Early on in Quentin Tarantino's Once Upon a Time in Hollywood, actor Sharon Tate teases her friend, hairdresser Jay Sebring , for dancing to the record she's put on: Don't worry, she says, she won't tell Jim Morrison he was grooving out to Paul Revere and the Raiders.
In Once Upon a Time in Hollywood, the prominent soundtrack needle-drops include Paul Revere and the Raiders, the best Neil Diamond song , and the worst Joni Mitchell song . And, L.A.'s movie marquees are lit up to advertise pictures like the Sinatra noir sequel Lady in Cement and the cheapie sex farce Three in the Attic. Grainy tube TVs play Mannix and The F.B.I.
In the current franchise-heavy, corporate-art era of film history, when fewer and fewer contemporary American filmmakers have the cachet to explore their fetishes on the scale of a Hollywood studio release, Tarantino's headcanon has ended up taking on a somewhat engorged importance in The Discourse. Is he a genius? Is he just doing tiresome insular shit for"bros" like him? These questions would matter less if there were more filmmakers about whom we could ask them.
The film is marked by things that are tantalizingly all but absent—like Charles Manson, who's barely a character, and women's footwear, which is barely worn. While Rick is shooting Lancer, Cliff drives a barefoot hippie-chick hitchhiker back to the old movie ranch where the Manson Family are holed up .
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