It’s said that Quentin Tarantio has called his latest film, Once Upon a Time… In Hollywood, his Magnum Opus. Whether his fans agree or disagree, to call the 9th out of the 10 planned feature films of his career his most important piece is daring and begs us to pay close attention. To savor every detail. To find deeper meaning in this story.
The film is a gripping tale spun out of Hollywood history at the sunset of the golden era. In 1969, Rick Dalton (Leonardo DiCaprio) is a fading movie star. He’s best known for his lead role in a television western, Bounty Law. With the realization that he’s “a has-been” he throws himself into some new western roles and even some spaghetti westerns. That’s also good news for his friend and stunt double, Clint Booth (Brad Pitt), who tags along, hopes for work, but mostly drives Rick around since he lost his license. One day while Rick is busy filming, Clint picks up a young hippie girl hitchhiking and takes her home, which happens to be an old Hollywood movie ranch he and Rick used to work on. Clint senses something sinister there. The story ties in, Rick’s new neighbors, Roman Polanski and Sharon Tate as well as a few of their friends that share an eventful evening.
DiCaprio and Pitt working together brings us one of the best on screen duos I’ve ever seen. They’re both Hollywood icons most Tarantino fans have watched growing up and to see them together for the first time is wonderfully entertaining. DiCaprio’s violent improvising in the trailer is one of the best moments in the film. And Pitt’s charismatically aloof character with a fishy past is captivating. While each of their roles are uniquely perfect for them, their chemistry between them is solid and electrifying. At times, they make this film feel like a buddy movie, especially when Clint has to remind Rick who he is.
Tarantino films are known to be especially violent. Once Upon a Time… in Hollywood also has those extremely violent moments that only Tarantino could pull off. True to his fashion, many of those moments made me laugh in horror. I loved it. But without giving too much away, I will say that there is quite a bit less violence than usual for Tarantino. Most of the film is rather calm and focuses on story and character interaction. And it never feels dull. But when the knives are out, it goes from zero to sixty in no time and keeps getting more intense until the end.
Once Upon a Time… in Hollywood is Tarantino’s love letter to Hollywood’s golden age, where he tries to administer some justice. It makes me wonder just how much affect the Manson murders had on young Quenton and how much he may have idolized those tv cowboys like Dalton played. The film is full of nostalgia and style, from the shiny classic cars, vintage shop fronts down to the knit hippie clothes. And of course, I love how much his use of stunt workers as characters. The scene between Pitt, Zoe Bell, Kurt Russell and Mike Moh as a young Bruce Lee was one of my favorites.
“You know, you’re kinda pretty for a stuntman.”
Lulu Wang’s The Farewell is “based on an actual lie.” The film is about her family coming together after learning of her grandmother’s terminal cancer diagnosis. They all travel from America and Japan back to China to be with her, under the guise of a wedding. No one can even hint at Nai Nai’s condition, much less the outcome they believe to be coming very soon. What unfolds is a beautiful moment of grief and sorrow blanketed by celebration that breeds joyful memories. 
Awkwafina leads as Billi, a young Chinese-American woman living in New York. When she learns that her family is going to hide Nai Nai’s illness from her, she is immediately against it. Her parents reassure her, through their own grief, that it’s for the best and advise her not to visit because they’re afraid Billi won’t be able to hide her emotions. Rebellious Billi shows up at Nai Nai’s doorstep once everyone else has already arrived. There’s a thick silence when she enters, as if everyone is waiting for Billi to lose it and spill the beans. Billi keeps up the charade, despite her often sorrowful expressions. 
Some of my favorite little moments in the film came from Hao Hao’s wedding reception. Billi’s family looks a lot like mine, and maybe yours too. They have old timers sharing juicy stories of their youth, kids playing on phones and with the food. Silly drinking games where that one cousin always loses. They make heartfelt speeches, sometimes forgetting to congratulate the bride and groom when they’re so focused on Nai Nai. But mostly, they let loose and have a great time. 
The idea of Eastern versus Western culture is interesting and eye opening for many westerners watching the film. Some might think it negligent, even cruel, to not tell Nai Nai that she has terminal cancer and will likely die in 3 months or less. Others might find it hard on the family who have to bear this burden of impending grief and sorrow so quietly. In a poignant scene, Billi’s uncle describes it well, “You think one’s life belongs to oneself….In the east, a person’s life is part of a whole family.” The way Nai Nai’s family comes together for the first time in a long while, raises her up and celebrates her, I doubt Nai Nai is completely in the dark. Somehow I think she appreciates what they hide from her and how they come together for her.
Last week, I went to the Indy Film Fest, here in Indianapolis, to see 
