Once upon a time ... in Hollywood

5

• Genre: Drama

The director completes in his ninth film his most intimate, personal, suggestive, rare, emotional and far from topics of his filmography. A masterpiece

Among the infinite definitions that the word cinema admits, one of them is heard in a documentary about tennis (as is) that has just been released. The critic Serge Daney says that it is not so much the surprise of the moving image as "the reverberation of sound, the sensation of time". And he adds that what is relevant is the ability of the Lumière creation to "invent time itself." There is some fatality, or simple destiny, in the power of cinema to thicken or lighten the substance, let's call it that, from memory. Let's think for a moment about Tarantino's own filmography . His films, or a good part of them, are anchored in the memory of any spectator, more or less cinephile, with a clarity at the same time enthusiastic and, why not, suspicious. His evocation moves to laughter, celebration and nostalgia. 25 years ago Like no other artistic expression, cinema articulates and gives meaning to time while, like crystals stuck in the retina, it appropriates it. We are the time that inhabits us. And he invents us.

Once upon a time in ... Hollywood goes about all this. The film is about the power of the image to build both memory and reality itself . And in that sense it moves in exactly the same register as two recent and major works. With Rome , by Alfonso Cuarón, he shares the will to rebuild that pile of broken mirrors that make up what we were. And what we are therefore. The past, you know, is the present. The past, in fact, does not exist. And like Pain and Glory , by Pedro Almodóvar, his idea is to trace in that original movement towards creation that liberates with the same force that condemns. It hurts, but it dignifies. The three tapes, each in its own way, are known as repositories of the last breath of a time that fades. But none of them give up something like hope, none of them wants to stop being time of our time. They are eternal in their chronophage voracity.

Let's say we are facing the most emotional and, if you let me, sincere of how many films your director has signed . Without a doubt, the rarest and most intense. Without regard, Tarantino abandons much of the style marks that have configured the scope of the Tarantinian adjective and that so many henchmen have produced. The film runs in parallel between the erratic work of an actor (Leonardo DiCaprio as Rick Dalton) fundamentally erratic, and the delirium of life of an actress (Margot Robbie as Sharon Tate) who aspires to simply life. In between, a double or specialist (Brad Pitt as Clift Booth) as a true catalyst for an adventure that speaks precisely of how some bodies replace others and how dreams are carried away by their corresponding nightmares.

Everything runs between February and the summer of 1969. That was the year in which everything was decided. Anniversaries remind us: the man stepped on the moon, Sharon Tate was killed by Charles Manson, the New Hollywood took the place of the other ... And so, Tarantino, with an entomologist mentality, raises before the viewer's eyes a whole universe of aromas, sparkles, souvenirs , stuffed animals, drawers that hide secret doors and dazzling cycloramas. All musical, cinematographic, television and even advertising events (which are endless) are placed with their corresponding poster and in the showcase they play. Below the Latin name and its habitat. They are precise references that sound the same within the narrative as outside of it. Many of the songs start with the idea of ​​supporting, underlining or contradicting what you see and end up playing on the car radio. And the same goes for television serials or illuminated posters of cinemas. Everything calls everything, because everything is memory, everything is time invented, everything is time that invents us. Eternal.

An enormous and monumental film that leaves the possibility of nothing more breathless. It seems impossible to banish a strange sense of no return path

The proposed trip, which would be said as personal as non-transferable, ends up being a common trip. It is the cinema itself that is invoked in its entirety, in its fullness, in its rarity and in its despair. It seems impossible to banish from Once upon a time in ... Hollywood a strange sensation of a way of no return, of a world that disappears. And it is not so much melancholy, that perhaps also, as the hard presence of the same duration: time, good weather.

The movie is all dotted with memorable moments . Brad Pitt's scene at the ranch where Charles Manson and his family took refuge reminds of the Texas Chainsaw Massacre in its perfect, dirty and agonized construction so close to the purest suspense. The sequence of Margot Robbie in the cinema while watching herself in the film by Phil Karlson The mansion of the seven pleasures portrays, like no other, the happy strangeness of the mirrors. And finally, the moment in which a second-class actor like the one played by Leonardo DiCaprio vindicates himself before the frightened gesture of a girl suddenly acquires the character of an impregnable bulwark. A single moment to explain an entire filmography.

The result is a huge and monumental film that leaves the possibility of nothing more breathless. It is assumed that the director still has one more to complete the 10 that had been marked as a goal . Once upon a time ... it has a lot of arrival station, goal, meticulous reconstruction of a paradise that only formally lives in the past. Actually, Érase ... is a movie thought out of time. It is only time.

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