We follow Tate around in joyful fashion, especially to the Bruin Theatre in Westwood, where she watches with great satisfaction as the audience at a matinee clearly enjoys her performance in the Dean Martin movie The Wrecking Crew. The third storyline involves Sharon Tate (Margot Robbie), who with Roman Polanski rents the mansion next door to Rick’s house on Cielo Drive. Spahn is played in brief but superb fashion by Bruce Dern, cast in the role after original hire Burt Reynolds died. to the ever-familiar radio station KHJ (as least to anyone who grew up in this town like I did), and then on his own, where he stumbles onto a hippie commune - where the Manson followers are now encamped on George Spahn’s ranch. Tarantino switches back and forth between this storyline and Booth’s, a guy whispered to have killed his wife and gotten away with it, to whom Dalton is extremely loyal and keeping in his employ. It is simply bravura work the audience filled with many actors could certainly identify with. No stranger to the bottle, and starting to forget lines because of it, we see him attempt to make his way through a guest role as the villain in an episode of a real show, Lancer. DiCaprio drew big applause from the Hollywood premiere crowd Monday night after a gut-wrenching scene in which he struggled to get his acting mojo back. As we zero in on a February week in 1969, Dalton is a staple as a bad guy in a lot of different TV shows of the day.
JULIA BUTTERS SCENE STEALER DRIVER
At its core, though, is the story of a friendship and loyal partnership between fading actor Rick Dalton (Leonardo DiCaprio) and his stuntman and now driver and fix-it man Cliff Booth (Brad Pitt).ĭalton is a guy who had a hit Western TV series in the late ’50s and early ’60s who then tried basically unsuccessfully to transfer that popularity into a major movie career a la Clint Eastwood or Steve McQueen (played here with uncanny wryness by Damian Lewis). That might sound like an odd thing to say in a movie that has the horrific Manson murders that happened in August 1969 as something very much in the mix of a brilliant screenplay that manages to merge real and fictional characters and events effortlessly into a complicated web that ought to surprise and thrill audiences. Sure, there is the head-banging violence that has been a QT trademark in his very R-rated filmography, but I can’t say that the use of it in this movie is anything less than completely satisfying.
0 kommentar(er)
