Τα πρώτα διθυραμβικά σχόλια για την νέα ταινία του Quentin Tarantino

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Mandatory Credit: Photo by Broadimage/REX/Shutterstock (9770751a) Brad Pitt, Leonardo DiCaprio 'Once Upon a Time in Hollywood' on set filming, Los Angeles, USA - 25 Jul 2018
Βαθμολόγησε το άρθρο
[Total: 1    Average: 5/5]

Η νέα ταινία του Quentin Tarantino “Once Upon A Time In Hollywood” αναμένεται με πολύ μεγάλο ενδιαφέρον, έχει εξαιρετικό cast και μετά το πολύ δυνατό trailer, υπάρχει κάτι ακόμα.

 

Η ταινία προβλήθηκε στις Κάννες και το αποτέλεσμα ίσως είναι και ακόμα καλύτερο από όσα περιμένουμε, μιας και η ταινία όχι μόνο συγκέντρωσε διθυραμβικά σχόλια και κριτικές, αλλά είχε και ένα 6λεπτο standing ovation σε μια ασφυκτικά γεμάτη αίθουσα.

Peter Bradshaw (The Guardian): “It’s shocking, gripping, dazzlingly shot in the celluloid-primary colours of sky blue and sunset gold: colours with the warmth that Mama Cass sang about. The Los Angeles of 1969 is recovered with all Tarantino’s habitual intensity and delirious, hysterical connoisseurship of pop culture detail. But there’s something new here: not just erotic cinephilia, but TV-philia, an intense awareness of the small screen background to everyone’s lives. Opinions are going to divide about this film’s startling and spectacularly provocative ending, which Tarantino is concerned to keep secret and which I have no intention of revealing here. But certainly any ostensible error of taste is nothing like, say, those in the much admired Inglourious Basterds. And maybe worrying about taste is to miss the point of this bizarre Jacobean horror fantasy.”

Richard Lawson (Vanity Fair): “What Tarantino really seems to want to do with the film is just talk about old stuff he likes. Which is nothing new for him—but here, those impulses are perhaps more unbridled than before. The director eschews plot for vignettes and asides, several of them long scenes of Rick filming a guest spot on a Western show. DiCaprio works himself into a brilliant lather in these moments, both when Rick is acting and when he’s back in his dressing room, heartbreakingly chastising himself for forgetting his lines. It’s exciting watching DiCaprio work in this register, all this emotional comedy in service of a richly and kindly realized character. But that’s all we’ve really got to hold onto as the film rambles, over the course of 160 minutes, to its perhaps inevitable end.”

Robbie Collin (The Telegraph): “The film rambles along intriguingly and mostly non-violently, less the fairy tale promised by the title than a bundle of short stories, none of which give any obvious hints as to where they might end up. Where it does end is undoubtedly the big talking point, and one that would be insane to broach three months before its UK release – though it’s safe to say Rick and Cliff become embroiled to an extent, while the murders themselves must be the single most shocking sequence in Tarantino’s filmography for a number of reasons: one moment made me groan “oh no” out loud.”

Steve Pond (The Wrap): “Tarantino has begged the press not to include any spoilers in reviews, and he had a Cannes official do the same on stage before the press screening began. (The announcement drew a few boos.) But it’s no spoiler (and probably no surprise, either) to say that Once Upon a Time … in Hollywood is big, brash, ridiculous, too long, and in the end, invigorating. It’s a grand playground for the director to further fetishize old pop culture, to break things and hurt people, and to bring a wide-eyed glee and a robust sense of perversity to the whole craft of moviemaking.”

Eric Kohn (IndieWire): “Quentin Tarantino has built a career out of celebrating movies by referencing his favorites, but with Once Upon a Time in Hollywood, he salutes the process of making them. America’s master of zippy dialogue and high-minded pastiche consolidates those skills into a sprawling vision of the film industry in 1969, but Tarantino’s infectious love letter doesn’t have much of a plot. Instead, the filmmaker’s weirdest movie merges pre-Manson Hollywood with the looming specter of hippiedom. The result is a lopsided cultural mashup as viewed through Tarantino’s exuberant cinematic filter.”

Η πρώτη ταινία του Tarantino που βασίζεται σε αληθινά γεγονότα εστιάζει στον μοιραίο Αύγουστο του 1969, εκεί όπου στις 9 του μηνός η σύζυγος του Ρομάν Πολάνσκι, ηθοποιός Σάρον Τέιτ, δολοφονείται βίαια στο σπίτι της, ενώ βρίσκεται στον όγδοο μήνα της εγκυμοσύνης της, μαζί με τέσσερις φίλους της.

Στην ταινία παίζουν οι: Margot Robbie, Brad Pitt, Leonardo DiCaprio, Dakota Fanning, James Marsden, Timothy Olyphant, Al Pacino, Kurt Russell, Damian Lewis, Emile Hirsch, Luke Perry, Tim Roth, Clifton Collins Jr., Michael Madsen, Zoe Bell, Nicolas Hammond, Scoot McNairy, Mike Moh, Lena Dunham, Sydney Sweeney, Danny Strong, Rafal Zawierucha (που θα υποδυθεί τον Roman Polanski), Clu Gulager, James Landry Hébert, Mikey Madison, Βruce Dern.

O Tarantino ανέφερε ότι η υπόθεση της ταινίας θα διαδραματίζεται στο Hollywood εν έτει 1969 και δήλωσε τα εξής: “Θα λαμβάνει χώρα στο αποκορύφωμα της επανάστασης του αντικομφορμισμού, στο αποκορύφωμα της επανάστασης των hippie και ενός νέου Hollywood. Κατά τη διάρκεια του αυτού καλοκαιριού, σιγά σιγά, δρόμο με δρόμο, γειτονιά με γειτονιά θα μετατρέψουμε το Los Angeles στην ψυχεδελική περίοδο του Hollywood το 1969.”

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