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The first two hours of Once Upon A Time... In Hollywood go by washed away, interspersing truly brilliant moments (Tarantino makes a gift to the industry by portraying the miseries and greatnesses of Hollywood before the 70's adult cinema revolution and the first stars who suffered the decline of television success achieved after the birth of the medium in the 50s) with others in which you can see how the director's own ego hinders the fluidity of his work. The (obvious) feeling that Tarantino enjoys too much of the dialogues he writes and the rocambolesque situations he poses leads to, for example, creating eternal moments of fiction within fiction that undermine the rhythm of his ambitious story.
Leonardo DiCaprio and Brad Pitt are hilarious and radiate charisma (especially in the case of the protagonist of The Reborn, absent from the public focus since winning the Oscar four years ago) playing an actor in low hours and a specialist in action scenes respectively, but they share even more scenes and misadventures. And no one expects a vehicle to show off at the service of Margot Robbie. The presentation of the community of followers of Charles Manson is one of the most interesting elements in history, but the participation of Sharon Tate is a kind of glorified cameo with which, however, Tarantino offers a tribute in his own way to the protagonist of one of the most famous and tragic stories of Hollywood.[caption id="attachment_14778" align="alignnone" width="1200"] imagen de as.com[/caption]
Also noteworthy are the appearances of the controversial creator Lena Dunham, her old friend Kurt Russell or the recently deceased Luke Perry, but all the special guests stay in anecdote. For the enjoyment of the general public, Once Upon a Time... in Hollywood is a show built to greater glory of Tarantino and its two male protagonists. We do not know why Pitt and DiCaprio have not worked together so far, but we can only hope that they do not take too long to repeat it.
There are many things to celebrate in this scathing and, at times, hilarious portrait of the crazy atmosphere in which Hollywood lived in the late 60s. Tarantino writes a love letter to his obsessions (cinephiles, musicals, televisions, fetishists) and at a very specific time in the industry with a particular buddy movie that rises thanks to two memorable characters that work both separately and in pairs.
Although in his cinema the actors can sometimes seem simple puppets that only exist to recycle their characteristic dialogues, with this story Tarantino makes a nice tribute to a profession full of misfortunes, doubts and insecurities. To the surprise of his fans, Once upon a time in Hollywood it may be the film of his filmography in which love appears most represented in its history. One way or another.
Although with the end it is better not to go into details for fearing that Tarantino appears in our homes with a flamethrower in his hand, we will only advance that if sometimes we have doubts with the structure of the story and with the love that the filmmaker feels for his own writing, with the third act our devotion is absolute, Once Upon A Time... In Hollywood ends up achieving the magic status that Tarantino wants to reflect about the 60's Hollywood. For what it means and for how it is shot. For how he collects things that have been telling us in the movie and for the director's (blessed) obsession to create iconic moments to keep talking about for years. It is an incontestable climax in which, in addition to the director Tarantino's show, there is room for a simple but emotional final for all the characters involved.