Once Upon a Time in Hollywood (2019) was an incredibly interesting choice for a screening in this class. It’s weird for me to think of a “cult” of film studies scholars geeking out over a much anticipated film–much like how I geeked out when I watched the highly anticipated last installment of the Harry Potter series, Harry Potter and the Deathly Hallows – Part 2 (2011). This was my second time watching the film, and it was so much more enjoyable the second time, being fully aware of some of the winks that Quentin Tarantino threw at 1969 Hollywood.

Quentin Tarantino is a little film nerd, and everyone knows that. He is exceptionally well versed in cinema, a film genius. He’s completely in love with film. He wrote his first screenplay at 14-years-old. He’s worked in the film business for forever–first as an usher in a theater, and then at a video store in Manhattan Beach, CA. Quentin Tarantino’s Once Upon a Time in Hollywood is his love letter to filmmaking, and that’s the filter that made this film so much more beautiful and enjoyable–it was a passion project through and through. The film was also set at an extremely enjoyable time period with regards to cinema–where Old Hollywood and New Hollywood briefly met and mingled.

I sincerely apologize in advance, but bear with me while I go on a little tangent. I started to research this film, and as I got deeper into my research, I started to realize how petty the negative critiques and reviews are. I landed on a few “Let’s Discuss That Massive Inaccuracy in Once Upon a Time in Hollywood” type of articles that went on to speak about Quentin Tarantino’s habit of historical inaccuracy. Some critics had the audacity to insignificantly bitch about how Quentin Tarantino took his inaccuracy “too far” by making Brad Pitt’s character, Cliff Booth, smoke an acid-dipped cigarette.

Okay, maybe you can’t get high smoking acid–let’s say Tarantino doesn’t know that (he’s Quentin Tarantino, he knows). Tarantino is an auteur, through and through. He famously writes his screenplays so beautifully and concisely that you can visualize the movie perfectly just by reading his work. Next, he famously often directs his own screenplays. It’s his masterpiece of a world, and his imagination as a writer should be able to be as flexible as possible. If Quentin Tarantino wants to make an acid-dipped cigarette a thing in the world that he has masterfully crafted, let him! If Quentin Tarantino wants to randomly feature a green giraffe, let him!

Let’s say he does know that you can’t get high smoking an acid-dipped cigarette, which I guarantee you is the case–again, he’s Quentin Tarantino, he’s both done drugs and done extensive research in preparation for the film. That’s part of his magic. He knows you can’t smoke acid, he’s written the script that way. Quentin Tarantino carefully moulds his story-worlds, paying attention to each and every detail. He knows the characters he writes like himself. This interview will give you some insight into how much thought goes into Quentin Tarantino’s process:

Whenever you see a character in a Quentin Tarantino film smoking, the cigarette they are smoking is a fictional cigarette brand (Red Apple) that he has made up. In fact, one thing that Margot Robbie commented on about working with Quentin Tarantino was how detailed everything on set was–from clothing and cars to music and benches.

As you can see, Quentin Tarantino knows his shit. The acid-dipped cigarette was most probably a careful thought out aspect of the interaction that Cliff Booth had with the flower child, a perfect 1960s hippie scam. Tangent ended.

Once Upon a Time in Hollywood is a wonderful film, and I am so excited for Quentin Tarantino’s 10th and final film, if this is any indication of how he’s planning on closing the book.

---

This semester was amazing, what a wonderful class! I have fallen in love with so many films that were screened in this class (actually so many films screened in Dr. Schlegel’s film classes in general, so thank you!). It’s astounding to me that I can actually take scholarly, academic classes about something that I love so much (I hated learning so much in high-school, I spent a lot of my time watching films until 4am on weeknights instead of working). As obvious as it is, it had never occurred to me how fun studying would be if you love and are passionate about what you’re learning.

Asking me to pin down what my favorite screening in this class was is ridiculous and unfair, so I’ll tell you which few movies really made an impact on me and why. I do have an easy least favorite–Detroit Rock City (1999). It just wasn’t my cup of tea. I thought that it was terrible.

First off, Suspiria (1977) was phenomenal. Not to be too dramatic, but it was so beautiful that I could cry, a visual assault from the moment Suzy reaches the exterior of the Tanz Dance Academy. The film was a beautiful chromatic journey, and I haven’t stopped thinking about it since. Don’t even get me started on that soundtrack!

The next film that I really, really ‘dug’ was The Warriors (1979). Its stylin’ opening image, artful and highly-stylized shots, staggering costumes and a KILLER soundtrack shot right to my heart. I don’t want to say it, but if I had to pick my favorite screening of the semester, it would probably be this. The last scene was just so good. When we were walking back from class that night, my friends and I couldn’t stop raving about it. We watched it again the next day.

Carnival of Souls (1962) made me appreciate low-budget horror films. I could have paused the film at any moment, and the screen would be a painting. The cinematography was gorgeous–it almost brought me to tears. That abandoned pavilion is not something that I’ll be forgetting anytime soon. Carnival of Souls makes me excited about all the films out there that I have yet to see.

Lastly, Valerie and Her Week of Wonders (1970). When I first watched it, I thought that it was a beautiful dream, but it didn’t really resonate in me. After a few weeks of letting it sit, however, I’ve realized how much I loved it. It was so sensual and wonderful–a trip-like haze. Fantasy, horror and soft-core makes for a bomb coming-of-age film.

This class was great fun, and I enjoyed it tremendously. IT WOULD BE GREAT IF, IN THE FUTURE, A CLASS ON THE FRENCH NEW WAVE WAS TAUGHT. Thank you Dr. Schlegel, and thank you classmates!