Once Upon a Time in Hollywood 4K 2019 Ultra HD 2160p

Incredible film, amazing actors, all this can be found in this film - Once Upon a Time in Hollywood 4K. The once popular actor and star of the Bounty Law television show, Rick Dalton (Leonardo DiCaprio), along with his understudy Cliff Booth (Brad Pitt), tried unsuccessfully to regain greatness on Hollywood Olympus. In his time, everything was completely different, but now has changed beyond recognition, so the main characters will have to go to many tricks to achieve the desired. But luck is on their side when it turns out that Rick’s neighbor is actress Sharon Tate, the wife of director Roman Polanski.

Once Upon a Time in Hollywood 4K review
Rick Dalton, once a popular television actor and star of TV westerns, is going through hard times: he went on the run, from the role of a handsome and handsome savior, he was grinded into a invited villain, there are no permanent roles at all, and the agent stubbornly asks him to leave for Italy to be there act in cheap spaghetti westerns. His friend and understudy Cliff Booth doesn’t spoil life either - he lives in a trailer with a wonderful dog, because of his dark past he cannot get into the stunt guild, carries Dalton on business and cleans his house. Sharon Tate, the promising actress and wife of Roman Polansky, who was brutally murdered by Charles Manson's followers on August 9, 1969, lives in the same rhythm of eternal dance.

Tarantino is a holiday, everything flies to Hollywood: the audience greets every work of the inveterate postmodernist with open arms, which, in general, is understandable, deserved, and beautiful. Of ten ten films “Once in Hollywood” promised by Quentin - the ninth, the penultimate one, then only take stock, shoot the magnum opus or, as an option, the new “Star Trek”. At this finish line, no one seemed to expect sudden creative changes from the director: for too long and comfortably he was inside his bright style. But Tarantino and Tarantino — he once came to Cannes and surprised everyone with “Pulp Fiction”, became the voice of a generation and a new word in cinema; now, exactly 25 years later, here he took his word back (which, paradoxically, surprised everyone even more). 1994-2019: we can repeat it, as they say.

In Once Upon a Time in Hollywood, there are no liters of thick fake blood, no foppish narrative games, violence is often taken away per frame, and even a daring fuck is not pronounced so often (and you won't hear the forbidden word for “n”). All surface markers of “Tarantinism” suddenly went somewhere, and more personal and important elements of director’s style were revealed behind them. Tarantino calls the film the closest he did to Pulp Fiction - and this perfectly shows how much his method has changed and maybe even matured. After all, he has not yet removed anything farther from Fiction, especially intonationally.

If we draw parallels, Once Upon a Time in Hollywood is closer to Jackie Brown, the most unpopular film of the national director. In it, Quentin, slightly casting aside the dashing enthusiasm and bloodthirstiness, tried to comprehend his love for “blacklisting” - a low genre with a focus on the culture of African-Americans. It’s about the same thing, only wider: Quentin, who always quoted the old genre movie (especially exploitative) without measure, suddenly decided to integrate into it, to catch the elusive “soul” of the era when films were better, people made it easier and even for porn to have gala premieres .

A big fan of tricky dramaturgy Tarantino suddenly lets the heroes go for a walk, gives them peace of mind to dance, watch a movie, star in a movie or, I don’t know, fight with Bruce Lee (a great scene, by the way). This is no longer a narrative movie or a movie game, but an observation film, and Quentin chooses the appropriate rhythm for him. Echoing the name, with a leisurely spaghetti western he paints a portrait of the time, reconstructs the world of Hollywood in its prime - which, in fact, is the same Wild West. Only cowboys are dressed up here, cartridges are idle, and saloons are just cardboard decorations.

The film, however, enjoys this secondary nature, interferes with real people with Quentin's legacy (stuntman Kurt Russell appears in a small cameo, the tuneful last name Margaretti flaunts on posters), lovingly stage entire programs and passages of TV series - the details seem to be decorative and optional. But Tarantino generally has little “compulsory”: until the epilogue, his film is almost without plot, it is a set of sketches and small conflicts that do not lead anywhere and do not change anything in the big picture. This is because the main character here is not the actor Rick Dalton, who hides talent behind clumsy career decisions (amazing DiCaprio, who has everything very well with career decisions), not his understudy Cliff Booth (beautifully aged Brad Pitt) and no longer poor Sharon Tate (sweet statistician Margot Robbie). This is classic Hollywood itself, geographically and creatively. A fairy-tale city, a dream city on the verge of its own death: after that same Manson night on August 9, 1969, free morals and free love will forever fall, and with them all, excuse me, a zeitgeist.

For Tarantino, this, of course, is the greatest tragedy, and all who are responsible for it are sources of universal evil. The spread of hippies in Once Upon a Time in Hollywood is shown as an invasion of monsters from the real horror: they are everywhere, they watch, seduce, threaten and penetrate all the cracks - somewhere metaphorically, somewhere literally. In one of the best scenes of the film, when the hero of Pitt, by the will of fate, ends up at Manson’s Family ranch, a faceless crowd of hippars turns into an ominous swarm, floods the screen and watches with accusation how the stuntman brazenly clings to memories of good old people. Their image, of course, is satirical (with Tarantino's sense of humor, as always, everything is in order), but at the same time it is surprisingly frightening. Surprisingly, because Quentin did not seem to be afraid of anything and anyone at all - and yet for the first time he was really scared.

After all, the fate of not abstract people, but the movie itself, is at stake now - in that old-fashioned ridiculous form in which the director loves him so much. And therefore, when in the finals of “Once Upon a Time in Hollywood” collapses to one monumental point in time and space, and suspense reaches a force unprecedented for Tarantino, Quentin, who had previously calmly watched from above, desperately invades his reality. In the best traditions, a sudden and merciless blood bath - not as spectacular as in Django, but much more important ideologically. We’ll leave the details, especially since the director himself convincingly asked the film not to spoil (and there is something spoiler). Let's just say: earlier Tarantino killed people in order to revive the movie. Now he kills because he cannot let the movie die.