Once Upon a Time in Hollywood, like Tarantino’s other recent projects, may not end up fully lining up with how the real thing happened too. Moving back to the film industry for his latest project feels apt, and working with Brad Pitt and Leonardo DiCaprio again might lead to more fine work from the two stars.
Some aspects of Once Upon a Time in Hollywood feel tailor-made for Tarantino. But being more aware of how Tarantino has interacted with actresses and his earlier stance on a director like Polanski (who might well appear in Once Upon a Time in Hollywood as a character), suggests something fairly discouraging. With the project more than a year away, we can only speculate on what that final film will look like. So while it may be harrowing but potentially intriguing to watch a film set at the height of the Manson murders, one that may end up featuring Sharon Tate as a supporting character (early rumors pinpointed Margot Robbie as Tarantino’s choice to play the actress), it’s also very concerning to imagine Tarantino behind the camera to tell that story. It can be similarly visceral to watch the finale of Django Unchained in which a slave emancipates himself by bringing death to the owners of a Southern plantation.īut the climate is much different regarding sexism, misogyny and gender representation in modern movies. It is cathartic to watch the fiery climax of Inglourious Basterds in which a group of Jewish and other American soldiers lay waste to a host of Nazis, including Hitler himself, almost precisely because it’s nowhere close to being accurate. Second, there is the bracing reality that how Tarantino treats historical fact can be deliberately a lot wilder and looser than the real thing.
The director apologized for those remarks. In the aftermath of the Thurman essay, 2013 audio was unearthed of Tarantino criticizing Samantha Geimer, who at age 13 was drugged and raped by Roman Polanski (previously the husband of Sharon Tate). What makes it concerning in light of Once Upon a Time in Hollywood is twofold. This controversy, no matter how disquieting it is, took place over a decade ago. While he’s mostly forthright and contrite when asked about his spitting on Thurman for a scene, his response is, “I can explain why I did exactly what I did, but my question is, what’s the fucking problem?” A couple days later, Tarantino spoke at length in an interview with Deadline about the New York Times profile. Thurman also described the trauma of getting into a car crash on set because Tarantino allegedly didn’t want to use a stunt driver. Leaving aside her detailed and disturbing description of harassment and abuse at the hands of Weinstein, the article had another major surprise: Thurman’s depiction of the fraught work environment on the set of the Kill Bill films - she mentions that Tarantino spit on her and strangled her as part of the filming process for the intense genre duo. Last month, the New York Times published a lengthy profile of one of Tarantino’s early muses, Uma Thurman. While Tarantino is no stranger to working within specific historical periods and events, his recent presence in the fallout of the Harvey Weinstein scandal should raise concerns among even his biggest fans. While the description suggests that Pitt and DiCaprio might be the leads, it’s impossible to imagine that the Manson murders won’t take center stage: Once Upon a Time in Hollywood is slated to be released on August 9, 2019, the 50th anniversary of Sharon Tate’s death. Coincidentally, Pitt’s character, Rick Dalton, lives right next door to Sharon Tate, the starlet who was one of the victims in the Charles Manson murders.
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Once Upon a Time in Hollywood, per the Sony log line, focuses on a washed-up actor (Pitt) from a Western TV series and his stunt double (DiCaprio) struggling to survive at the end of the 1960s. LACMA to Honor Director Park Chan-wook and Artist Helen Pashgian at Art+Film Gala
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