When you see the three keywords “1969”, “Los Angeles” and “Quentin Tarantino”, it is difficult to lower expectations. In Los Angeles in 1969, there are too many stories to tell: Old Hollywood is old, New Hollywood is ready to go, anti-cultural movement is flourishing, and a generation of “love and peace” is immersed in confrontation with authority and embraces In the dream of the agent, then the dream became a nightmare. On the night of August 9, 1969, actor Sharon Tate (who is also the wife of the great director Roman Polanski) was cruel in the Hollywood villa by her four members of the hippie cult “Manson family”. The slaughter, all killed, and the children in her belly and her four friends.
For Quentin Tarantino’s new work “Hollywood Events” focusing on this tragedy, such a complicated and chaotic background of the era can be a perfect canvas, let him understand his own understanding of that era. Spray like a pigment. Regrettably, Quentin did not offer a unique perspective when he reviewed that era. In the most insured way, he shot a fairy tale that changed history. This fairy tale may be able to please the majority, but it is difficult to withstand the test of time.
The most mainstream Quentin
At the premiere of “Halloween of Hollywood”, the film critics sighed: “This is Quentin’s most private movie”; “Quentin has pulled some of Hollywood’s biggest stars, but he has taken an art film.” Wrong, no one expected that Quentin’s story about Sharon Tate and the Manson family would be so slow and gentle. Quentin himself said that the film was his personal memory.
The reason why “Halloween of Hollywood” is surprising is because the whole film was built around Tate’s tragedy, but the tragedy did not go to the front desk until the last half hour of the film. As for the first two hours, it was a brotherhood between Brad Pitt and Leonardo DiCaprio. Or rather, these two hours are a guided tour of Los Angeles in 1969 by Pete and Little Plum.
The film’s duo men Rick Dalton (DiCaprio) and Cliff Booth (Pitt), one is the Hollywood actor whose career is in a bottleneck, one is the former’s action substitute, driver, Personal assistants and best drinkers, the story goes along their two-day experience, two lines: Rick faces the fact that he is already angry, but an 8-year-old actress gives him encouragement on the set, and The popular newcomer Polanski and Sharon Tate, who lived in his house next door, gave him confidence in his career; at the same time, Cliff was carrying out his own adventure – accidentally acquainted with a beautiful The hippie girl then stepped into the nest of the Manson family without knowing it.
In the two hours of lack of real plot, the protagonists either drove on the roads of Los Angeles or partyed in the Beverly Hills mansion – these are the glory chapters of The Hollywood Past. Under the backdrop of hearty night winds and nostalgic golden songs, the unique atmosphere of the 60s is as intoxicating as wine. From Quentin’s unrelenting restoration of the temperament of the times and the details of the city, we can also see his love for the 1960s and Los Angeles.
However, when we talked about the story, “Halloween of Hollywood” is not so charming. These trivial and plain passages are both lack of compactness and have lost Quentin’s usual evil spirits. This may be related to the fact that the two big stars starred in the mainstream, especially Xiao Lizi, who played a big boy with emotional instability and insecurity. This is nothing to do with all the characters he played in the last ten years. Different sex. In contrast, Pete’s performance is much better, but this is still a movie that emphasizes the charm of the star, it will not take the risk to make the hero become an anti-hero. Xiao Li and Pete’s fans will definitely not be able to love this movie, but if you want to see the like-minded performances like Samuel Jackson in “Pulp Fiction” and Christopher Woltz in “The Shameless Bastard” It is very likely that you will be disappointed.
The most childish Quentin
After all, “Halloween of Hollywood” is still a Hollywood production. And since Quentin has become a Hollywood king who can easily play the first-line superstars of Pete, Little Plum and Marg Robbie, his temperament will inevitably lead to the mainstream. The specific expression of this mainstream temperament in the theme expression is the “Hollywood Past” is the opposite of the evil, black and white distinct values: the old-fashioned Hollywood old man is good, the anti-drug, anti-authority hippie is bad; The traditional values of middle-aged men are good, and the radical and subversive hippie values of young people are bad.
As the third film of Quentin who has falsified history, the temperament of “Halloween of Hollywood” is in fact the same as “Shameless Bastard” and “The Liberated Jiang Ge”. This inheritance also includes a black and white value pattern. But the problem is that the issues dealt with in the Hollywood Events are much more complicated. No one will question the Nazis representing evil, the Allies and Jews represent good; no one will question the slaves as “bad” and the oppressed slaves are “good.” However, the 1960s was a gray age. The opposition between traditional values and hippie values was not black and white. Quentin’s few people who were not very important to the whole story, Roman Polanski, were the spirit of the 1960s. Significant symbol: he is both a victim of a murder and a suspect in a rape case.
Therefore, in the face of such a complicated reality, how can we divide the good and the bad across the board? Unfortunately, Quentin, who wrote “The Hollywood Past”, is trying to do so. Fortunately, he chose to deal with the incident of Sharon Tate’s murder. If he was asked to film another 1969 tragedy, the murder of the Rolling Stones at the Altamont concert, he would have a headache. At that time, should he tamper with history, kill the “Hell Angel” security guard who shot the gun at the scene, or in turn kill the hippie audience holding the knife under the stage? The truth of the 1960s is so chaotic. All attempts to tuck it into a binary template are naive.
Fundamentally, Quentin was unable to go further in the theme because his knowledge of the world came more from movies and television than from life itself. This was revealed in the most critical scene of the film: four Manson family mobs planned murder outside the Tate family, but changed their mind after seeing Rick, thinking that Rick is more worthy of killing because they When I was young, I watched Rick’s Western TV drama growing up. I think Rick is more representative of the Hollywood-style violence that should be cleared than Tate… This plot transition is so inconspicuous that any criticism with it will be true. It seems ridiculous. But it does show Quentin’s short board. Quentin’s film is always a film about pop culture, so in the Hollywood Events, the cinema’s signatures, radio ads, and TV shows are so conspicuous, while young people’s protest movements, minority civil rights movements And the pains of that era, but did not leave a little shadow.
However, as a ghostly director, Quentin’s film will never be satisfied with the simple pattern of righteousness and evil. In fact, from “Pulp Fiction” to “Kill Bill” and “Eight Evil”, in Quentin’s film, the party of relative justice will always win. But no one has ever said that these movies are boring. This is because, under the overall correct framework, Quentin always adds some private goods that provoke the mainstream value of the society and the traditional “good” taste, making the work interesting. We can cite many similar examples. For example, the members of the bastard squad in “Shameless Bastard” are all smashed, but the Nazi side is graceful and elegant from the chief to the military.
However, in “The Hollywood Past”, there are very few things that can be offended. Pete, Xiao Li, and Robbie are all superstars. Quentin naturally can’t make them ridiculous. Quentin, who represents Hollywood’s old-age values, can’t be offended. As for the other deceased who were killed together with Tate, they can’t. Said the play. Then there are only those cut-off characters on the edge of the story that are left for offense. For example, when the film opened, Cliff put on sunglasses for the emotional collapse of Rick, because they stood next to Mexicans, and “a white man should not cry in front of Mexicans.”
As for the biggest controversy in the film, of course, Quentin’s depiction of Bruce Lee. Like the Mexicans, Bruce Lee has no important plays in the film, but Quentin’s way of presenting him has a strange degree of mismatch with his plays: in the only scene where Bruce Lee had a line, he was shaped into A sulky, arrogant, bluffing nuisance was easily defeated in the fight against Cliff. This is naturally not the Bruce Lee we know. Perhaps when mainstream values can’t be questioned, Quentin can subvert and offend, leaving only ethnic minorities, female groups, and pop culture totems like Bruce Lee. Quentin may not be a racial chauvinist, but in the Hollywood Past, all sorts of debatable treatments really make him look good. Even if it is not, they make him look cool and not too advanced.
Quentin kept saying that “Halloween of Hollywood” is a fairy tale. But he does not seem to realize that the best fairy tales are told by adults, not that the more the narrator degenerates himself into a child, the better his fairy tale will be. “Halloween of Hollywood” reflects the childishness and willfulness of Quentin, who is sixty years old.