{"id":10037,"date":"2019-07-26T14:05:49","date_gmt":"2019-07-26T21:05:49","guid":{"rendered":"https:\/\/BigJimIndustries.com\/wordpress\/?p=10037"},"modified":"2019-07-30T14:08:35","modified_gmt":"2019-07-30T21:08:35","slug":"once-upon-a-tarantino","status":"publish","type":"post","link":"https:\/\/bigjimindustries.com\/wordpress\/2019\/07\/26\/once-upon-a-tarantino\/","title":{"rendered":"Once Upon A Tarantino"},"content":{"rendered":"\n<p><a rel=\"noreferrer noopener\" aria-label=\"from The New Yorker (opens in a new tab)\" href=\"https:\/\/www.newyorker.com\/magazine\/2019\/08\/05\/quentin-tarantino-tweaks-history-in-once-upon-a-time-in-hollywood?utm_campaign=aud-dev&amp;utm_source=nl&amp;utm_brand=tny&amp;utm_mailing=TNY_Daily_072619&amp;utm_medium=email&amp;bxid=5be9e74224c17c6adfd571bb&amp;cndid=14696637&amp;esrc=&amp;utm_term=TNY_Daily\" target=\"_blank\"><em>from The New Yorker<\/em><\/a><\/p>\n\n\n\n<h1 class=\"wp-block-heading\">Quentin Tarantino Tweaks History in \u201cOnce Upon a Time . . . in Hollywood\u201d<\/h1>\n\n\n\n<h2 class=\"wp-block-heading\">Forging a style from the scraps of a consuming culture, the director alters the history of the Manson Family murders.<\/h2>\n\n\n\n<p>By\u00a0<a href=\"https:\/\/www.newyorker.com\/contributors\/anthony-lane\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\" (opens in a new tab)\">Anthony Lane<\/a><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/media.newyorker.com\/photos\/5d3a1fb90c57a600091dd96c\/master\/w_727,c_limit\/190805_r34739.jpg\" alt=\"\"\/><figcaption><em>Brad Pitt and Leonardo DiCaprio star in Quentin Tarantino\u2019s film.<\/em> Illustration by Adrian Tomine<\/figcaption><\/figure>\n\n\n\n<p>Cars and songs. To be exact: the sight of a car bowling along, at speed, while a song cries out on the soundtrack. That, in the end, is what Quentin Tarantino loves more than anything; more than crappy old TV shows, more than boxes of cereal, more than violence so rabid that it practically foams, and more, if you can believe it, than the joys of logorrhea. His latest work, \u201cOnce Upon a Time&nbsp;.&nbsp;.&nbsp;. in Hollywood,\u201d is a declaration of that love. There are many scenes in which the characters\u2014folks like Rick Dalton (Leonardo DiCaprio) and Cliff Booth (Brad Pitt)\u2014motor around Los Angeles without a care. To call those scenes the best thing in the film is not a slight upon Tarantino. As he, of all people, is aware, they are the kinds of scene that play in our movie memories, years after the event, on a helpless and happy loop.<\/p>\n\n\n\n<p>Rick Dalton is an actor, just about. It\u2019s 1969, and he\u2019s worried that, sooner or later, somebody will say that he used to be big in pictures. He\u2019s not yet over the hill, but he\u2019s well past the peak. Having starred in \u201cBounty Law,\u201d on television, in the nineteen-fifties, he is reduced to playing heavies and scumbags; and their sole purpose, as an agent named Marvin Schwarzs (Al Pacino) explains to Rick, is to be bested by the hero. Getting bested is the worst. Viewers come to see you as expendable. Still, it\u2019s a job, and Rick likes nothing more, even now, than sitting down with his buddy Cliff and a six-pack of cold ones, watching an episode of \u201cThe F.B.I.,\u201d and waiting for the moment when the villain\u2014Rick, of course\u2014gets to deliver his scumbag line, with a sneer on his scumbag face.<\/p>\n\n\n\n<p>[ <a href=\"https:\/\/www.newyorker.com\/magazine\/2019\/08\/05\/quentin-tarantino-tweaks-history-in-once-upon-a-time-in-hollywood?utm_campaign=aud-dev&amp;utm_source=nl&amp;utm_brand=tny&amp;utm_mailing=TNY_Daily_072619&amp;utm_medium=email&amp;bxid=5be9e74224c17c6adfd571bb&amp;cndid=14696637&amp;esrc=&amp;utm_term=TNY_Daily\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"click to continue reading at TNY (opens in a new tab)\">click to continue reading at TNY<\/a> ]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>from The New Yorker Quentin Tarantino Tweaks History in \u201cOnce Upon a Time . . . in Hollywood\u201d Forging a style from the scraps of a consuming culture, the director alters the history of the Manson Family murders. By\u00a0Anthony Lane Cars and songs. To be exact: the sight of a car bowling along, at speed, [&hellip;]<\/p>\n","protected":false},"author":26,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[3,5],"tags":[],"class_list":["post-10037","post","type-post","status-publish","format-standard","hentry","category-culture-art","category-los-angeles"],"_links":{"self":[{"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/posts\/10037","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/users\/26"}],"replies":[{"embeddable":true,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/comments?post=10037"}],"version-history":[{"count":0,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/posts\/10037\/revisions"}],"wp:attachment":[{"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/media?parent=10037"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/categories?post=10037"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bigjimindustries.com\/wordpress\/wp-json\/wp\/v2\/tags?post=10037"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}