PIC of the Week – Once Upon a Time…In Hollywood
Article series by Ray Schillaci
Sony Pictures Home Entertainment presence a 4K/Blu of Quentin Tarantino’s nostalgic fairy tale, Once Upon a Time…in Hollywood. This is not a film that will please everyone. Some Tarantino fans will be remiss over the lack of brilliant dialogue the writer/director is known for. Historians will complain of sugar-coating the ending to such a tragedy. Others will cry fowl over the writer/director’s treatment of women – leaving Margot Robbie little to do but pose away as Sharon Tate and the ultra-violent ending to one of the Manson girls. Then their will be others that will cheer on Tarantino for growing and going beyond the boundaries of what he is known for. All of the above can be legitimately argued. But, there is no denying that the trippy trip down memory lane is quite impressive and fascinating.
This is ballyhooed as Tarantino’s “9th film.” That count can be argued since Kill Bill was originally one long feature before Miramax had him cut it into two features. And, I’m guessing nobody counts his segments in Grindhouse, Sin City, and Four Rooms.
Either way, what some may not realize with this “9th film,” is that Tarantino does not flinch at stretching himself as an artist. Harvey Keitel, after helping Tarantino produce Reservoir Dogs, had reservations over the reading of Pulp Fiction. He felt that Tarantino pushed boundaries with his first film and that his second scaled back. But, Fiction proved to be an enormous hit that resonated with audiences and put Tarantino on the map to stardom.
Once Upon a Time…in Hollywood has very little in common with Tarantino’s other films other than an alternate history as he presented in Inglourious Basterds. He captures the time period and the stars beautifully almost to the point of being a travelogue. Fictional characters who just pop up are so fascinating in their brief appearances they leave you wanting more. Pacino’s Marvin Schwarz is such a fun amalgamation of Hollywood characters one cannot help but wonder what else he had in store if given more screen time. Then there are the spot on non-fictional personalties that appear to have their singular moments. Damian Lewis’ take on Steve McQueen at the Hefner Playboy party is so spot on that it makes us yearn for more of him and less of Leonardo DiCaprio’s lamenting, tortured actor Rick Dalton.
And, even though the film feels like its center is the camaraderie between Dalton and his pal/stuntman Cliff Booth, played by Brad Pitt, that relationship is overshadowed by the time period that Tarantino has so efficiently recreated. As fun as that is, Tarantino also has a dark cloud looming over the trippy time period, reminding us that all was not peace, love and free sex. There is an underlying current of danger that lurks amongst it all. That sense heightens to extremes when we visit the infamous Spahn Ranch and the night Manson’s followers lurk up Cielo Drive in Benedict Canyon.
This may not be a general audience film. It’s much more geared towards movie and celebrity lovers. In some ways, it’s practically a tabloid version of Hollywood in the ’60s via celluloid. Anyone interested in the time period should enjoy Tarantino’s take, but it cannot be taken seriously since he reminds us that this is his version, hence the title Once Upon a Time…in Hollywood.
Although, presented with a great 2160p picture, Tarantino’s film will have some jarred by the grittiness of it all. That’s on purpose on the director’s part for the sake of the time period. That graininess does not come off as strong on the 1080p version. But, what we are getting is Tarantino’s insistence of his nostalgic take on everything from a Pan Am 747 landing to a crazed Rick Dalton setting the stage ablaze with a flame thrower for his WWII film. Also, there are times throughout the film that the 2160p appears darker than the 1080p. Not sure why that is since 4KUHD usually is known for its brightness. this is especially noticeable during the Hefner Playboy party and the Benedict Canyon sequence. In the end, some may turn to the Blu version for the visual over the 4K.
The DTS-HD Master 7.1 sound compliments Tarantino’s choice in music. It’s in those tracks that the film really shines and gives you a preferred choice over the Blu-ray version. The surround is put to good use with a noticeable separation. Effects are far more pronounced as in Rick Dalton’s flame thrower that sears through your speakers, and the precious dialogue is never lost amongst effects and music.
I’m not sure who is to blame, Sony Pictures Home Entertainment or Tarantino, but the supplemental material provided feels very skimpy. There are 25 minutes of additional scenes on the 4K disc with additional material on the Blu. But, what we are left with on the Blu is barely thirty minutes worth of material as follows –
• Quentin Tarantino’s Love Letter to Hollywood
• Bob Richardson – For The Love of Film
• Shop Talk – The Cars of 1969
• Restoring Hollywood – The Production Design of Once Upon a Time… in Hollywood
• The Fashion of 1969
Overall, despite the lack of bonus material, this is a worthy addition to a cinephile’s library. But, for the general public it may be worth a watch or two since Tarantino has so much going on in his film. Either way, the growth of Tarantino as a writer and director takes a fascinating turn with only his “9th Film.”
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