Episode: Tarantino’s 9th


Open Source with Christopher Lydon Logo
Subscribe
Tarantino’s 9th

Spoiler alert! (Really.) The big movie to reckon with this summer may be as much about the mood of 2019 as about the Helter-Skelter 1960s. It’s Once Upon a Time in Hollywood, Quentin Tarantino’s ninth big film, with a surprise streak of fantasy and mercy in it. He’s revising the course of events of 50 summers ago, when a revolutionary tension in the Los Angeles dream factory broke, or got broken into, by the murderous Manson family, when the beautiful and pregnant Sharon Tate and four more got slaughtered. Joan Didion in a famous essay at the time marked it the end of the Sixties, the crash of peace and love. Tarantino’s had time to re-imagine it as an actor’s story—many shades of manhood and morality in an air of everyday madness.

Quentin Tarantino.

Once Upon a Time in Hollywood is many things, but let’s start with two. First, it’s a meticulous reconstruction of Los Angeles in the 1960s—sunlight angling through smog, the game faces of white guys, their lingo, their cars, and car radios, their hair, their self-pity—all at the moment of the Manson murders in Benedict Canyon: August 9, 1969. At the same time the movie’s a flight of fancy into an alternative ending for a horror story, yet another take on violence from the bloody-minded moralist Tarantino. Back in 1969, a “demented and seductive vortex of tension was building” in Hollywood, Didion wrote: “the dogs barked every night and the moon was always full.” And when the shocking news of midnight murder in the hills was confirmed, what she remembered—and wished she didn’t—was that “no one was surprised.” There’s the context of 1969 in which Quentin Tarantino has placed his own invention, a buddy flick with Leonardo DiCaprio and Brad Pitt cast as a downwardly mobile actor and his stunt-man sidekick. There’s propulsive energy and fun in this movie, and a strange beauty, too.

The post Tarantino’s 9th appeared first on Open Source with Christopher Lydon.



Open Source with Christopher Lydon
Users who viewed this episode also viewed...

Open Source with Christopher Lydon > The Reporter’s Reporter

Seymour Hersh, known as Sy, made a brilliant career, at his best, of exposing Official US, at its worst: the Army massacre at My Lai, in Vietnam. The sadistic prison management at Abu Ghraib in Iraq. The forbidden spying by the CIA on American citizens. Sy Hersh has been the scariest scoop artist in journalism for 50 years — he scared his editors, his readers, his news-business rivals and his targets: who else virtually declared that his job was to stop Dick Cheney from going to war on Iran, and prevailed...

Open Source with Christopher Lydon > The Tower and the Square

A conversation about Brexit, yellow vests, and the state of the European Union with Arthur Goldhammer, Vanessa Bee, Julian Bourg, and Alan Rusbridger. A nasty winter of discontent is in the air, blowing around old towers of power: Paris, London and of course Washington. Like everything else in the Digital Age, fear, anger and disruption travel together through an invisible network—from left-out villages to posh precincts in shiny rich capitals of France, Britain, the US...

Open Source with Christopher Lydon > Karl Ove Knausgaard on Art and Loneliness

Karl Ove Knausgaard wrote a 6-volume selfie that a lot of us can’t stop reading. My Struggle he called it, looking inward and talking to himself for thousands of pages. Autumn, his new book, is a relief for him and us: It looks outward, in short pieces, letters to a new daughter before she was born, about Stubble Fields, Telephones, Wellington boots, chimneys, the painter Vincent Van Gogh...
Comments (0)

Login or Sign up to leave a comment.

Log in
Sign up

Be the first to comment.