Emile Hirsch
UK
rating - 8,2 of 10
1969. Rick Dalton was once the star of a highly popular TV series but a few bad choices have set his career back, leaving him wondering if he should quit showbiz altogether. His best friend is Cliff Booth, an aging stuntman who was Dalton's stunt-double in movies and TV. His career is largely over. While Booth ekes out an existence, Dalton still lives a life of relative luxury in Hollywood, rubbing shoulders with the rich and famous. In fact, his neighbours are Roman Polanski and Sharon Tate
Rating - 450558 vote
Runtime - 2 Hours 41 minute

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Once Upon a Time in Hollywood (stylized as Once Upon a Time in... Hollywood) is a 2019 comedy - drama film written and directed by Quentin Tarantino. The cast of the film consists of Leonardo DiCaprio, Brad Pitt, Margot Robbie, Emile Hirsch, Margaret Qualley, Timothy Olyphant, Austin Butler, Dakota Fanning, Bruce Dern, and Al Pacino. The film was released in the United States on July 26, 2019 by Sony Pictures Releasing. Plot Edit In 1969 Los Angeles, actor Rick Dalton, the former star of the 1950s Western television series Bounty Law, finds his career faltering due to ongoing alcoholism issues. Dalton laments to Cliff Booth, his best friend and stunt double, that his career is over. Booth, a war veteran who lives in a derelict trailer next to a drive-in in Van Nuys, attempts to bolster Dalton's self-confidence. Meanwhile, actress Sharon Tate and her husband Roman Polanski have just moved into the home next door to Dalton's. Dalton hopes to befriend the couple and use Polanski to restore his leading man status. During a day off, Booth picks up a young hitchhiker in Dalton's car, driving her home to Spahn Ranch. She insists that he stays and meets Charles Manson, but Booth is suspicious of the large number of hippies squatting on the property, as he once worked on the lot with owner George Spahn. He insists on seeing the now-blind Spahn despite the women's objections; Spahn dismisses Booth's suspicion that he is being taken advantage of and asks him to leave. Returning to his car, Booth discovers that one of the front tires has been popped by a knife; he heavily beats Steve Grogan, the young man responsible and forces him to change the tire. One of the women goes to fetch Tex Watson to handle the situation, but Booth is already driving away by the time Watson arrives. Having become a day player on several TV series, Dalton, playing a black-hatted villain on a new series called Lancer, gets into a philosophical chat about acting with his eight-year-old method actress co-star. That same evening, after watching his performance as a guest star on an episode of F. B. I., casting agent Marvin Schwarzs offers Dalton the opportunity to shoot a Spaghetti Western in Rome. The prospect fills Dalton with despair; he thinks Spaghetti Westerns are the bottom rung of the entertainment totem pole. Dalton takes Booth to the six-month shoot in Rome, making several films while eventually marrying a young Italian actress, Francesca Cappucci. After returning to Los Angeles, Dalton informs Booth that he can no longer afford his services, and they agree to go their separate ways. They go out to get a drink together one last time, later returning to Dalton's home to drink. Booth smokes an acid-laced cigarette that he bought on the street six months ago. Later that night, Dalton confronts Watson, along with Susan Atkins, Linda Kasabian and Patricia Krenwinkel, who have parked outside his home and are preparing to kill Tate and her friends, Jay Sebring, Wojciech Frykowski, and Abigail Folger. They drive off, only to come back with a new plan of killing Dalton, as he was the star of TV series in which he killed people. Atkins points out that most series portray murder, that it was television that has taught her to kill, and that it is time to get revenge on Hollywood. A nervous Kasabian gets cold feet and deserts them, and the remaining trio proceeds with the plan. Upon entering the house, Watson confronts Booth, who is high on acid. Booth recognizes the trio from the ranch, making them nervous. In the ensuing fight, Booth and his pitbull manage to kill Krenwinkle and Watson while severely injuring Atkins, who stumbles outside into the pool. She alarms Dalton, who had been floating there listening to music in his headphones, unaware of the commotion inside. He climbs out of the pool and retrieves a flamethrower he'd kept from a previous film shoot, burning her to death. Booth is taken to the hospital for his non-lethal injuries, while Dalton strikes up a conversation with Sebring next door, and is invited up to Tate's house for drinks. Cast Edit Leonardo DiCaprio as Rick Dalton Brad Pitt as Cliff Booth Margot Robbie as Sharon Tate Al Pacino as Marvin Shwarz Emile Hirsch as Jay Sebring Damian Lewis as Steve McQueen Bruce Dern as George Spahn Dakota Fanning as Lynette "Squeaky" Fromme Scoot McNairy as Business Bob Gilbert Luke Perry as Wayne Maunder Damon Herriman as Charles Manson Austin Butler as Charles "Tex" Watson Lena Dunham as Catherine Share Maya Hawke as Flower Child Clifton Collins Jr. as Ernesto "The Mexican" Vaquero Nicholas Hammond as Sam Wanamaker Spencer Garrett as Allen Kincade Mike Moh as Bruce Lee Kurt Russell as Randy Miller/Narrator Keith Jefferson as Land Pirate Keith Eddie Perez as Land Pirate Eddie Maurice Compte as Land Pirate Mao Lew Temple as Land Pirate Lew Julia Butters as Trudi Frasier Lorenza Izzo as Francesca Cappuci Rafał Zawierucha as Roman Polanski Samantha Robinson as Abigail Folger Rumer Willis as Joanna Pettet Dreama Walker as Connie Stevens Anthony Masusock as Hippie Costa Ronin as Wojciech Frykowski Margaret Qualley as Kitty Kat Victoria Pedretti as Lulu Madisen Beaty as Katie Zoë Bell as Janet Miller Marco Rodriguez as Bartender on Lancer Rebecca Rittenhouse as Michelle Phillips Michael Madsen as Bounty Law Cowboy #1 Tim Roth as Bounty Law Cowboy #2 (CUT) Additionally, James Marsden, Michael Vincent McHugh, James Remar, Martin Kove, Brenda Vaccaro, Nichole Galicia, Craig Stark, Ramón Franco, Raul Cardona, Danny Strong, Sydney Sweeney, Clu Gulager, Mikey Madison, Inbal Arimav, Natalie Cohen, Rachel Redleaf, Kansas Bowling, Parker Love Bowling, have been cast in unspecified roles. Videos Edit Trailers Edit ONCE UPON A TIME IN HOLLYWOOD - Official Teaser Trailer (HD) Official Teaser Trailer ONCE UPON A TIME IN HOLLYWOOD - Official Trailer (HD) Official Trailer.

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Vtedy v hollywoode bruce lee. Once Upon a Time in Hollywood(2019) Full Movie Free Download And Watch Online Once Upon a Time in Hollywood Full Movie INFO Release Date: 2 July 2019 (USA) Rating: NR Year: 26 July 2019 (USA) By: United States of America Directed by: Quentin Tarantino Genre: Comedy, Drama Duration: 2h 27min Budget: $95, 000, 000 Screenplay by: Quentin Tarantino Writers: Quentin Tarantino Stars: Sydney Sweeney, Margot Robbie, Leonardo DiCaprio, Brad Pitt, Timothy Olyphant, Dakota Fanning and Others Distributed by: Bona Film Group, Heyday Films, Sony Pictures Entertainment (SPE) Age: 18+ Once Upon a Time in Hollywood 2019 Watch Full Movie Online or Download HD Film on Your PC, TV, MAC, iPad, iPhone, Mobile, tablet and Get trailer, cast, release date, plot, spoilers info. We all believed that Tarantino would make a tenth film and then retire, unfortunately, the acclaimed director lets see that it will not be like that. Once Upon a Time in Hollywood could be his last film. When we thought we would see a bloodier and bigger film after Once Upon a Time in Hollywood, it turns out that the director of Pulp Fiction and Kill Bill shows that it will not be like that and will soon say goodbye to the film direction. Rating: IMDb / 8. 9 Tom Holland Born: uly 2, 1990 (age 29 years) Dalby, Queensland, Australia Zendaya Born: November 11, 1974 (age 44 years) Hollywood, Los Angeles, California, United States Jake Gyllenhaal Born: December 18, 1963 (age 55 years), Shawnee, Oklahoma, United States Marisa Tomei May 20, 1968 (age 51 years), Honolulu, Hawaii, United States Jacob Batalon February 23, 1994 (age 25 years), Conyers, Georgia, United States Samuel L. Jackson April 25, 1940 (age 79 years), Manhattan, New York City, New York, United States.

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Once Upon a Time In Hollywood Reviews Movie Reviews By Reviewer Type All Critics Top Critics All Audience Verified Audience Page 1 of 4 January 29, 2020 A long plod through Tarantino's reflections on Hollywood in 1969 that are summed up pretty well by the shrug emoji. January 21, 2020 As a technical exercise, Once Upon a Hollywood is wonderfully would be fun to be able to explore the world of 1969 Los Angeles that Tarantino has reconstructed. If only there was anything else redeeming in this film. January 10, 2020 Watching the movie is like listening to a friend explain a Wikipedia article that he's been obsessed with since he was 15. Full Review | Original Score: Catch It On Cable October 3, 2019 Once Upon a Time in Hollywood is about Tarantino's fascination with revisionism and the idea that cinema has the power to right past wrongs. September 10, 2019 Quentin Tarantino has spared no expense in recreating the splendour of 1960s Los Angeles but there are lengthy sequences where the film is more interested in the setting than the characters. September 1, 2019 An irritating experience. [Full Review in Spanish] August 30, 2019 You can feel the love of cinema in it, but I thought it was fantastically ill-disciplined and indulgent and whole blocks of "DVD extras. " August 26, 2019 Like much of the Cult of Tarantino that eager audiences worship, "Once Upon a Time" might be meaningful and/or shocking if it weren't so barbaric, predictable, and vapid. August 23, 2019 Quentin Tarantino's inability to separate fiction and reality climaxes in Once Upon a Time in Hollywood. August 22, 2019 Let Once Upon a Time in Hollywood be a reminder that Hollywood is still a playground for white men and their fantasies. The rest of us can only get in where we fit in or keep on fighting that good fight. Once Upon a Time... functions as a memento mori, not just to Tate, but to movies themselves. But that doesn't erase or excuse its more problematic aspects. August 16, 2019 It is like being trapped in a taxi with a driver who is not the sweet man you thought he was at the start of the work is a record of an obsessive film fan's fixation on a tiny slice of history. Why would Tarantino make his leading man an OJ Simpson wife-killer? Probably has a lingering effect of his long-time association with Harvey Weinstein. Tarantino seems more interested in showing off his lead actors -- who take clear delight in hamming it up for him -- and his loving recreation of Los Angeles landmarks (like Musso & Frank's and El Coyote) than he is in building dramatic tension. August 15, 2019 A love letter? There's no love in this film, except self-love maybe. What you're left with is an egocentric and juvenile piece of revisionist fan fiction that is completely oblivious to its own contemplative possibilities. August 14, 2019 It's clever, but like all things branded Tarantino, it's also purely exploitative. Beyond the gratuitous cruelty, the slavering misogyny and the all-too-expected childish sadism of the final scenes of Once Upon a Time in Hollywood, what really struck me, walking out as the credits rolled, was just how let down I felt. August 11, 2019 Really? Not one moment of insight into what happened on Cielo Drive? Tarantino drank the Hollywood Kool-Aid. DiCaprio and Pitt get to hang out and do a lot of driving around. August 5, 2019 The portrayal of Bruce Lee and the othering of Mexicans has the appearance of Tarantino punching down for the sake of cheap humor. Page 1 of 4.

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Vtedy v hollywoode trailer 2019 cz. Vtedy v hollywoode cely film. Vtedy v hollywoode online. Vtedy v hollywood poker. Vtedy v hollywood crush. Vtedy v hollywoode scene. Vtedy v hollywoode trailer. Vtedy v hollywood reporter. Vtedy v hollywood star. Vtedy v hollywoodreporter. Vtedy v hollywood movies. Here page found Online Stream. Watch Online Forbes. ONCE UPON A TIME. IN HOLLYWOOD movie stream free Found~on~page~Once~Upon~a~Time. in~Hollywood. Like most of Quentin Tarantino’s movies, his new one, “Once Upon a Time... in Hollywood, ” is driven by cultural nostalgia. Yet, this time around, Tarantino’s nostalgia is his film’s guiding principle, its entire ideology—in particular, a nostalgia (catnip to critics) for the classic age of Hollywood movies and for the people who were responsible for it, both onscreen and behind the scenes. The movie draws a very clear line regarding the end of that classic age: it’s set in 1969, at a time when the studios were in financial crisis owing to their trouble keeping up with changing times, and its plot involves the event that’s widely cited as the end of an era, the Manson Family killings of Sharon Tate and four others at the house that she shared with her husband, Roman Polanski. The heroism of his Hollywood characters is an idea that Tarantino works out gradually until it bursts forth, in a final-act twist, with a shocking clarity. “Once Upon a Time... in Hollywood” has been called Tarantino’s most personal film, and that may well be true—it’s far more revealing about Tarantino than about Hollywood itself, and his vision of the times in question turns out to be obscenely regressive. The movie is centered on a declining Western-style actor named Rick Dalton (Leonardo DiCaprio) and his stunt double, factotum, and friend Cliff Booth (Brad Pitt). Rick has had big roles in a handful of action movies (including a Second World War film in which he uses a flamethrower to incinerate a bunch of Nazis), but he’s most famous as the star of a TV Western series, “Bounty Law. ” At the start of the film, Rick is mainly doing roles as a guest star in other action series—but, as a veteran agent named Marvin Schwarzs (Al Pacino) warns him, he is always cast as the villain, and audiences are being conditioned to find him unsympathetic, and therefore un-star-like. Rick owns a house, where he and Cliff hang out and watch TV (and watch Rick on TV); right next door to Rick live a newlywed couple, Sharon Tate (Margot Robbie) and Roman Polanski (Rafal Zawierucha), whose presence sparks Rick’s dream of a role in one of the famous director’s movies. Cliff, who lives in a trailer behind a drive-in movie theatre, is described as a real-life war hero, though it’s never made clear which war he was a hero of; for that matter, almost nothing is known about his past, except that he’s trailed by nasty rumors that he killed his wife and got away with it. (Tellingly, a flashback to the deadly incident leaves it unclear whether her death was an accident or murder—lest showing the murder turn Tarantino’s hero into an anti-hero. ) The movie’s action is constructed, with an audacious sense of composition, as three-days-in-the-lives-of; almost the entire two-hour-and-forty-minute span consists of a series of set pieces (adorned with brief flashbacks and visual asides) that are dated February 8 and 9, 1969, and then leap ahead six months to August 8th and 9th—the night of the Tate murders. in Hollywood” is a star vehicle; Tarantino provides DiCaprio and Pitt with a showcase that allows them to deliver, separately and together, a series of iconic moments that leap out of the film, ready-made to be excerpted in trailers and impressed in viewers’ memory. They’re the kind of moments that DiCaprio delivers, for instance, when he lends Rick a cheesy megawatt grin during an interview, or that Pitt delivers when Cliff, preparing to smoke an LSD-laced cigarette that he has been saving for a special occasion, freezes in place and, lighting it, purrs, “And away we go. ” The coolest such moment is one that Tarantino himself, with deft directorial technique, delivers thanks to a stunt or a special effect: when Cliff, preparing to repair Rick’s TV antenna, strips to the waist, straps on a tool belt, and, dispensing with a ladder, leaps from the driveway to the roof in a few easy bounds. Tarantino does not only create such moments—his movie is a loving dramatization of the power of certain kinds of actors, in conjunction with writer-directors and, above all, an entire system of production, to deliver them. in Hollywood” is a paean to the recently lost age of the loudly lamented midrange drama for adults which is just such a movie itself. (Here, Tarantino’s obsessions intersect with modern critical sensibility—and vulnerability. ) Tarantino is delivering what he considers to be a cinematic gift horse, a popular film with real artistic ambitions—and his movie’s very theme is the fruitless, counterproductive, and even misguided energy that would be wasted looking in the horse’s mouth. If only the old-line Hollywood people of the fifties and sixties had maintained their pride of place—if only the times hadn’t changed, if only the keys to the kingdom hadn’t been handed over to the freethinkers and decadents of the sixties—then both Hollywood and the world would be a better, safer, happier place. There’s no slur delivered more bitterly by Cliff and Rick than “hippie, ” and their narrow but intense experiences in the course of the film are set up to bear out the absolute aptness of their hostility. Tarantino’s love letter to a lost cinematic age is one that, seemingly without awareness, celebrates white-male stardom (and behind-the-scenes command) at the expense of everyone else. Tarantino has a history of seeming to enjoy planting racial slurs in the mouths of his characters, and “Once Upon a Time... in Hollywood” is no different. In one set piece, backstage at the studio, Rick finds himself seated alongside an ultra-ambitious, ultra-professional child actor (Julia Butters), a girl who makes Rick feel somewhat ashamed of his lackadaisical approach to his craft. Rick derives inspiration from his earnest young co-star, which results in his improvising a line that the show’s director (Nicholas Hammond) greatly admires—and features a slur against Mexicans. (At another moment, early in the film, in a parking lot, when Rick recognizes that his career is in decline, he begins to shed tears, and Cliff lends him a pair of sunglasses: “Don’t let the Mexicans see you crying. ”) “Once Upon a Time... in Hollywood” is the second movie within a year to feature that slur prominently; the other, Clint Eastwood’s “ The Mule, ” also displays the devastating real-world oppressions that Mexicans endure as a result of white Americans’ racist attitudes. By contrast, Tarantino delivers a ridiculously white movie, complete with a nasty dose of white resentment; the only substantial character of color, Bruce Lee (Mike Moh), is played, in another set piece, as a haughty parody, and gets dramatically humiliated in a fight with Cliff. Read More Anthony Lane reviews “Once Upon a Time... in Hollywood, ” in the August 5 & 12, 2019, issue of the magazine. Cliff, a real-life battle-hardened hero, finds little application for his talents in civilian life. Though he is Rick’s stunt double—someone who appears onscreen in the guise of Rick—it’s actually Rick, a faux hero, who appears onscreen as Cliff’s double, someone who pretends to do the physically courageous things that Cliff really does. in Hollywood” is a tribute to the people behind the scenes and below the line, the ones who secretly infuse movies with their practical knowledge, life experience, and athletic feats. In that regard, it’s a movie that John Ford already made: “ The Wings of Eagles ” (1957), the drama of Frank (Spig) Wead, a hero of naval aviation who, after being disabled in an accident, becomes a novelist and a screenwriter (including for Ford, who dramatizes himself in the movie as a director named John Dodge). Wead is played by Ford’s favorite tragic hero, John Wayne—and Ford doesn’t stint on the tragedy, the physical agony, and the wreckage of family life that are central to the hero’s experience.

H ow you respond to Quentin Tarantino’s dazzling elegiac fairytale Once Upon a Time in Hollywood may depend on how much you like old guys, people who see how the changing of the guard is leaving them behind, who are beginning to reckon with the ways their bodies will betray them, who have seen their profession change so much that they can barely keep a toehold in it. You’ll also need some affection for Los Angeles, past and present, for the way, unlike other American cities, it keeps its ghosts around for a long, long time: They’re poured into martini glasses at Musso & Frank, or they rush like a traveling breeze alongside the mosaic tiles of LAX’s Terminal 3. You don’t have to remember every television show— Mann ix, The FBI, Bonanza, The Green Hornet —from 1969, when the film is set. Just recognize that pop culture used to be a very different creature: In the old days it didn’t come to you, parceled out in personalized packets via earbuds; you had to come to it, yielding first to its time slot and then to its charms. That, or wait for the rerun. It also helps to have some feeling for the tragedy of one fledgling movie star who was murdered almost before anyone could get to know her name: Sharon Tate, the pregnant wife of Roman Polanski, was stabbed to death in Benedict Canyon by members of the Manson family on August 8, 1969, along with three friends, celebrity hairstylist Jay Sebring, aspiring screenwriter Wojciech Frykowski and coffee-fortune heiress Abigail Folger. (Polanski was in London working on a film. ) Tate had done some TV and a handful of movies at the time of her death; as an actor, she was winsome and elegant at once—her beauty was delicate without being fragile, and she seemed to have a sense of humor about how unreally gorgeous she was. The career she didn’t have is itself a kind of ghost, and you can occasionally feel it rustling through Tarantino’s movie: It is, above all, a Valentine to her. Once Upon a Time in Hollywood is Tarantino’s most affectionate movie since Jackie Brown (1997), the picture that remains—the idolatry surrounding Pulp Fiction notwithstanding—his masterpiece. Tarantino is at his best when he’s motivated by affection, and for that reason, Once Upon a Time in Hollywood ranks among his finest; the serrated bitterness of his last picture, The Hateful Eight, has vanished. This is a tender, rapturous film, both joyous and melancholy, a reverie for a lost past and a door that opens to myriad imagined possibilities. Like all of Tarantino’s movies, it’s filled with references you may or may not get: There are woolly, rambunctious Jack Davis caricatures from MAD magazine, nods to blond dream girls like Joey Heatherton and Anne Francis, allusions to the brutally electric spaghetti westerns of Sergio Corbucci. But what you don’t recognize, you can Google; new worlds await. This is a welcoming picture, not an alienating one, an open door into a vanished world that still feels vital. You could also look at it as Tarantino’s own Wild Bunch, a story of outmoded gunslingers getting their last blast of glory. Leonardo DiCaprio and Brad Pitt play Rick Dalton and Cliff Booth, a fading TV star and his longtime stunt double, two aging guys who have practically grown up together. They were in clover when Rick was a ’50s TV star, on a western series with a jaunty horse-trot of a title, “Bounty Law. ” But those days are gone, and Rick has been relegated to playing the heavy in random TV episodes. There’s not much for Cliff to do but to drive Rick around and keep him company, though if he occasionally shows glimmers of resentment toward his more famous pal, the loyalty between the two is unshakable. (Cliff, as the movie’s unseen narrator puts it, is “more than a brother and a little less than a wife” to Rick. ) Brad Pitt stars in Columbia Pictures Once Upon a Time in Hollywood" Andrew Cooper—CTMG, Inc. Cliff is also the more well-adjusted of the two, even though he has less money and less status than his TV-star friend. Rick lives in a comfortably appointed house on Cielo Drive—his new neighbors, renting the house next door, are newlyweds Tate and Polanski. Cliff lives in a disheveled trailer with a pit bull named Brandy, a sweetie-pie with a satin-gold coat and jaws of steel. But while Rick is rattled by insecurity over no longer being a leading man—he cries in gratitude when a pint-sized but ineffably wise young actor compliments him on a brief scene—Cliff takes everything in stride. He tools around the city and its environs, wearing a Hawaiian shirt as if it were a tuxedo—all of his class comes from the inside. He keeps seeing the same hippie girl around town, an underage cutie in tiny cutoff shorts and an even tinier crocheted top, a fringed suede bag swinging around her hips. She’s always hitchhiking, and one day, he offers her a lift. This strange, zonked-out girl (her name is Pussycat, and she’s played by Margaret Qualley), is part of the new generation that’s taking over Rick and Cliff’s world like a pernicious weed. She asks him to take him to Spahn Movie Ranch, a site formerly used in the making of movie and TV westerns. Now it’s a commune headed by charismatic sicko Charles Manson. Cliff doesn’t yet know that, but he remembers the ranch from its earlier days. The old world has merged with a new, more sinister one. Throughout Once Upon a Time in Hollywood, fiction and fact meet; sometimes they criss-cross and hurtle in opposite directions. But the setting always feels bracingly real: Tarantino’s 1969 Los Angeles is a dreamland of multi-hued bar and restaurant signs—in a lovely sequence, they blink on one by one at twilight, just as actors all around town are leaving their jobs for the day and moving toward that beckoning after-work drink. (The film, every frame of it stunning, was shot by veteran cinematographer and Tarantino regular Robert Richardson. ) As the story’s mood turns dark, the recording of “California Dreamin’” you hear on the soundtrack isn’t the Mamas and the Papas’ creamy, sunset-flavored version, but a more foreboding one by José Feliciano, the sound of vultures circling. There are moments in Once Upon a Time in Hollywood that are purely terrifying. The movie’s tone shifts drastically during the finale, a sequence marked by ruthless, cartoonishly orchestrated violence—somehow it doesn’t fit, almost jolting the picture out of whack. But the movie’s final moment sets everything right, gently, a grace note of serenity in the context of an all-too-mad reality. Pitt and DiCaprio are marvelous together, and though neither are what any of us should call “old, ” their faces, once as flawless as airbrushed high-school portraits, have now achieved a more weathered perfection. DiCaprio’s Rick looks mischievously boyish, though you can’t help noticing the tiny crow’s feet marking the skin around his eyes, etched there by dried-up work and dwindling bank accounts—there’s an alluring, Robert Ryan-style weariness about him. And Pitt is superb, striding through the movie with the offhanded confidence of a mountain lion who knows his turf. This is swagger freed from self-consciousness; Cliff was groovy before the word was invented. Margot Robbie as Sharon Tate in Quentin Tarantino's Once Upon A Time... in Hollywood. Andrew Cooper—ANDREW COOPER But Once Upon a Time in Hollywood really belongs to one person, a figure who gets less screen time than either of the male leads but who fills the movie with light even so. Margot Robbie plays Sharon Tate, and in the movie’s most stunning sequence—set sometime in February 1969—she comes upon a theater, the Bruin, that’s showing her most recent film, The Wrecking Crew, one of those absurd Matt Helm spy joints starring Dean Martin. She goes up to the box-office booth to buy a ticket—and then it occurs to her that if she explains to the ticket girl that she’s actually in the film, she might be able to get in for free. It works! She slips on a pair of oversized, owlish eyeglasses and sits down to watch her own image flash on the screen. There’s no vanity or self-congratulation in her expression, only curiosity and an almost mystical kind of fascination, as if she were observing a deer in the forest. She waits to see if the audience laughs at one of her funnier lines—they do. She mimics the martial-arts movies her character executes on-screen, her hands slashing and dipping through the air, her muscles remembering what it was like to learn the routine. Margot Robbie as Sharon Tate is watching, as we are, the real-life Sharon Tate playing a character in a movie. But for us, the two have blended into one person, a young woman, recently married—does she even yet know she’s pregnant? —who has everything to look forward to. In real life, no one could save Sharon Tate. With Once Upon a Time in Hollywood, Tarantino and Robbie restore life to her. The magic spell lasts only a few hours. But no one has ever brought her closer to a happily ever after. Get The Brief. Sign up to receive the top stories you need to know right now. 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