects what she’s going through. Yet, Ellen is a child that just wants to be loved and earn her keep as she is forced to contend with superficial aunts and a very spiteful grandmother. Even worse is the law that complicates things as she wants to be with the people that will care for her who aren’t able to due to the law or to their own circumstances.

John Erman’s direction definitely has a few stylistic flairs though he keeps things very straightforward to what is expected in a TV melodrama. Erman does know how to shoot intimate moments or to set a mood while having his camera focused on Ellen in the situations she’s dealing with. While the melodrama is expected to be very sentimental and at times, heavy-handed, it some how manages to go way into that due to what the protagonist is going through. Overall, Erman’s work is stellar as he does create a very engaging drama.

Cinematographer Brian West does a nice job with the photography from the darker world of Ellen‘s original home to more low-key yet colorful shots for the homes that she goes into to exemplify the different homes she encounters. Editor Bill Blunden does a very good job with the editing to maintain a leisured pace with a few dissolves and straight cuts to keep the film going.

Production designer Fred Harpman and set decorator Lin MacDonald do some excellent work to create the look for the different homes that Ellen encounters from the posh home of her grandmother to the more natural yet carefree environment of the Hobbs. Costume designer Linda Matheson does a wonderful job with the costumes to help develop the batch of clothes that Ellen wears in her journey from casual, dirty clothes to more cleaner and fuller dresses late in the film. Sound editor Joseph Melody does a fine job with the sound work to capture some of the intimate moments as well as some of the livelier moments involving multiple characters. The music by John Morris is pretty good for some of the orchestral arrangements though at times, it gets a bit sappy and saccharine with the addition of the harmonica in the score.

The casting by Stuart Aikins, Olivia Harris, and Phyllis Huffman is brilliant as the ensemble cast that is created definitely gives the TV movie more than what is expected in the genre. Performances from Zeljko Ivanek as a school doctor, Kate Burton as the kindly foster mother Abigail, Bill Nunn and Lynne Moody as Starletta’s very caring parents, Allison Jones as Ellen’s best friend Starletta, Kimberly J. Brown as Ellen’s bratty cousin Dora, and Glynnis O’Connor as Ellen’s ailing yet loving mother are all really good. Other roles include Ted Levine as Ellen’s abusive father along with Debra Monk and Barbara Garrick as Ellen’s superficial though caring aunts are notable standouts along with some very lively yet fun performances from Timothy Olyphant and Amanda Peet as a young couple who temporarily take Ellen in.

Julie Harris is excellent as Ellen’s grandmother Lenora who is very spiteful towards her as she believes that her daughter’s death is due to the environment she chose and for bringing Ellen into the world. Finally, there’s Jena Malone in a truly outstanding performance as the titular character. Malone’s performance is definitely the heart and soul of the film as she has to endure a lot of anguish and torment for what she’s going through as her character just wants someone to care for her. It’s a performance that truly exemplifies why Malone was so revered in her early years as a child star as she continues to be one of the most interesting actresses working today.

Ellen Foster is a very good TV movie by John Erman that features a remarkable performance from Jena Malone. While it’s a film that does play by the rules of what is expected in a TV melodrama, there are elements that does give the movie something more to exemplify what this young girl goes through. In the end, Ellen Foster is an engaging TV movie that brings a very compelling tale of child abuse and abandonment.

© thevoid99 2011