“Cliff didn’t know enough to write critical pieces for Films in Review, but he knew enough to know ‘Hiroshima Mon Amour’ was a piece of crap,” Tarantino tells us.
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But mostly it’s about film, and most of all, it’s the stunt man Cliff who turns out to be the previously unknown hardcore movie buff. We also learn a lot about theirs - i.e., QT’s - tastes in pop music of the day, too, although the book necessarily contains just a little less KHJ than the movie, given the medium. In interior monologues, the three main characters - Cliff (portrayed on film by Brad Pitt), Rick (Leonardo DiCaprio) and Sharon Tate (Margot Robbie) - all indulge in movie criticism, in their trifurcated way all obviously channeling Tarantino’s own cinematic fetishes and biases. A late chapter in which Cliff hangs out on a Spanish movie set with the alcoholic but still charming actor Aldo Ray, one of Tarantino’s faded-glory favorites.Īnd then there’s the flood of opinions about the movies, which are kind of like pieholes: everybody in this story has got one about seemingly every mid-level, mid-century movie or filmmaker you could think of. Further chapters that retell the “Lancer” series’ cowboy backstory mythology as if Tarantino were recapping real 19th century events - yes, it’s a mini-novelization-within-a-novelization.
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If you’re wondering what the book has that the movie didn’t - besides a solution to the mystery of whether Cliff Booth actually murdered his wife in cold blood (and yes, it does answer that more on this later) - start here: It has no fewer than six pages (count ’em!) devoted to the now largely forgotten late 1960s erotic art movie “I Am Curious (Yellow).” A much more compact two pages about the suspense-building technique of Roman Polanski in “Rosemary’s Baby.” An entire chapter recounting the career of real-life “Lancer” Western TV star James Stacy. Real-life film lore and criticism make up a substantially larger portion of the novel. Part of the fun of the film was how much pulp non-fiction Tarantino weaved into the made-up stuff. But if you’re the kind of film lover who feels like you have a dog in the hunt when somebody tries to start a bar fight about whether there might have been a better leading actor for “Vanishing Point” than Barry Newman (as Tarantino does here), or if you’re apt to chuckle even the third time a character refers to “that prick Jennings Lang,” then this might be the best kind of dirty book. It’s definitely not for everybody… not even everybody who loved the film.
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Let that intrigue or daunt you as it may, as you decide whether or not to plunk down $7.48 (the very reasonable Amazon going rate, at press time) for a book that’s been deliberately designed to resemble something that would have sat on a rusting metal rack in a drugstore in the ’70s. The end result is not so much like reliving the movie on the page - although the book does have a few scenes in which the dialogue and descriptive beats are transcribed note-for-note from the screenplay - as much as a catalog of constant diversions that’s like being locked inside the New Beverly for a week with Pauline Kael, Harry Knowles and Leonard Maltin. You’ll know this trade-paperback novelization is cineaste-populist porn when you see it. This week saw the arrival of “Once Upon a Time in Hollywood,” the 400-page book, as his epic Penthouse Forum Letter to cinema.
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But it’s now clear just how insufficient a mere mash note to the movies was for Tarantino.
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“A love letter to cinema” was the tired-but-true trope that everyone trotted out when Quentin Tarantino’s “ Once Upon a Time in Hollywood,” the movie, hit theaters two years ago.