is still the imaginary genius Quentin we are most familiar with. Under the hearty and heartily laid a layer of gentle background, there are a lot of black humor, violent aesthetics and "foot fetish". Xiao Li and Pete are good in the film. Our friends are very cute, and they took us like children through the 1969 era of dissolute and disorderly courtesy, anxiety and beauty. Many stalks, many beautiful feet, many old friends, very brilliant performances. Xiao Li is still mad and cute, and Pete made me get back to him in junior high school. The slow-paced "Once Upon a Time in Hollywood" is not a holographic rendition of the glitzy life of Hollywood in the late 1960s, nor is it a reinterpretation of the murder of Sharonti, but only Quentin, who grew up in the 60s/70s, treats himself A projection of childhood memories. This projection is not intended to restore the "real", but to retain the subjective feeling of both true and illusion.
Noisy and fast-paced promotional film, grand celebrity interview, this is the beginning of the film. Of course, there is also the vibrant American spirit, with perpetual party bodies, spotlights, car radios, rotating phonographs, Vanity Fair, and human relationships... In Quentin’s eyes, the grotesque Hollywood is as vast and inclusive as the West. Human nature is bleak, with complex emotions intertwined inside, everyone can chase movie dreams. Quentin used the fascination, the story of a star with movie dreams and his substitute driver, to piece together the old Hollywood dreams that are connected with the texture and spirit of the western movie, and tell the story of "making a western movie". He seemed to express his dissatisfaction with the status quo in Hollywood by cherishing the memory of the past, as if shouting in an unconquerable mood, "These are Hollywood, what do you demons want to do?" In the
film Rick Delton (Lee Onardo) and Cliff Booth (Brad Pitt), as a western movie star and his stand-in, when the western movie fell in the 1960s, they had to accept TV dramas to maintain their careers (Western TV dramas have also been compared Glory began to fade away). But Rick still has an unwilling heart, hoping to re-exhibit his western movie glory-as a result, under the persuasion of the big producer (alpacino), he will enter Europe, and under the guidance of the second big director in Europe, he will shoot. Macaroni westerns. (In this film, he pays tribute to Leone from beginning to end, but avoids mentioning his name completely.) Before that, in the shooting scene, he perfectly interpreted as a thug during the performance, but he was quickly approved by the director and did not change. Many encouragement and praise. The only consolation came from an 8-year-old precocious girl. After that, Rick flew to Europe and reluctantly participated in the shooting of Western films in Europe. However, by mistake, he shot 6 in a row and married an Italian wife. This film seems to be shooting the "Polanski Case", but Quentin is actually using a panoramic view to describe the history of Western cinema in the 1960s. In Hollywood in the 1960s, it was the time when television media hit the film industry. In order to save itself, Hollywood not only brought in creators (Polanski and other new directors) from Europe, but also actively sought filming opportunities around the world, so that in the film did Rick go to Italy to film. The whole movie of
can be regarded as an elegy to the withdrawal of westerns from the historical period, but it eventually returns to Quentin's favorite fan movie routine. Variations of various western movies are countless and flashing like stars in the whole movie. If you are a western movie fan, you will definitely enjoy it. Look for all kinds of clues to get the fun of discovering treasures (wait for After the resource, there will be a lot of testimonials), and countless tributes to the old man Leoné (but perfect without mentioning the full name, including the second European director). In addition to the tribute of the western film, the film also has two story lines that take on other parts. One line is Rick's growth line, including the parody that pays tribute to "Inglourious Basterds" at the beginning, and then talks to the little girl on the set, and the sympathy between the two and Cliff. But the ending is like the ending of a Western movie, full of sadness and sadness. The highlight moment is placed in the last 30 minutes of catharsis, which is also the climax of the whole movie. The other line of
is related to the Cliff and Manson families. However, based on insufficient information, Quentin did not emphasize the crimes and reasons of the Manson family here. Instead, he put his pen and ink on Cliff, explaining the relationship of interpersonal interests in the Hollywood system from another angle. The design of this line is more biased towards the subject of Hollywood movies, while weakening (different from the previous "Royal Hotel Murder") the natural thriller crime line of the Manson family. Brad Pitt here, in "Penalty Kick"The figure, and the performance is more mature and restrained. The revealing of his name in the film makes people feel as if they have returned to "Fight Club" in an instant. In addition to the main story line above (about two hours), the remaining climax of the ending continues the advantages of all Quentin's previous works: wild, violent, clean shots and sophisticated audio-visual action design. All this makes the last 30 minutes a dream moment, just like Hollywood's dream-making ability, or a perfect tribute to Western films, or a reference to self. Quentin's narcissism is undoubtedly displayed here, and the strong narcissism makes him confident, and this confidence infects the audience, and really makes the audience who have been dumbfounded for 2 hours into a carnival, as always, Hollywood way. The film's restoration of Hollywood back then can be described as nuanced. The set, the RV, the spahn's movie ranch of Van Nuys in the north of Los Angeles where the hippies live, the pink and white spotted bikini that Sharon wore that day, and the Beverly Hills residence of Romansky. No. 10050 Cielo Avenue-now this address no longer exists; but the theater where she watched her movies is still there, and it is next to my house-now Bruin theater next to UCLA, when we went to the movie, we were caught by it Art Shocked by the Deco-style splendid and outdated decoration, it feels like the past reappears. As for Quentin, he may not purely like violence. Judging from his previous exploration of various elements of the film, perhaps he simply wants to ask: Why can't I do this? Quentin may have forgotten the problem seven years ago. However, we can still think that the film itself is an answer: Sharon Tate died in your world, but is alive in my movie-your world is more violent than my movie.
