Once Upon a Time in Holywood. The Ninth (I think it’s ten when you include Death Proof) Film by Quentin Tarantino: My observations.


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To describe any Tarantino film as less than excellent would be, in my opinion, sacrilege.  So let’s cut to the chase here.  This is excellent.

The question is…how excellent? And how ‘acceptable’.

And that’s where deconstructing Once Upon a Time in Hollywood becomes tricky.

It’s most similar in its narrative structure, I’d say, to Pulp Fiction, probably his flawed masterpiece, in that it doesn’t really have one.  I mean there‘s kind of a story, a long one, but I don’t think that’s what he set out to do here.

He set out to capture the fragility of two fading performers; one a star actor (DiCaprio) and one a star stunt man (Brad Pitt).

That the movie’s triumph lies in the hands of Pitt rather than DiCaprio is interesting.  Probably DiCaprio has more screen time, but Pitt has more presence.  And Pitt is coping better with his fall from grace.

It’s almost a portmanteau (I know my friends say I’m a pretentious twat for using that word) but it is a THING.  Usually a portmanteau is a loosely linked collection of short films under a kind of director’s curation.

Here, though, I think it is a sort of continuous dream sequence, of beautiful but uneventful linking scenes, between big ‘pieces’  – the portmanteaus – it’s like walking through an art gallery enjoying a painter’s studies before BOOM, here’s the big canvas.

Tarantino creates 8 or 9 stunning canvases. One of the most affecting, for me, being the beautiful and funny scene DiCaprio shares with 8 year old Julia Butters as his method acting co star in a last chance Hollywood western.

To say the one scene of violence is a career high would be to both underestimate it and potentially spoil the movie so I won’t disclose where, when or how it happens, like the best of Tarantino it is unexpected and both viscerally shocking and hilarious.

One of my female companions only had eyes for the stunningly handsome Brad Pitt (there’s quite a diet Coke moment about an hour in – and I have ordered the Champion Spark Plugs T Shirt)  and I thought he stole the show (see above), but let’s not gloss over DiCaprio.  He’s great. But the devil has the best tunes.

Margot Robbie is no more than a muse, and wasted.  He does that a lot – does Quentin – a weakness.  Uma Thurman, Jennifer Jason Leigh and Pam Grier have bucked the trend, but it’s rare to leave a Tarantino screening with the actresses front of mind.

Is he a masoginist?  No, I don’t think so, but close, but it’s the guys that get the greater spoils in the master’s work.

The other question the film undoubtedly raises though is…is he racist?  Uncomfortable, yes, but I felt pretty creeped out by the Bruce Lee scene where Karate and eastern fighting arts are pretty much laughed off the screen in the Bruce Lee fight scene.  I didn’t find it acceptable actually.

The music has been hailed as a masterpiece, but for me it’s one of his weaker selections.  Trying to cram too much in.

The styling, though, is exquisite, as is the cinematography.

Overall I’d rank it as in the upper half, just, of his repertoire.  But what do you think?

I’d go.

  • Kill Bill Part 1
  • Pulp Fiction
  • Jackie Brown
  • The Hateful Eight
  • Once Upon a time in Hollywood
  • Django Django
  • Death Proof 
  • Reservoir Dogs
  • Inglorious Basterds
  • Kill Bill Part 2

 

 

 

 

 

 

 

My Edinburgh Festival and Fringe 2019.


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It’s been great.

It always is.

Have I seen a life-changer yet?

Not sure I have, but I’ve seen a lot of class.  (Update, since I first wrote this I have.)

I hate star ratings, but for convenience I have chosen this methodology to save time.

Those in bold are official Edinburgh Festival shows

5*****

The Rite of Spring by Yang Liping’s Peacock Dance Company – This is the life-changer.  A mind-bogglingly beautiful contemporary dance show, weaving together the quiet innocence of Nepalese temple dance with the power and fury of Stravinky’s masterpiece.  Truly outstanding.

Ontroered Goed, -Are we not drawn onward to new erA – I’ve seen this bonkers Belgian political theatre company, from Ghent, before, doing LY£$.  They specialise in Climate Change polemics.

But this was a step up in class.  The entire play is a palindrome; as you will have spotted from the title.  This means it is performed backwards and then replayed in reverse as a film.  How they manage to speak backwards is simply brilliant.  And funny.  And thought provoking

The Patient Gloria – Traverse.  Outstanding theatre about a psychotherapy experiment from the 60’s by Abbey Theatre

Baby Reindeer – Richard Gadd’s masterpiece in the Roundabout at Summerhall.  Awe inspiring performance and story

Efterkalang – The Festival Music strand was a triumph this year.  Few household names but curated with love and real knowledge of quality.  Efterklang closed this year’s offering and they were simply terrific.

Villagers – The best live performance at Leith Theatre. Perfection

This is the Kit – (No this was).  A sublime performance both by TITK and support and beautifully lit by Grant Anderson.  Outstanding sound quality.

The Incident Room – superb story about the Yorkshire Ripper enquiry at The Pleasance

Peter Gynt – outstanding and hilarious take on mid 19th century classic at Festival Theatre

The Shark is Broken – Jaws – the back story at Assembly.  An amazing and very, very funny three-hander by actors playing Robert Shaw, Rod Steiger and Richard Dreyfuss

4****

Anna Calvi – wonderful performance at Leith Theatre

Matt Forde’s Political Podcast – Interviewing Nicola Sturgeon.  (Scotland’s First Minister.)  A delightful hour of Boris-bashing and independence speculation.

Crocodile Fever – tremendous co-pro between The Lyric Belfast and The Traverse.

Fish Bowl – Hilarious French physical comedy at The Pleasance

The Last of The Pelican Daughters – very funny Pleasance show that I had to leave after 30 minutes due to fire alarm

Oedipus – Would have been five stars but for the subtitles. The Kings

Shit – Ultra-sweary, hilarious but deeply moving Ausie show at Summerhall.  Brilliant.

Nightclubbing – Grace Jones inspired Summerhall Performance art.

Kala Kuti Republic – Tremendous dance show about Fela Kuti.  Met, and made best mates with, Bobby Gillespie at The Lyceum

Elgar’s Kingdom – Great tunes from The Halle and Edinburgh Festival Chorus.  Rubbish lyrics. At the Usher Hall

Total Immediate Collective Imminent Terrestrial Salvation – outstandingly original NTS show by Tim Crouch. At Festival Theatre Studio.

Once on This Island – Forth Children’s Theatre. My own company’s show.  A truly beautiful musical with a fabulous ensemble and several great performances .

Tartuffe,  Assemble Rooms – a great Scottish cast performing an abridged version of Liz Lochhead’s classic Moliere adaptation.  Very funny.  Great work from all four in the case (including Grant O’Rourke and Nicola Roy)

3***

The Burning – great performances but treacle-like script, at The Pleasance

Cométe – nice festival opener – pub band that may have gone to 4**** with a bigger audience

Who Cares – polemical Summerhall stuff about the care system but no narrative to properly engage with

The Crucible – too hard a story to tell through dance at The Playhouse

Best of the Fest – mixed bag, not the best of the Fest or it would have been 5*****

Ed Gamble – Work in Progress gig. Great warm up chat but the ACTUAL material was…meh.

Trips and Falls –  The spirit of the Fringe alive in this interesting but poorly cast and largely poorly performed Glasgow Uni production.  The Chief of police and the Granny were good though.

Square go – Started great but fell away, Scottish playground romp at the amazing Roundabout, at Summerhall.

If You’re Feeling Sinister by Avalon and BBC Arts in association with Tron Theatre at The Gilded Balloon.  Thios was always going to be tough to deliver a play about an album by Belle and Sebastiane, but by and large the two hander cast pulled it off .

2**

Teenage Fanclub – Boring.  At Leith Theatre – left after 45 mins.

Twin Peaks – Show about breast cancer billed as a comedy but not funny.

1*

Dynamite – it wasn’t – utter student improvisational crud by Bristol Uni Improv Soc.  Felt sorry for the excellent small girl with a pony tail (Katie) – not enough to save her blushes.

 

 

 

 

 

Review of The Patient Gloria by Gina Moxley and Abbey Theatre in association with Pan Pan Theatre at The Traverse; Edinburgh Fringe.


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I’ve seen some cracking stuff this year already; The Incident Room, Shit, Baby Reindeer, Nightclubbing and Peter Gynt (EIF) are all there or there about the 5 star mark, and I expect all to win prizes this year.  There are at least two Fringe Firsts in that bunch.  Richard Gadd’s Baby Reindeer Summerhall, in particular, left me speechless.

But tonight we went super A-list with the classic Abbey Theatre of Dublin in a co-pro with Pan Pan Theatre Co and Gina Moxley.

It’s a three woman piece written by and starring the diminutive Gina Moxley who is a dab hand at playing male psychotherapists.  She shares the stage and the story with the titular Gloria; a 1964 divorcee aged 30 with a still high sex drive and a nine year old inquisitive daughter in tow.

In an experimental film in 1965 the real life Gloria was a guinea pig in three psychotherapy experiments that were filmed to observe different approaches to understanding Gloria’s motivations and drives.

The play brings these sessions to life against a rich tapestry of theatrical techniques and outrageously brilliant acting from both Moxley and Liv O’Donoghue (the beautiful Gloria).

The two make an odd couple, not least because of the notable difference in height.

They are wonderfully supported by Jane Deasy as the one-woman bass-playing Greek Chorus.

I can’t begin to describe how many moments come together to make this piece of theatre so magical; obviously the script, story and acting are the foundations but the direction by John McIlduff is like a master class.  The set design and costumes are stunning and the sound design an important contribution too.

It’s gripping, thrilling, ballsy feminism at its extreme best.  I’m a feminist so I wasn’t in the least uncomfortable: but bring an ounce of misogyny into The Traverse and you’ll be going home with your ball sack shrivelled inside you.

Catholisisim gets a good kicking (or at least its Irish educational sub divisional torture chamber).

It’s brilliant, inventive, hilarious, thought provoking, visually and aurally stunning theatre at its very, very best.