2010s, Auteurs, Crime/Detective, Thriller

Once Upon A Time…In Hollywood (2019)

Director/Screenwriter: Quentin Tarantino

By Roderick Heath

Quentin Tarantino’s debut Reservoir Dogs, all the way back in 1992, was a film about acting in crime film drag where Tim Roth’s antiheroic Mr Orange was the prototypical Hollywood wannabe, working to become his role so deeply all lines between life and performance vanish, immersed in a game of whose tough guy act ruled. Once Upon A Time…In Hollywood, his ninth film, inverts that proposition to a great extent: it’s a film explicitly about acting, intersecting with crime and other random and inescapable cruelties of life, and the feeling when that gravity you’ve been defying through the transportation of creativity suddenly kicks in. Once Upon A Time…In Hollywood sees Tarantino returning to the climes of Los Angeles he recorded in his first three films, Reservoir Dogs, Pulp Fiction (1994), and Jackie Brown (1997), albeit a recreation of a remembered city, the one of Tarantino’s childhood, recreated in such fetishistic detail it constitutes an act of conjuring. As ever in Tarantino’s cinema, fantasy and reality are blended to a delirious and unstable degree, but this time nominally subordinated to a pastiche of the familiar true crime ploy of outlaying narrative as a succession of checklist items in terms of who did what, where, and when.

Once Upon A Time…In Hollywood revolves around one of the most infamous episodes in modern crime, by extension often regarded as an authentic pivot in the psyche of an epoch: the conversion of the counterculture dream into a nightmare by the marauding of Charles Manson’s “family” of young, disaffected disciples, events that refashioned not just Hollywood’s social landscape but in the whole relationship of celebrity culture to the world beyond. Once Upon A Time…In Hollywood’s title pays overt heed to Sergio Leone, one of Tarantino’s singular heroes, but its resonances go right down into the psychic life of Tinseltown and its misbegotten children. Tarantino’s narrative befits such fairytale associations, offering a revision of familiar history mixed with character dramas enacting a legend of renewal in a triumph of hope over experience. It also evokes the strange relationship between Hollywood, which was entering a crisis point at the time the film is set, and the filmmaking world Leone represented, in particular the Spaghetti Western. Today known for a rich and peculiar annex of pop culture, that mode was at the time so generally deplored and regarded as a synonym for cheap and nasty that one of Tarantino’s central characters, actor Rick Dalton (Leonardo DiCaprio), is left distraught by the proposition of turning to it for career extension.

Tarantino rose swiftly to the top of the heap of eager young independent filmmakers in the 1990s not just for his postmodern nimbleness and evil comic sensibility, but for his eagerness to resurrect the careers of actors out of favour for whatever reason. Tarantino’s belief in the special connection between actor and role, audience and on-screen avatar, brought immediacy and amity to his bricoleur excursions. Tarantino’s time as a struggling young talent who turned to acting to try and make a few bucks seemed to have honed such identification as well as armed him with some of the core themes of his oeuvre. Tarantino highlights the likeness between the industry schism of the ‘90s where once-mighty, now-waned stars like John Travolta and Burt Reynolds took their shot in indie film, and the more urgent upheaval of the late 1960s, where Hollywood almost collapsed in on itself with backdated product, a breakdown that also cheated many interesting and promising performers of the careers they seemed to deserve. Dalton is glimpsed at the outset in his heyday as the star of the TV show Bounty Law, being interviewed along with his stunt man Cliff Booth (Brad Pitt).

By 1969, agent Marvin Schwarz (Al Pacino) is trying to talk Rick into going to Italy, as Rick’s career faltered after his decision to leave Bounty Law and try for a movie career, and now he’s trapped in a succession of guest roles as bad guys in TV series, a punching bag to build up new stars. Rick’s great consolation is that he owns his house on Cielo Drive, nestled in the groves of Beverly Crest, with new neighbours in Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie). “I could be one pool party away from starring in a Polanski movie,” Rick notes. Sharon’s career, in sharp contrast to Rick’s, is just taking off, ushering her into the jet set. The bulk of Once Upon A Time…In Hollywood unfolds on a single day in February ‘69, as Rick struggles to keep an even keel whilst playing the villain in a pilot for Lancer, a new Western being helmed by Sam Wanamaker (Nicholas Hammond).

After buying a fateful first edition copy of Tess of the d’Urbervilles for her husband, Tate takes time out to watch herself in The Wrecking Crew (1968) in a downtown theatre. Cliff has fared in even more undignified straits than Rick, living in a trailer behind a drive-in movie theatre and working as Rick’s chauffeur, professional buddy, and general dogsbody because he can’t get any stunt work, for reasons that emerge later in the film. Whilst driving around town, Cliff repeatedly encounters lithe, gregarious, jailbait hippie Pussycat (Margaret Qualley) and finally picks her up. He agrees to drive her out to the Spahn Movie Ranch, a rundown former shooting location for Westerns where she lives with a peculiar gang of fellow waifs and weirdos. Pussycat is disappointed their beloved chieftain Charlie isn’t around, but Cliff is nostalgic to see the Ranch, where he and Rick used to shoot Bounty Law, and wants to talk to the owner George Spahn. But Spahn is laid up blind and guarded by a squad of young women who keep him sexed into submission, of which the most aggressive is Squeaky Fromme (Dakota Fanning). Cliff runs the gauntlet and chats with George, who doesn’t remember him, but upon emerging finds one of the young men in the gang has put a knife in one of his car tires.

Tarantino grows his story out of the tempting morsel offered by the Manson Family’s residence at the Spahn Ranch, one of those details of history charged with layers of irony. The Ranch’s decaying state spoke of the sharp decline of the once-booming production of Westerns for both movie screens and TV, of which Rick and Cliff become avatars. Pop culture at large is being reinvented and colonised by a new sensibility represented by the so-groovy Tate and other exalted beings she’s glimpsed partying with at the Playboy Mansion, colourful and urbane rather than terse and rustic. The Family’s resemblance to the kinds of ruffians beloved of Western plotlines, a gang of disaffected and free-floating cultural exiles under the thumb of a lowlife posing as a guru, comes sharply into focus as Tarantino shoots Cliff’s arrival at the Ranch as a variation on Clint Eastwood’s arrival in town in A Fistful of Dollars (1964), threat vibrant behind every gesture even without an apparent cause. One reason that Manson’s onslaught lodged so deep in the psyche of Hollywood wasn’t simply because he bade his followers invade their mansions and desecrate the bubble of their community, but because he seemed to have fashioned a grim alternative version of the fantasy dynamics of the town, the great male visionary with his small army of rapt followers and pliable harem. The damage his female followers inflicted on Tate wasn’t simply execution but a wrathful act of blood sacrifice that punished her not simply for being successful, beautiful, and exalted in the world but for being their counterpart.

For most of its first half, however, Once Upon A Time…In Hollywood barely touches on the Manson cult, instead drifting with its central characters in their various spaces of labour and lifestyle. Cliff sighs his way acquiescently through odd jobs for Rick but loves tearing about the streets of the city in his car with the radio cranked in the meantime. Tate puts her feet up and gets to enjoy the movie, beholding herself transmuted into movie star gaining laughs and cheers from fellow patrons and all the fruits of a job well done. The Family girls wander the streets salvaging food and scrap whilst in a beatific bubble, seemingly happy as fringe dwellers in the great society, a little like Cliff, who proves receptive to their presence, aware of them as weird fixtures around the LA scene. Rick, even in the midst of personal and career crisis, has a wellspring of professional skill he can tap. This approach to narrative signals Once Upon A Time…In Hollywood as much closer to a character study than a standard plot-driven thriller, where the time and place are also a character.

Rick’s career is also a compendium of anecdotes, many with unhappy endings, as when the star of Lancer, James Stacy (Timothy Olyphant), asks if it’s true he almost got the lead in The Great Escape (1963). Tarantino mischievously offers digitally altered sequences inserting DiCaprio-as-Rick over Steve McQueen, as Rick grudgingly mumbles his way through explaining what happened. Acting is an eternal hall of mirrors filled with alternate selves, prospects grasped and missed, integral to an industry that needs the star actor as interlocutor between audience and art but also beset by ambiguity, a job with less security than the average mailman knows even for a man like Rick who’s colonised the dream life of a generation. The actor’s image achieves immortality, but the actor certainly doesn’t. By contrast Cliff is at once more curious and pathetic. Sent by Rick to fix his aerial whilst he shoots the Lancer pilot, Cliff drifts into a reverie recalling when Rick guest-starred on The Green Hornet, when Rick finally managed to talk the show’s stunt supervisor Randy (Kurt Russell) into giving Cliff the chance to possibly get some stunt work on the show, only to get lippy with Bruce Lee (Mike Moh) as he showed off to the other stuntmen and accepted his challenge to a fight.

Cliff as stuntman is the working stiff supporting the star show pony, the one who, whilst still immersed in the reflective glamour of the movie world, nonetheless has to put actually body and soul on the line for the construction of effective and convincing action cinema. Thus the stunt artist exists in that nebulous zone between fantasy and reality Tarantino loves plumbing. Lee is a taunting object for a man like Cliff not simply as a potent rival but as one making the leap from one caste to another: Lee has not just usurped his position but also achieved the ultimate promotion. So Cliff stokes Lee’s famous temper and they come out of it tied in terms of hits laid, although the fact that Cliff left a great dent in a car he threw Lee against seems to prove him the victor. Randy’s wife (Zoë Bell) interrupts them and gets her husband to throw Cliff off the set. Tarantino cuts back to Cliff as mutters, “Yeah, fair enough,” in the sure realisation and acceptance that even if he did get another chance he’d surely find a way to screw it all up again.

This sequence reveals much about Cliff, including his genuine ability as a fighter as well as confirming all his talents for self-sabotage. It also deliberately begs many questions, as it’s revealed the big objection to Cliff is a strong rumour that he murdered his wife. A flashback is even added as Cliff recalls drunkenly handling a spear gun on a fishing trip with his wife who was just as soused and abusing him, but whether Cliff actually meant to kill her or some ugly mishap happened out of focus because of the booze isn’t shown. This all seems to explain a lot about Cliff’s situation. And yet the way Tarantino deploys it lodges it firmly in an ambiguous zone, affecting the way others regard Cliff in his memory and yet, much like his impression of Lee, possibly so non-objective that it’s hard to trust – compare it to the way Tate remembers Lee as a gracious tutor. Rick certainly doesn’t seem to believe Cliff killed his wife, but then again he’s so joined at the hip with Cliff, so reliant on him as a friend and helpmate, that he hardly counts as objective either. This is unusual territory for Tarantino who, whilst always engaged in a slippery dance between realist and fantasist postures, usually avoids engaging in destabilising the integrity of his storytelling in this manner. Much as a movie like Kill Bill (2003-4) had the undertone of a tale created by the child of a single mother designed to mythologise their parent, it maintained the rules of that fantasy.

This disquiet in Cliff’s background lends a troubling aspect to what otherwise seems his easy-to-idealise valour in all other respects, as a near-forgotten war hero, a loyal pal and manservant to Rick, and unswayed enemy of Manson’s antisocial thugs. This is certainly in keeping with Tarantino’s general disinterest – the women of Death Proof (2007) and Django excepted – in the kinds of unsullied knights pop culture prefers, or at least likes their dark days well-hidden. Like his previous film, the often aggressively misunderstood The Hateful Eight (2015), Once Upon A Time…In Hollywood needles our laziness as viewers over who we assign sympathy to in movies and why and the kinds of myths we like swallowing and why. Most of Tarantino’s narratives have revolved around characters who can be hero or villain depending when you meet them. It also invokes awareness over the treacherousness of the history he’s engaging, with the tendency of the members of the Manson Family to blame each-other for heinous acts and the various forms of apologia attached to them depending on one’s personal and socio-political sympathies, as well as Polanski’s swift trip from tragic lover to exiled creep. The Manson murders were a long time ago now, and yet they still retain relevance, still inflecting aspects of the zeitgeist from political discourse to the difficulty as a film viewer to be had in watching Tate’s body of work, short of roles worthy of her startling beauty and comic talent.

Rick’s career is explored with such fanatical detail, from his spot hosting and performing on the TV music show Hullabaloo to his B-movies like the Nazi-roasting war flick The 14 Fists of McCluskey, for which he learned how to use a flamethrower, to the point that we know his oeuvre better than many a real career. This serves not just Tarantino’s delight in pastiche but also his larger narrative target. Rick’s body of work is replete with echoes of Tarantino’s own – Bounty Law depicts a professional bounty hunter a la Django Unchained (2012), The 14 Fists of McCluskey offers a simplified version of Inglourious Basterds (2009) – and the feeling that Tarantino’s facing down his own middle-aged, mid-career demons through Rick repeatedly surfaces. Tarantino’s no longer the coolest kid on the indie movie block, but to all intents and purposes an establishment figure who’s taken some licks in recent years and facing the challenge of constantly trying to outdo himself when it comes to outré provocation and trying to mature without sacrificing his specific cachet. More immediately, Rick’s attempts to hold himself together in the course of shooting his guest role seem almost trivial given the forces waiting in the wings, and yet they’re all-consuming to him and vitally important in terms of his profession, a gruelling study in shattered confidence duelling with professional pride and abused talent.

Rick is confronted with a preternaturally smart and disciplined eight-year-old co-star, Trudi (Julie Butters), clearly a kid with everything before her and impatient with his old-school affectations. Rick bursts into tears as he tries to explain the plot of a Western novella he’s reading to her as he sees the likeness to his own lot in the hero’s struggle with aging and wounding. This moment doesn’t simply acknowledge a metatexual commentary but makes an active aspect of the story, Rick knowing full well as he explains it to Trudy exactly how it reflects his own story and also connects with a very specific instance in Western movie folklore, the bullet in the back John Wayne’s character in El Dorado (1966) stands in for his aging, a reference that comes full circle in the finale as Cliff takes a similar wound that will also compel him to act his age. “’Bout fifteen years you’ll be livin’ it,” Rick mutters as Trudi tries to console him over his wane, reflecting both his own awareness that as a female actor Trudi’s up against even more daunting forces than him and also taking a momentary pleasure in the cruelty of acknowledging it, stealing just a tiny flame of her magic back from her, before his shame kicks in. It’s one of the best bits of writing Tarantino’s ever offered, not just in terms of the way it characterises Rick but also in the way it registers in terms of the larger narrative. The Manson Family will attempt to do just the same thing in far louder and more pyrotechnic terms, and the likeness echoes again as Rick’s role on Lancer is playing a vicious criminal mastermind with a coterie of henchmen.

On set, Rick struggles to get through a lengthy scene with Stacy, and unleashes a torrent of abuse at himself once he’s back in his trailer, aghast at his inability to do what he’s known and prized for. This moment drew me back to Orange rehearsing his legend in Reservoir Dogs, as if we’re seeing the other end of a train of thought for Tarantino, the contemplation of what mastering such skill means at different ages, the fantasy of transcending self finally and inescapably exhausted, but with the bitter kicker that the only answer is to recommit to it. So Rick returns to the shoot newly galvanised and attacks his next scene with such gusto even Trudi is bowled over. Such are the absurd and yet inescapable measures of an actor’s gravity. Once Upon A Time…In Hollywood posits what could have happened if the Manson Family had targeted someone a little more capable of taking care of themselves. The key precept here is a great one: acting, especially in the language of old-school machismo, is often written off as an inherently phony art for creampuffs and pretty boys. And yet the Hollywood of the 1960s (and now) would have been filled with people who really could fight, shoot, ride, and do many a difficult and dangerous thing, and many lead actors were, then and now, rewarded to the degree that an audience sensed something authentic about the way they handled the world – no-one doubts, for instance, that Lee could have won just about any fight in life even if many a barstool brave could, like Cliff, fancy himself as the one who could take him.

Tarantino offers a system of rhyming vignettes binding together the real and the imagined in these terms. Tate defeating an opponent in The Wrecking Crew wrings applause from the audience she sees it with, and she learned her karate moves from Lee, whose tutelage of her is briefly glimpsed as one of the film’s most cheery, fleeting visions of two ill-fated people alight in their youth and ability. Later Cliff and Rick’s honed skills will be used in a more immediate and consequential way which the audience knows is both total fiction and yet palpably real in the viewing context. Where Paul Thomas Anderson’s Inherent Vice (2014) dealt with an LA left paranoid and punch-drunk in the aftermath of the Manson killings, Once Upon A Time…In Hollywood is a prelude where the possibility of something malignant and dangerous is only slowly registered and reality is just starting to lose a certain shape. Manson himself (Damon Herriman) is only glimpsed once in the film, appearing in Polanski and Tate’s driveway seeking Dennis Wilson, who used to live there, looking like just another weedy, hairy hipster. Tarantino stages the finale with Cliff under the influence of acid and has trouble being sure, when he’s confronted by the Family members, whether he’s hallucinating or not. In his Lancer role Rick is called upon by Wanamaker to remake himself in a vaguely hippie image with buckskin jacket and Zapata moustache, adopting the new apparel of the popularly perceived reprobate. Rick himself doesn’t like hippies either, in large part because he senses accurately they’re part of the forces corroding his career as well as decorating the corners of his town with strange sounds and smells.

Cliff is easier-going in that regard, buying an acid-soaked cigarette off a hippie girl (Perla Haney-Jardine) for eventual delights, and laughing indulgently as Pussycat bawls at a passing cop car. But Cliff’s intrusion upon the Ranch sees a collective of gangly, unwashed drop-outs gaze at him like irritable marmosets from the old mock-up frontier cabins. This spectacle changes the film’s tone subtly but radically as something enigmatic and dangerous manifests amidst the otherwise entirely ordinary world we’ve been watching, and suddenly we’re in one of Tarantino’s classic, patient suspense situations. A scene like the beer cellar shoot-out in Inglourious Basterds depended on a sense of the unexpected suddenly and steadily turning an apparently straightforward meeting into a slaughter. Here Tarantino plays on the audience’s presumed awareness of the various signifiers here and there, like the names Spahn and Charlie and Tex, to lend menacing undercurrents to a situation that otherwise seems borderline silly, with the mistrustful youths ranged about like Hitchcock’s crows and Squeaky playing hard-ass watchdog. Cliff is unfazed by the attitude turned his way but also not aware, as the viewer is (presuming the viewer knows anything of the Manson story), of the kind of danger he’s in.

Cliff eventually does manage to chat with Spahn (Bruce Dern), who proves aged, cranky, and barely aware of who Cliff is. He’s also an elder avatar for Cliff himself, a physically ruined and impoverished old stuntman, used by the Family in a way that surely feels like beneficence to him. When he fixes on Clem (James Landry Hébert) as the one who knifed his tire, Cliff beats the shit out of him and forces him to change the tire. The cliquish, self-cordoned sensibility of the Family – the adoring girls of the gang signal their sympathy to Clem and hurl abuse at Cliff – is noted with a fastidious sense of black comedy mixed with a sharp understanding of the rituals of such a gang for whom their own expressions of violence are considered honest and those of others unforgivable offences, crashing against Cliff’s complete indifference to such signs, a natural loner who’s long since mastered the arts of surviving that way. One of the Family girls rides up to fetch Tex Watson (Austin Butler), the most murderous of Manson lieutenants, who’s off running riding trail tours: Tex’s speedy ride back the Ranch transforms him into the quintessential Western henchman dashing to save a useless underling, only to find Cliff already driving away. Jose Feliciano’s cover of “California Dreaming” rings on the soundtrack, pursuing the various characters on their journeys back home with a note of wistful longing: the adventures of the day are passed, and what’s left is the mopping up.

Rick and Cliff’s experiences are counterpointed throughout with Tate’s, free and easy on the Hollywood scene, somehow managing, despite the fact she lives right next door to Rick, to exist in a different universe. Rick and Cliff finally catch sight of her and Polanski in their convertible entering their driveway, like a glimpse of the anointed. The couple’s arrival at the Playboy Mansion for a party is a glimpse of a moment’s idyll, the apotheosis of a period in-crowd with so many of them doomed to an early grave. Tate dances with Michelle Phillips and Mama Cass whilst Steve McQueen (Damian Lewis) watches and explains to Connie Stevens (Dreama Walker) the strange situation Tate lives in with husband Polanski and former fiancé Jay Sebring (Emile Hirsch): “One of these days that Polish prick’s gonna fuck things up and when he does, Jay’s gonna be there.” There’s a suggestion Tate’s living arrangement with Polanski and Sebring was essentially a ménage a trois, but Tarantino keeps a wary distance from engaging with that. There’s a surprising gentlemanly streak to the way Tarantino lets Tate retain her almost too-good-for-this-world lustre, and not replacing her visage in her movies with Robbie’s. Tate gently mocks Sebring for his penchant for listening to Paul Revere & The Raiders and enjoys using her new if still fledgling star status to get herself in to The Wrecking Crew screening. Tate has no reason to worry about the disparity between herself and her screen self, recreating her on-screen movements from the audience in muscle-memory of the acquired skills and thrilling to the impression of cool reflecting back at her.

Late in the piece Tarantino introduces an amusing codicil to the way the entwined yet distinct Tate and Rick stories relate, as it’s revealed both Tate and Sebring are fans of Rick’s and too shy to breach the distance between them. TV, cheap and unglamorous, is a nonetheless a common lexicon for everyone. Watching The FBI ironically unites Fromme and Spahn and Rick and Cliff, the latter two watching Rick in one of his guest roles as another bad guy: these stark little morality plays join the highlife to the lowlife, planting different seeds for cultivation. Tarantino spins this as he finally shifts focus onto the murderous crew Manson sends out to Cielo Drive, with Tex in command and including Susan ‘Sadie’ Atkins (Mikey Madison) and Patricia ‘Katie’ Krenwinkel (Madisen Beaty). As they work themselves up for the oncoming attack after being abused by Rick for driving their old and noisy car up his street, they latch on to a motive, the felicity of killing actors like Rick: “We kill the people who taught us to kill,” Atkins raves in increasingly demented enthusiasm in a vignette that captures the pseudo-radical morality of the Manson clan whilst also hinting Tarantino’s having a sideways swipe at the rhetoric often swirling around his films.

It’s passing inane to note the obvious, that Tarantino deeply immerses himself in not just the movie business but specific wings of that business that have long tended to obsess him. He makes a show like Lancer, a second-string The High Chaparral or Bonanza, central to his plot precisely because of its virtually forgotten status and thus a fitting totem for pop culture’s mysterious melding of the ephemeral and the perpetual. Tarantino even allows Atkins that much grace in grasping an aspect of a truth. The little myths and legends we absorb day in and day out as consumers of such fare, so vital in the moment and readily discarded, are part of our substance whether we like it or not. Rick’s anxiety is made clear precisely because he knows he’s being actively written out of the mythology of his day remembered to less dedicated movie and TV buffs. What’s most interesting here is the way it frees Tarantino up on other levels, with a story structured and sustained in a way I’ve never quite seen before. Once Upon A Time…In Hollywood often seems scattershot as it’s unfolding, when in fact many apparently random vignettes and details prove carefully designed, in an attempt to deliver an entire film that’s one of his long, slow burns. Even a digression depicting Cliff in his trailer feeding his dog, has a function in this regard beyond simply noting Cliff’s shambolic life: we also see the perfect control he has over the pet, and like Cliff it’s a lethal weapon awaiting a signal to attack. By the time Tex and the others finally stalk the night in black clothes with butcher knives in hand, they’ve become actuations of fate stalking our heroes as well as very real terrors.

When Tarantino resumes his story six months after the long day he’s described, the season has shifted. Rick has been to Italy, shot four movies that even gave Cliff a chance to recover his mojo, and is returning home married to Italian starlet Francesca Capucci (Lorenza Izzo). The great days are over: Rick has no idea if his sojourn will bring him more work so he’s looking at selling his house and tells Cliff he can’t employ him anymore. So the two men get roaring drunk before returning to Rick’s house and Rick lights up that fateful acid cigarette, and the doors get kicked in. Finally all of Tarantino’s gestures large and small reveal their larger pattern: Rick and Cliff have been granted as much solidity in their existence as Tate, Sebring, and their friends Abigail Folger (Samantha Robinson) and Voytek Frykowski (Costa Ronin), their movements ticked off as part of the same historical ledger, the grim stations of the true crime calvary doubling.

The way Tarantino twists the true story of the fateful attack on Cielo Drive to his own purposes isn’t that hard to predict but still arrives as a set-piece of blackly comic ultraviolence as Cliff in an acid daze smashes Tex and Krenwinkel to bloody pulps, and Rick, shocked by the bloodied, sceaming Atkins crashing through his window and into his pool, grabs the first weapon on hand, which proves to be that flamethrower from The 14 Fists of McCluskey. As a climax this is of course similar to the finales of Inglourious Basterds and Django Unchained with a similar blast of gruesome, schadenfreude-tinted catharsis not just in the absurdly hyperbolic destruction of a truly malignant enemy, but also in releasing Rick and Cliff and even the bewildered Francesca from feeling like guest stars in their own lives. That part of Tarantino’s oeuvre which has long felt inspired by MAD Magazine reveals the depth of the influence in the way he transposes those old “Scenes We’d Like To See” strips into his movies. Indeed, the more one knows about the real brutality of the killers the more punch there is to it. Tarantino can make the revenge fantasy as nasty as he likes and still it cannot compare to what was really done to Tate and her friends.

And yet this also made me wonder if Tarantino might have done better to swap his signature absurdist bloodshed for a harder, more realistic battle, all the better for breaking the spell of dark magic the Manson Family managed to weave about itself despite all. But as catharsis it still packs such a giddy, outlandish punch it’s hard to care too much about the distinction. The real brilliance of it becomes clearer in the subsequent scene as Cliff and Rick take leave of each-other not in any paltry parting but a scene of heroic gratitude and kinship. Rick encounters Sebring, brought out by the disturbance to the gate of Sharon’s house. Rick explains what transpired to the startled and fascinated young man, and gaining exactly the sort of potentially career-changing rapport he’d hoped for with Tate, who’s been saved. Sebring, as a fan, even grasps why Rick had the flamethrower. This particular revelation managed somehow to make me laugh and tear up all at the same time, as it finally becomes clear what Tarantino’s been trying to describe, for all his love of posturing as a cynical bastard. He knows well that part of us still longing to be saved by our heroes, even long after we learn what clay we’re all made of.

2010s, Musical

La La Land (2016)

Director/Screenwriter: Damien Chazelle

By Roderick Heath

A clogged LA freeway on a winter’s day, “Another Day of Sun,” cars backed up for miles on either side. Suddenly a spasm of frustration manifests itself not as shouting or horn-blowing, but as song, and the traffic jam erupts momentarily into carnivale, the humans caged in their rolling steel egoverses momentarily joining in shared celebration of the dreams and less glamorous reality that defines their lives. It’s the sort of absurdist set-piece I’m sure that has occurred to just about anyone who’s ever been stuck in such a traffic jam, and it retains a certain spiritual connection to the early dream sequence in that eternal touchstone of artistic self-appraisal in cinema, 8½ (1963), and even to the music video for REM’s “Everybody Hurts.” Damien Chazelle ultimately follows those models arcs towards melancholy reckonings with the gap between private passion and the dismay of modern living, but for the moment goes for big, raucous this-is-going-to-be-a-ride showmanship. It’s the sort of opening gambit that will surely split an audience right down the middle, between those who will be instantly swept up in the cued excitement and those who might uneasily gird themselves for what’s coming.

I was amongst the latter. Not because ebullient outdoors production numbers annoy me per se, but this one did. Chazelle’s camera spins and twists and cranes with showy, athletic mobility. But the showiness of the camerawork is overtly strenuous, technique without actual purpose, distracting from the fact that what it’s filming isn’t actually very well staged or choreographed; it is in fact rather a hymn to its own existence, a “wow, can you believe I’m pulling this in 2016?” statement. People stand on their car bonnets and throw their hands up and down and fling themselves about in conga lines. This immediately lays down a template that the rest of La La Land follows studiously: approximation of classic musical style served up like the coup of the century, but which on close examination proves to be all sizzle and no steak. Chazelle believes that the school of hard knocks is the path to greatness. This thesis he already explored in his scripts for Eugenio Mira’s Grand Piano and his own Whiplash (both 2014), which purveyed the gym-coach mentality to artistic development: no pain, no gain, and never mind your pantywaist sensitivities. La La Land, his latest, depicts the exasperated romance of Sebastian (Ryan Gosling) and Mia (Emma Stone), two Los Angeles wannabes. Grazing each other on the freeway at the start – he blasts his horn at her, she flips the bird at him – they soon find their paths repeatedly crossing, not always in the best of circumstances.

Mia wants to be an actress, and works as a barista in a coffee shop on the Warner Bros. studio lot. As such, she’s surrounded by the legends of filmmaking past but entrapped within early 21st century economic impositions, pecked at by her boss and forced to watch actual famous people parade by whilst she develops contempt for the roundelay of fruitless auditions that is the rest of her life. Encouraged to attend a party by her roommate friends, Mia finishes up departing the disappointment and is forced to walk home when she finds her car has been towed. A salve for such sorrows comes as she passes by a restaurant and hears a beautiful tune being played, drawing her inside. The player is Sebastian, a talented pianist, whose love of classic jazz approaches religion: unfortunately he’s just violated the restaurant manager’s (J.K. Simmons) injunction to only play strictly timed Christmas tunes, and he’s fired summarily for this, leading Sebastian to furiously barge past Mia as she tries to thank him for the beautiful performance. Some weeks later, she runs into him again, this time playing keys in a ’80s pop cover band. Her chosen method of revenge is to request the band play A Flock of Seagulls’ “I Ran.” The duo’s grazing, sniping humour and Sebastian’s tendency to turn most encounters into some kind of confrontation gives way to sparks of attraction.

This moment was the only one in La La Land that really entertained me, although it treads terribly close to Saturday Night Live-style shtick, in large part because it’s one of the few vignettes that taps both Stone and Gosling’s ability to play comedy, and also because it offers a combination of joke and character moment that revolves around the cultural attitudes of the two characters, the disparity between Seb’s semi-messianic sense of duty by his chosen art form and the pop culture around him, and the infuriating way his and Mia’s attraction continues to manifest through apposite impulses. Stone and Gosling are both accomplished neo-wiseacres, and Chazelle arms them with a small arsenal of zingers and prickles to make them convincing as representatives of a knowing and chitinous modern breed. But once their surfaces are scratched, both characters are revealed as deeply, almost suffocatingly earnest. Sebastian’s dedication is seen first as monklike as he subsists in an apartment barely furnished, with a stool once owned by Hoagy Carmichael as object of veneration or seating depending on the moment’s need. His sister (I think) Laura (Rosemarie DeWitt) appears for one scene, offering La La Land a jolt of call-bullshit sarcasm that cuts through the single-mindedness of Seb and Mia’s obsessions.

One quality La La Land badly lacks is a major secondary voice or voices to lend depth to the palette, the kind they used to get people like Oscar Levant or Thelma Ritter to offer, pipes of sarcasm to put some smog in the airiness. When the few alternate voices that do come in Chazelle’s script, they’re nearly strictly pitched as rhetorical devices to push our characters about, like Simmons’ cameo as the asshole manager who prevails upon Seb not to play “the free jazz,” and, later, John Legend’s Keith, a successful band leader who seduces Seb into playing with his band with a get-behind-me-Satan spiel about the need for jazz to evolve. Part of this might be explained by the fact that both Seb and Mia bring their own snark, but only long enough to be halfway convincing as contemporary types before we get into more traditional romanticism. But the course of true love and successful lifestyle maintenance never does run smooth. Mia lives with three other young women (Callie Hernandez, Jessica Rothe, and Sonoya Mizuno) at the start who form both her posse and chorus line, dragging her into action at the Hollywood party where the stage seems set for a good production number. Except no real production number arrives, just more of Chazelle’s spinning camerawork and background dancers throwing their hands in the air again.

After a certain point, Mia’s pals vanish from the party, and then from the film. Her moment of transcendent bliss overhearing Seb’s playing, is his moment of self-indulgence for which he pays an instant price. I can handle the notion of a restaurant manager so oblivious that anything but straight-up tunes to wheedle diners’ ears will piss him off, even if I don’t really believe it, and I sense it’s just a device to set up Seb’s humiliation; what I can’t quite buy is the interaction of writing and vision we get here, the manager’s quip about free jazz and the slightly pompous but pretty anodyne piece of improvisation that costs Seb his job but charms Mia. It’s like the music supervisor had a slightly different copy of the script to the director and actors. Mia is suddenly seen to be saddled with a Chad Cliché yuppie boyfriend who turns up just in time for her to run out on him, heading instead to meet up with Seb at a screening of Rebel Without a Cause (1955), a venture that segues into a tour of the Griffith Observatory where rapture blooms and the heavens open, a lovely moment that nonetheless seems to come out of a different film. Later, Seb tries to explain to Mia the value of jazz as active expression of America’s melting pot brilliance, the product of the constant shunt and shove of multiple voices.

This vignette is irksome on several levels, not least because Chazelle makes Mia the easily schooled avatar of an audience he presumes associates this beloved musical style with smooth jazz bilge, not the rocky, high-stakes art form he worships. And it’s not just the fact that the film turns into an NPR essay here. It’s that Chazelle backs away from finding any interesting conceptual way of exploring Seb’s love cinematically. In the end, the movie that proposes to revitalise certain classical precepts in the musical is just another contemporary film where someone talks too much. And it’s on this level that La La Land repeatedly and conspicuously fails, in weaving its use of the form with its subject, until one climactic sequence towards the end, in which Mia’s audition for a crucial role becomes a song number. There’s no pervading sense of jazz as the informing art here, nor of any other strong contemporary pop music form, although Chazelle evidently sees a connection between his understanding of jazz and his pursuit of giving new meaning to an old aesthetic in the musical form. His visual approach offers sublimation of Jacques Demy’s The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1966) insistently, aiming to recreate Demy’s skilful, deceptively rich blend of casual realism and stylisation, usually accomplished through careful redressing of real locations and employment of strong, colour-coded costuming and lighting. Sometimes, Chazelle succeeds, particularly in the shots of Mia and her gal-pals striding out to battle in their coloured frocks, her and Seb’s tentative shuffle before the mauve-hued sunset in the Hollywood hills, and a nicely quiet diminuendo scene where Seb sings to himself and dances on a pier at sunset, stealing away an old man’s wife for a moment of bewildered, good-natured dancing. Chazelle at least suggests schooling in the musical and its craft, avoiding the cut-on-the-beat style informed by music videos that’s infected the form since the early ’80s, instead going for long, lateral shots in the traditional musical manner to drink in physical context and the performers’ actions. And Linus Sandgren’s photography really is excellent.

Demy’s approach had hardly been forgotten to film history; in fact it was rather quickly assimilated and built upon by an array of American New Wave and Movie Brat filmmakers, many of whom tried their hand at fusing together the outsized fantasias of musicals with the kind of ragged, woozy, rough-and-tumble authenticity of their ethos. The 1970s and early ’80s produced a sprawl of gutsy crossbreeds in the wake of the musical genre’s official collapse as a mode following a string of huge-budget bombs. Some of these were deliberately frothy, like Peter Bogdanovich’s At Long Last Love (1975), but more often these were sharper, grittier critiques of the genre’s usual detachment from the reality of love and coupling as well as society. Hence Martin Scorsese’s New York, New York (1977) and Francis Coppola’s One From the Heart (1981) focused on fractious romances raddled by human feeling in all its livewire anxiety, and Bob Fosse’s All That Jazz (1979) turned Fosse’s own life and experiences as a choreographer into the subject of a superlatively sarcastic opus. One thing all of these had in common was their spiky, anti-populist emotional intensity, which made them the opposite of what musicals have come to be considered as the genre languishing in a permanent pop culture demimonde. In the past 20 years or so, every now and then we get a film that’s going to make the musical great again, be it synthetic pizazz like Chicago (2002) or full-on blazing shit like Les Miserables (2012). And if one apostatises with any of these, one will be told one just doesn’t like musicals. Or not as much as another person, who wants the form reborn in all its old glory and will greet any new, major, proper version of it as manna.

In the same way, the new-wave musicals aren’t real musicals, because they’re not pretty and escapist and nostalgic. And of course, let us not speak of what happened to the disco musical. Never mind the far more interesting examples of the oddball explorations of the genre in recent years, from the Outkast-scored and starring vehicle Idlewild (2006) to John Turturro’s suburban karaoke tragedy Romance and Cigarettes (2005), Jacob Krupnick’s On the Town rewrite Girl Walk // All Day (2011) and Spike Lee’s Chi-Raq (2015), which commit the sins of using pop music and foregrounding artifice, and have moments your grandmother won’t like. La La Land has been quickly celebrated as a new-age musical blending frivolity and melancholy, but I find on many crucial levels it hit me as a betrayal of the legacy of the gritty musical, one that quietly gelds this movement even whilst proposing to revive it. Particularly considering that its storyline and basic themes represent a filch not on Demy but on Scorsese. In La La Land, as in New York, New York, the theme is the troubled love of a couple joined by mutual admiration but torn apart by diverging career intentions, revolving around the disparity between jazz performance and mainstream pop celebrity, climaxing with an extended restaging of the basic plot as a stylised, more pure kind of old Hollywood fantasy designed to illustrate the contrast between the way things turn out and the way we’d like them to.

La La Land is squeaky clean in spite of its attempt to talk about some mildly distressing things as relationships that don’t work out and the pressures of money that make people do things they don’t want to, as opposed to the classic musical where, as Gilda Radner once memorably phrased it, people never had to work or buy food. La La Land’s moments of bruising, disillusioning conflict are entirely contrived – the set-piece dinner table sequence where Mia and Seb first fight over Seb’s compromised artistry and Mia’s looming date with destiny, where mild peevishness substitutes for unforgivable words, and the subsequent scene where Seb misses her show, a moment that could have been avoided with the newfangled invention call the telephone. Compared to the scene in New York, New York when Robert De Niro gets dragged out of the club in a rage of stoked jealousy, this is so wet it would barely pass muster as dramatic development on a Chuck Lorre sitcom.

Chazelle’s nominal assault on musical tradition is not to give a traditional happy ending where love conquers all. But he leavens the experience by giving his characters everything else they want, which just happens to be a successful LA nightclub, a period recording and touring with a popular musical outfit, and becoming an international movie star. Wow, some takedown of the Hollywood dream. Instead, La La Land is an ode to hermetic qualities. Chazelle turns the urbane strangeness and sprawl of modern LA into a depopulated stage for weak song-and-dance numbers featuring two cute but underutilised white-bread stars, replete with odes to bygone pleasures that often reveal a crucial misunderstanding about what those pleasures work. There’s nothing witty or sly or sublime or even particularly sexy about Chazelle’s approach, in spite of his mimicry of the styles he sets out to recreate. La La Land is a bright neon sign describing its own facetious charm. This wouldn’t count for much if the film was successful simply on the level of musical experience, but this is where it’s most disappointing. The music score for La La Land is so brain-numbingly banal that apart from Gosling’s oft-repeated refrain (“City of stars, are you shining just for me?”) I couldn’t remember two notes from the film minutes after it finished. It bears no inflection of any musical style apart from the most flat-rate off-Broadway stuff—least of all the sinuosity and rhythmic complexity of jazz.

Perhaps La La Land represents the total victory of the last decade or so of shows like American Idol and Dancing With The Stars, shows that have carefully trained audiences to whoop and holler wildly when blandly talented neophytes and familiar celebrities who can barely sing or dance make a show of their mastery of a few soft-shoe steps. I felt a certain empathy for Sebastian in many regards: like him, I’m a jazz fan, particularly of the genre’s heights from the 1940s to the early 1970s, and I have violently mixed feelings about what’s happened to it since then. Seb however never feels like a real person – neither does Mia, but for slightly different reasons. Even the more interesting modern branches of jazz fusion don’t seem to have registered with Chazelle – Euro electroswing for instance, which, with practitioners like Caravan Palace, is a vibrant and utterly danceable wing of the genre, and would have made a great pedestal for this project. Whilst the indictments of Seb as some kind of white saviour figure with his obsession with putting his talents to best use sustaining and helping reinvigorate jazz very quickly reach the end of credulity (the limit of his ambition in this regard is to open a jazz club, and thus provide a platform for artists like himself, rather than to become the king of all jazz musicians), it’s hard to ignore the strident, rather strained aspect to the dramatic development whereby he becomes a member of Keith’s ensemble and finds roaring success in a band that offers a squishy melange of pop, soul, and jazz.

Chazelle offers one major performance scene for this outfit, during which Mia glances about in bewilderment over the crowd’s enjoyment and Seb’s apparent selling out. Although this song isn’t anything particularly special either, it reminded me a little of the scene in Dreamgirls (2006) when “One Night Only,” the unctuously meaningful ballad, was restaged as disco schlock: the “bad” song is more entertaining than the “good” ones. Which might even be Chazelle’s point — I just don’t know. La La Land drops hints to a cultural thesis that it then keeps swerving to avoid stating in any depth. What it is officially is a bittersweet romance where Seb and Mia are pulled together and then apart by their aspirations, their mutual understanding of each other as artists who feed on creation and fade when caged but also knowing that life means compromise. Seb’s commitment to Keith’s band sees him forced to hang about for a publicity photo shoot whilst Mia performs the one-woman stage show he encouraged her to write, which seems to bomb badly, leaving Mia distraught enough with the state of her life to flee back to her home town. Seb tracks her there when he learns a casting agent saw her show and wants her to audition for a major part: Seb’s coaxing draws her back into action, and her audition piece is a testimony to the example of her bohemian relative whose life in Paris has inspired her ambition to be an actress. It’s a big-ticket moment that goes for all the feels and finally seems to flesh out aspects of Mia as a character even as it actually underlines how generic she is, and how carefully calculated this scene is.

Gosling and Stone’s chemistry, which first manifested in the otherwise dreadful Gangster Squad (2012), here at least gets some space to stretch its legs: they’re both very good at making you like them even when playing faintly insufferable parts, a gift that’s vital in selling Seb and Mia, particularly from Stone in her portrait of Mia’s squall of apocalyptic feeling following her seeming humiliation in staging her play. Whatever else it does, La La Land understands what movie stardom is about, its facility in transmuting loose ideas and assortments of emotional reflexes into creations of great power on screen. And yet I’ve seen other films that make far better use of both stars – take for interest Gosling’s other film of 2016, The Nice Guys, which allowed him to reference a host of classic comedic actors whilst also stitching together a dynamic portrait of a man lagging slightly out of reality’s time frame from a mixture of grief and booze. By comparison Seb never moves out of the status of a kind of human placard. The issue at the heart of the film, one that’s relatively original and specific, is slightly removed from the more familiar making-it concerns; it’s actually the attempt to delve into the problems that beset many show business relationships, the time spent apart enforced by asymmetric professional demands. This is the one theme attacked by Chazelle that doesn’t feel done to death. What’s interesting is that La La Land offers a kind of calculus to the modern audience about what it would find the hardest to deal with – career failure or romantic failure. The answer is given as both Mia and Seb gain everything they want except each other. So Chazelle skips forward a few years to when Mia is a success and married to some dude and has kids, and one night fate directs them into a club that proves to be Seb’s, his apparently very successful showcase for old-school jazz. Seb, spotting Mia in the crowd, plays the same piece that enticed her into the restaurant all that time ago, thus sending the film off into an extended fantasia that re-enacts their relationship more perfectly, to the point where they’re married with kids themselves.

This sequence finally blew my tolerance fuse with this film, as Chazelle here rips off the “Happy Endings” sequence at the end of New York, New York, in offering an upbeat restaging of the narrative as a full-bore, total-style facsimile of classic musical method. Except it’s been shorn of all the ironic meaning Scorsese offered his climax with, for “Happy Endings” converted the messy stuff of life into a vision that would seem joyful to some and a sour mockery to others, and also commented on the way Hollywood mines and distorts life, questioning the ways and reasons why we tolerate convenient lies. There’s no such subtext to what La La Land offers, in part because it’s avoided any dialectic between the false and real. For Chazelle, this is just another facet of his showmanship, sleight of hand pulled to suggest there was actually some depth to this coupling and to work his audience over. Meanwhile La La Land ultimately has nothing actually bad to say about Hollywood, the cult of celebrity or the problems of dreams deferred, except for the fact that the film industry tends to be so forward-looking that it has no time for the past – not a fault I’ve noticed besetting the Academy voters lately. Somewhat amazingly, although not a word was spoken in it, Girl Walk // All Day managed to say far more about the uneasy relationship between personal art and joy and capitalism and society, building to the wonderful moment when its heroine realised her seduction by consumerism was erasing her identity and she kicked off her store-bought finery, all scored to music that captured the vibrant clamour of modern pop culture’s manifold dimensions. By comparison, La La Land remains wedged in its comfortable, rather smug niche, challenging nothing, reinventing nothing.

2000s, Drama

Don’t Come Knocking (2005)

Director: Wim Wenders

By Roderick Heath

Like, I think, many other viewers, I gave up on Wim Wenders after the overlong, over-everything sci-fi work Until The End Of The World (1991). I had barely watched any of his work since then, a sad thing considering that two of his films from the 80s, Hammett (1982) and Paris, Texas (1984), are amongst my favourites of all time. Don’t Come Knocking was selected for Cannes a couple of years back and greeted by some as a comeback, all the more promising in that it reunited Wenders with Paris, Texas’ scribe, Sam Shepard.

Since that film’s chilly, unremitting look at humanity lost in wasteland culture, and the counterbalancing magic realism of Wings of Desire (1987), Wenders had become lost in a simultaneous desire to critique modern culture and still be a kind of pop cinema icon, doodling in inflated arthouse projects that lack both the scrappy appeal and economy of a outsider’s low-budget work. Like his mates in U2, he seemed to have long exchanged the appeal of a good hook and well-crafted tune for a desire to be cooler than God and duller than dishwater.

Don’t Come Knocking isn’t on its face so hugely promising either. It’s laced with flourishes of the fable, always the stickiest, most potentially irritating of narrative modes, and tells a pretty familiar story. Hell, after Jim Jarmusch’s Broken Flowers, it’s the second film of 2005 to have the same plot and feature Jessica Lange. Tim Roth plays an unplayable part—a film-studio lawyer who acts like a secret service agent, a remorseless, culturally hermetic enforcer of a plastic, unfeeling corporate culture. Yeah, right, like groovy, gotta watch out for the Man, y’dig?

And yet, Don’t Come Knocking maintains a poise of expression, a precision of pace, and a lightness of touch that are beguiling. Shepard plays a Western movie star named Howard Spence who indulges in all the modern excesses. Yeah, I know, there are no Western stars anymore, and this kicks off the film’s edge of fable, as Howard, in costume and on a horse, flees a movie set full of irritating movie types, clueless groupies, and a red-faced, infuriated director (George Kennedy!).

Howard, swaps clothes with a drifter and proceeds on foot to the nearest car rental lot. He drives to Nevada to visit his mother (Eva Marie Saint), who he hasn’t seen in 30 years. We learn that although Howard’s family used to own a ranch, his pose as a cowboy is bogus. His mother has long since sold the property and lives in a bungalow in a Nevada gambling town. She’s kept a scrapbook of his newspaper clippings detailing innumerable drug and drink problems, brushes with the law, fights, and general catastrophe. Howard’s a bundle of nerves and angry impulses. He’s on the run from his reputation. Deeply uncomfortable in the shallow glitz of the local casino he stalks through, he nonetheless likes it when young women recognise him. It’s only with an old school friend that he loses it. He is eventually arrested for getting too emphatic with a slot machine.

Howard soon finds from his genteel, utterly honourable mother, that he has a son, or so she was told by an ex-girlfriend of his in Butte, Montana, where he shot one of his most successful films, “Just Like Jesse James.” Simultaneously, a young woman named Sky (Sarah Polley) sets out with the ashes of her recently deceased mother, to scatter them in the mountains where her mother had mentioned being happy. Soon, both she and Howard are in Butte—she carrying a blue urn with the ashes, he driving his father’s long-unused Cadillac. Finding his old flame, Doreen (Lange), isn’t difficult; she runs the M&M Bar where they met when she was a waitress. She soon leads him to their son, Earl (Gabriel Mann), who’s a singer-songwriter in an alt-country-blues band, escorted by his girlfriend Amber (Fairuza Balk), who’s so flaky she could blow away. Earl’s a bundle of dynamite, fuelled by long-festering resentment, ready to go off at Doreen, Amber, or Howard.

Like Paris, Texas and other Shepard works, Don’t Come Knocking is about regeneration, featuring Shepard’s signature ruined man struggling to recover from the wounds of the past that have reduced him to a vagabond or madman. The demons that drive Howard are obscure, but slowly reveal themselves. In fleeing a rural life, Howard has lived a modern dream, found it hollow, and is panicked contemplating the emptiness of old age. He’s a manifestation of a lost America, whilst Earl is young America—confused and consumed by disillusion and frustration. Sky attempts to serve as intermediary, recognising that the two men, instantly and violently at odds, are her brother and father. The generations are all at odds; Howard’s mother is infinitely forgiving but as easily appalled (by rudeness) as Earl is compulsively unforgiving.

Don’t Come Knocking is essentially a love letter to an America of the mind, much like Bob Dylan’s recent albums, where, on the outskirts of town, western heroes, blues musicians, punks, and hippie chicks hold court in a mystic kingdom of Cool. Many of the visual compositions are highly reminiscent of Edward Hopper’s work, recreating Hopper’s sense of the alien in the familiar. Wenders’ eye, aided by Franz Lustig’s gorgeous cinematography, captures a West that seems simultaneously beauteous, mystical, eerie, and sparse. The film isn’t so stylised that it seems to happen on another planet, but it does unfold in a dreamy altered state into which manifestations of modern life (chintzy casinos, gyms full of programmed exercisers) appear as epigrams of absurdity. Shepard’s poetic dialogue reinforces the mood, but its feel for detail is strong, like Earl’s boho apartment, on the top floor of a weirdly severed terrace house.

Most vitally, though unhurried, the film unfolds with a sleek, unruffled ease, moves insistently, and never quite comes to a dead stop until Howard does, in one of the film’s strangest images: Earl, in a rage, ejects first Amber from his apartment and then every item of furniture through an open window, including his couch, upon which Howard falls in bleak, exhausted depression and sits as the day drains away, having realised his son and future might be beyond reach. He’s already been dressed down by Doreen after he said they should have gotten married; she insists there’s no way she’s becoming an emotional crutch for his sorry ass (a spectacular bit of acting from Lange), before kissing him passionately and leaving him in solitude, simultaneously affirming her feeling for him whilst jabbing a thumb in the eye of menopausal male self-involvement.

Most of the last act occurs in the open-air travesty of a home Earl’s destructive fit provides, where a ragged family accumulates in an exploded living room. Howard tries to leave town, but crashes his car in a boozy daze, and is hauled from the car by Roth, who has finally caught up with him to drag him back to the movie set. Howard manages to convince Roth to give him enough time to say goodbye to his kids. Sky delivers an impassioned soliloquy gushing her desire for Howard to be her father and end a lifelong ache, which Earl also felt but suppressed. Her words melt both Howard’s and Earl’s hearts, even as Howard is hauled off by Roth. He finishes the movie, effortlessly recapturing his style, as Sky, Earl, and Amber drive the Cadillac to come rescue him.

It’s an unabashedly sweet and cheering ending, all the more affecting for the film’s caginess about its tone and intent—its semi-surreal portrait of modern America is sort of like David Lynch on happy pills. The acting, apart from Roth’s inevitable discomfort, is great. In addition to his skills as an author, Shepard is always a tightly wound, unusually minimal, and truthful-seeming acting presence. His underplaying works well against Mann’s souped-up bravura, and Polley radiates sunshine from her pores.

It’s a treat.

film freedonia

Film essays and commentary by Roderick Heath

Tag Archives: Acting

Once Upon A Time…In Hollywood (2019)

La La Land (2016)

Don’t Come Knocking (2005)