ONCE UPON A TIME IN HOLLYWOOD : Le meilleur Tarantino ?

Reservoir Vlog

Depuis sa sortie en France, le 14 août 2019, le 9e film de Quentin Tarantino fait débat.   Je m'efforce donc à travers cette vidéo de vous expliquer pourquoi ce film nous raconte ce qu'il nous raconte, et qu’est-ce que je pense de tout ça.  N'hésitez pas à vous abonner et à partager cette vidéo si elle vous a plu.  Vous pouvez également soutenir mon travail via les liens suivants :  La boutique : https://reservoir-shop.myspreadshop.fr/  Tipeee : https://fr.tipeee.com/reservoir-vlog  Et me suivre sur les réseaux sociaux :  Facebook : https://m.facebook.com/reservoirvlog   Twitter : https://twitter.com/reservoirvlog   Instagram : https://www.instagram.com/reservoirvlog/   Tik Tok : https://www.tiktok.com/@reservoirvlog  Crédit audio (dans l'ordre) :   - Hush - Once Upon a Time in Hollywood OST - Treat Her Right - Once Upon a Time in Hollywood OST - California Dreamin   Source :    - http://madame.lefigaro.fr/celebrites/le-jour-ou-sharon-tate-lex-epouse-de-roman-polanski-a-ete-sauvage-210519-165235 - https://fr.wikipedia.org/wiki/Nouvel_Hollywood - https://next.liberation.fr/cinema/2016/08/19/le-code-hays-et-les-vices-caches-d-hollywood_1473497 - https://fr.wikipedia.org/wiki/Code_Hays  #OnceUponATimeInHollywood #Tarantino #Review

Transcript

00:00 Pulp Fiction

00:02 In 1994, when Quentin Tarantino received the Golden Palm for Pulp Fiction, here's what he said.

00:19 I don't make the kind of movies that kind of bring people together.

00:23 And you gotta find the one movie that brought them all together.

00:26 I kind of make movies that kind of split people apart.

00:29 25 years later, he continues to make films that divide.

00:41 And his latest film, Once Upon a Time in Hollywood, is the one that will undoubtedly divide the most.

00:45 Through this film, Tarantino presents us all the love he carries for cinema.

00:49 He does it in a relatively melancholic way, often questioning himself through his characters.

00:54 Now, what is and will be a problem for some, is that he does it without ever holding our hand,

00:58 and especially by making fun of a meta side pushed to its paroxysm up to its poster.

01:03 Yes, that's Tarantino, yes.

01:04 And by proposing long scenes in ultra-immersive cars through a beautifully reconstructed Los Angeles of yore.

01:10 He tells us a part of the story of Rick Dalton, an actor in decline, and Cliff Goose, his stuntman and friend,

01:16 without ever telling us about the context.

01:18 And it's not pejorative, what I'm saying here, on the contrary.

01:20 It allows a certain curiosity.

01:21 But it does prove that this film is clearly not there to bring people together.

01:24 This film is a gift from a cinephile to cinephiles.

01:27 It can be appreciated by those who don't have the support and the accomplishments.

01:30 But it's clear that for others, they enjoy it.

01:32 Anyway, and unlike Tarantino's films, I created this YouTube channel to bring people together.

01:37 I make sure that each of my videos speaks as well to the last of the neophytes as to the advanced cinephiles.

01:42 That's why, before giving you my opinion on this film and analyzing it to the maximum of my abilities,

01:46 I would like to put things back in their context by explaining to you why the film industry is represented in this way at this precise time,

01:53 in the ninth film of our "Tonton à tous", this dear Quentin Tarantino.

01:57 We are in 1969 in the United States.

02:05 Richard Nixon is elected president, the Vietnam War is in full swing,

02:09 an American has walked on the moon, and the hippie movement is at its peak.

02:13 It's a decisive year in the history of this country, but also in the history of cinema.

02:17 In the 1930s, the so-called "golden age" or "the old Hollywood" begins.

02:21 A period of more than three decades where American cinema will be formatted and controlled by the big studios such as Fox, Warner, Columbia, Universal and so on.

02:30 At the time, these big names controlled absolutely everything that affected their respective productions.

02:34 The choice of the actors, the choice of the director, the writing of the script, the editing, the shooting planning, the budget, the distribution.

02:41 In short, they have the hand on everything that concerns their films.

02:44 It is to them that the final decision is made, whatever the field.

02:47 It is also for this reason that for more than three decades, American films will be the subject of censorship,

02:51 refusing to deal with themes such as sexuality, corruption or barbarism in the broad sense.

02:56 Because at this time, for a film to be distributed throughout the country, it must respect what is called the "AIDS Code".

03:01 A censorship code in the field of audiovisual production, set from 1934 to 1966.

03:07 And which basically resumes itself to not be affected by the moral values of the viewer,

03:10 not to make him feel empathy for an antagonist,

03:13 not to present in detail the different techniques of theft, dynamiting, murder.

03:17 It is also forbidden to explicitly show on the screen seduction, adultery, homosexual relations and interracial relations.

03:24 In short, I let you check the sources in description to realize by yourself the absurdity of this thing.

03:29 To sum up, the good guys were very nice and the bad guys, very bad.

03:32 That's why it was inconceivable that a bad guy could win at this time.

03:35 And that's why at the beginning of the film, Rick Dalton goes out to his agent Mr. Swarj...

03:39 Mr. Swarj?

03:40 And that's why at the beginning of the film, Rick Dalton goes out to his agent Al Pacino,

03:44 "Of course I get my face slapped in every movie, I'm a bad guy!"

03:47 Yeah, well, I don't know how to do DiCaprio's voice, sorry.

03:50 Besides, the official voice actor of this film doesn't know how to do it either.

03:55 During the old Hollywood, creation is limited by censorship, well-thinking, religion, patriotism.

04:01 A film of this period simply has to entertain its audience without pushing it,

04:05 without confronting it with a displeasing social reality.

04:07 But here, at the end of the 60s, America no longer has the same face.

04:10 The new generation is no longer content to listen wisely, it is thirsty for rebellion, for intellectual freedom.

04:16 And the majors may have spent colossal sums to produce spectacular films to re-gild their coats,

04:21 nothing is done, the golden age is indeed over.

04:24 It leaves room for the sex, drugs and rock'n'roll generation, which will bring forth what is called "New Hollywood".

04:30 In 1967, the A.I.C.E. code is totally abandoned.

04:34 Following that, movies engaged such as "Body and Clyde", "Easy Rider" or "The Night of the Living Dead"

04:38 make their way to Hollywood and are a real success.

04:41 The directors now have their hands on their works.

04:44 It is they who control their films, from the script to the final editing.

04:47 Their vision is no longer hindered by the majors, freedom is total.

04:50 And this freedom will bring forth great talents during the 70s, like Martin Scorsese, Francis Ford Coppola,

04:55 Steven Spielberg, George Lucas and many others.

04:58 This is why the year 1969 is very important in the history of American cinema.

05:03 It will bridge the gap between two generations, between two styles of creation.

05:06 It will see the decline of stars surpassed like Rick Dalton, and will see new talents emerge like Sharon Tate.

05:12 A movie star in the making who should have been one of the faces of this "New Hollywood",

05:16 but who unfortunately will know a tragic fate by crossing the path of a certain Charles Munson and his family.

05:22 In the night of August 8th to 9th, 1969, three members of the Munson family enter the Polonsky family's house at 10,050 Cielo Drive

05:33 and savagely assassinate Jay Zeebring, the producer Wotchesz Frykowski, his fiancée Abigail Folger

05:40 and the young actress Sharon Tate, 8 months pregnant.

05:43 An unprecedented act of barbarism that will cause a wave of fear and paranoia in the Hollywood show business world,

05:49 but which will lead to the end of an era, the end of an idealized and innocent world.

05:54 This is what inspired Quentin Tarantino for his 9th movie, and this is what this movie is about.

06:07 I think that to fully understand the movie, we need to know who Sharon Tate is.

06:11 Who is this famous Charlie that everyone talks about throughout the movie,

06:14 and what happened in the night of August 8th to 9th, 1969?

06:18 The movie is already quite complicated to approach, it develops a lot of themes.

06:21 It is therefore a plus to have the necessary information that justifies a lot of scenes.

06:25 It will avoid some of us from going out "that's useless" or "that's useless".

06:28 Everything is useful in this movie, and the contemplative scenes are too.

06:32 You see, when I take a glass of wine, I don't drink it in three minutes.

06:35 I take the time to savor it, to enjoy its aroma, its taste as much as possible.

06:39 The same for this movie. Dive into it, lost in it, savor every second, otherwise you will miss it.

06:45 Here, Tarantino puts fiction and reality.

06:47 He modifies a sordid historical past in a fairy tale,

06:50 where the prince who created it will save the princess of Hollywood from her fateful destiny.

06:54 A destiny that will eventually bring them together,

06:56 even if they are already brought together by this almost constant radio band

06:59 and its many musics that will go from one protagonist to another permanently.

07:02 We will also be witnesses to the different ways that the characters of Rick Dalton and Sharon Tate have to perceive cinema.

07:08 This is only an interpretation on my part, but I think that Rick Dalton and Sharon Tate

07:12 respectfully represent the old and the new Hollywood.

07:14 In the middle of the film, we have a passage of several scenes that will put the two characters in opposition.

07:18 On the one hand, Rick Dalton, who in the middle of the shooting suffers from his condition as an actor,

07:22 completely overwhelmed by what surrounds him,

07:24 but forcing himself to do what he needs, not out of love for this job, but simply to continue to exist.

07:29 And that's exactly what the Hollywood industry will do, dying in time,

07:32 which will produce his latest works not out of love for cinema, but to compete with the new wave,

07:37 to also continue to exist.

07:39 And at the same time, we have Sharon Tate, who is only love for cinema, for the emotions it provides,

07:44 who does not wax for a penny when we do not recognize her,

07:46 who does not realize that the room that projects his film is not very full,

07:50 but simply takes pleasure in seeing some spectators react to his films.

07:53 It is the generation of a new Hollywood, a purely artistic generation,

07:57 whose goal is to convey its emotions and its message not to the greatest number,

08:01 but to the spectators who will want to accept it.

08:03 Make a film for pleasure, for love, and not for stupidity.

08:07 Basically, while one undergoes cinema, at the same time and not far from it, the other lives it fully.

08:12 Well, it's maybe a bit capilotracted, but that's how I felt the thing anyway.

08:15 Now I would like to come back to the shooting of the pilot of the Ranch L series,

08:19 because we clearly witness an incredible acting and staging lesson.

08:22 Tarantino will present us the shooting of this pilot through a fictional camera,

08:28 a camera filming both fiction and reality.

08:31 When Rick will forget his text, we will not see the technical team, we will simply hear it.

08:35 And when he will resume his scene, the camera will put itself in place and will redo its movement.

08:40 We are in the reality of the film through a camera that presents a fiction in the film.

08:44 I do not know if I am very clear, but basically it is a completely crazy meta experience.

08:48 And only an actor from the DiCaprio's troupe can manage this kind of scene.

08:52 Realize that here it is Leonardo DiCaprio who plays Rick Dalton,

08:55 who plays himself a character named Caleb.

08:57 And the worst is that we do not see DiCaprio when he plays Rick Dalton,

09:00 and we do not see Rick Dalton when he plays Caleb.

09:02 In short, this guy is an UFO, his performance is really incredible.

09:06 Playing such a complex character must not have been easy.

09:08 Rick Dalton is an actor on the down-slope, alcoholic, angry.

09:12 He only finds comfort when his stuntman is best friend Cliff Booth.

09:16 Besides, Tarantino puts the emphasis on this touching friendship between two people who complement each other and contribute mutually.

09:21 Cliff Booth, he is the Tarantino character par excellence.

09:24 The cool guy we all want to have as a friend.

09:26 The film remains discreet on his passive, a bit like with the rest of the characters.

09:30 But the opposite is not necessarily important.

09:32 Everything we need to know about these characters is in the film.

09:34 The rest belongs to our imagination.

09:36 Did Cliff kill his wife?

09:38 Could he have beaten Bruce Lee?

09:40 What is this celery doing in his cocktail?

09:42 All these questions, it's up to us to answer.

09:44 Cliff Booth is the first to feel the threat of the cult of the psychopathic killer Charles Manson.

09:48 In a scene in the Ranch Spawn that will mix horror and western with brilliance in its staging,

09:52 and which will demonstrate all the badassness and charisma of this character.

09:55 Usually, the scenes where the Manson family appears are cold in the back when we know the context.

10:00 It is introduced with some female members, all singing in the chorus "I'll never say never to always",

10:05 a song written by Charles Manson himself.

10:08 The latter, moreover, will only be seen for 30 seconds in the film, but 30 seconds will be enough to make him terrifyingly normal.

10:13 Finally, at the same time, Charles Manson who says hello to Sharon Tate,

10:16 nobody knows if it has already happened,

10:18 but to see that when we know the tragic fate of this woman, it's still pretty scary.

10:22 And rather gloomy, we will not lie.

10:24 And that's the principle of the film, by the way, which some have not understood, once again.

10:27 Tarantino uses a historical reality to introduce fictional characters

10:31 that will interact and modify our perception of reality.

10:34 At no time do I think Manson met Sharon Tate.

10:37 At no time did Cliff Booth beat Bruce Lee.

10:40 So when can we be offended by the treatment given to the latter when he fights a fictional character?

10:45 We have a real basis, okay.

10:47 But what is revolving around is only the vision of a geniusly disturbed filmmaker who simply wants to tell us a story.

10:52 So maybe Bruce Lee was the king of assholes, maybe not, but it doesn't matter.

10:56 What is told here must not be perceived as a historical reality.

11:00 I mean, after a while, when an actor who never existed burns the mouth of one of the murderers of this poor Sharon Tate,

11:05 there is no need to take too much back to realize that Once Upon a Time in Hollywood is not a historical story.

11:10 And if it's not enough for some, just translate the title of the film.

11:13 This film is like an Inglorious Bastard.

11:20 Tarantino still modifies reality a little bit and offers us, especially during the last 20 minutes,

11:24 the vision that it is a fairy tale.

11:26 When the members of the Manson family go to Cielo Drive to accomplish the act of barbarism we know,

11:31 it was not counting the Tarantino key that we most commonly call Rick Dalton.

11:35 Indeed, the latter, hating hippies, will throw them out of his property.

11:38 But the family, by penetrating Dalton's home to kill their childhood heroes,

11:42 it is in a way the reality that comes to confront fiction.

11:45 And it is justified by the completely cartoonish way that Cliff, Brandy and Rick massacred the members of the sect.

11:50 Rick fucking Dalton will go so far as to carbonize his assailant as he will carbonize the Nazis in one of his old films,

11:56 The Fourteen Points of McCluskey.

11:58 Besides, I don't know if you know the principle of Chekhov's rifle, but this film is full of it.

12:06 Basically, it consists of insisting on an element, usually lambda, at the time it is introduced,

12:10 to then make us understand its importance later in the film.

12:13 Here it applies to dog pâté, to cigarette with acid, to flamethrower and so on.

12:17 Tarantino concludes his film on a touching uchronia.

12:20 He shapes his own reality.

12:22 He tells us his ideal vision of an era that idolizes him.

12:25 He saves Sharon Tate from her tragic destiny and brings together two different visions of Hollywood around a glass.

12:30 Letting their lives follow its course in our unconscious and on a film forever.

12:35 Quentin Tarantino has always referenced his works, sometimes even a little too much.

12:40 But since The Eight Scoundrels, we feel a certain maturity in his cinema.

12:44 Certainly, his last two feature films also have their share of references and tributes.

12:47 But they are much more of an experimentation than the rest of his filmography.

12:51 Which is a pleonasm for a director who has not stopped to chain style exercises throughout his career.

12:56 Once Upon a Time in Hollywood is an omen in his filmography.

12:59 It has been said like 2000 times, but at the same time it is a truth that is difficult to dispute.

13:03 It is the most mature film of the filmmaker.

13:05 It is a declaration of love to the cinema of his childhood, and to cinema in general.

13:09 He sets up an incredible atmosphere, sublimated by a brilliant soundtrack.

13:13 It is undoubtedly the first time he has shown so much demand in his script.

13:16 Here we are not dealing with a banal story, no hero is set up.

13:20 He simply takes us on a trip of nearly three hours to get us to live as close as possible to cinema.

13:25 And there is nothing to say but Once Upon a Time in Hollywood is and will remain one of my favorite of this year 2019.

13:31 In the meantime, I can't wait to discover the future projects of this great filmmaker.

13:34 It's already a tenth and last film in the cinema, but also a play, a TV series and even a long version for this film.

13:41 Because you feel that in this film scenes have been cut, you feel that everything is not shown.

13:44 And besides, many scenes that are shown in the trailer are not shown in the film.

13:48 In short, whatever happens, I can't wait to discover all this, hoping that he continues to make us travel as he has done for almost 30 years.

13:55 [Music]

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