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The movie makes me weepy the same way that documentaries about any tragedy makes me weepy. In them, there are all these scenes of people living their lives, happy and carefree, oblivious that their existences are about to be reduced down to one horrible moment. You want to grab these people by the shoulders and scream for them not to get in that car, all the while knowing the it’s impossibility. That Leonardo DiCaprio and Brad Pitt thwart the murders in cartoonish fashion only underscores the tragedy for me. We, the audience, know what we are watching is fantasy. We know the absurdity of the Manson Family being stopped by a couple of strung-out cowboys with a flamethrower just as we know that the future of obscurity DiCaprio warned of likely came to pass. It’s Tarantino putting on a rictus grin and begging the audience to believe, at least for a moment, that all this pain and suffering might have been avoided. I still don’t know if this works. I’m still debating the finale in my head. On one hand, I am glad this film gives Tate the interior life she was robbed of, that she gets to be more than what happened on Cielo Drive. On the other hand, I’m not sure how I feel about her being denied any kind of agency. The movie takes a woman’s gruesome murder and makes it about two fictional dudes. QuoProQuid fucked around with this message at 13:59 on Jul 28, 2019 |
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Jul 28, 2019 13:25
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Also, in my showing someone shouted, “stay for the end credits” as people were walking out and I had this sudden feeling of dread that, despite everything we had seen, the Manson “family” was going to walk across the driveway anyway. It being a dumb cigarette ad was a relief.
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Jul 28, 2019 13:46
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Mokelumne Trekka posted:I must have a nerd blind spot because I thought everyone even casual audiences expected a history-distorting twist. The whole set up is that Tate has neighbors who are fictional people. It's why I avoided spoilers like the plague. After Basterds, I had a vague expectation that things would go ahistorically. I just wasn’t sure how far along the path we would get before things diverged. I really, really didn’t want to see a recreation of the Manson “family” breaking into the Polanski house. Origami Dali posted:Is age a factor in one's familiarity with the Manson killings? As a dude in his thirties with no special interest in the late 60's or serial killers, I still had a solid knowledge of the events. I just figured everyone knew about it. I’m in my 20s and also knew the basic details before seeing the movie. I kind of expected people would know, at the very least, Tate dies in the end. QuoProQuid fucked around with this message at 21:29 on Jul 29, 2019 |
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Jul 29, 2019 21:27
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Alan Smithee posted:What was the deal with maya hawkes character Linda Kasabian. In real life, she was a new recruit to the Manson “family” and allegedly tried to abort the murders at the last moment. When the others realized what she was doing, they ordered her to wait by the car while they went inside. She claimed at the trial she thought about driving away but was worried about her child, who was still on the ranch. She later became a witness for the prosecution and got the worst of both worlds, with Manson threatening to send someone to kill her and the press vilifying her for being associated with Manson at all.
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Jul 30, 2019 00:25
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TrixRabbi posted:Rick Dalton, our symbol of a bygone Hollywood -- one of minor stars who faded into obscurity, who never became legends, but who worked and fought and created forgotten bodies of work that have outlived them even as they dwell in obscurity -- being led through the Gates by a St. Peterly Jay Sebring to meet and embrace with the four high profile Manson victims as that music from Judge Roy Bean plays and the camera lifts to the stars in a loving, distant crane shot. I can't put my finger on an example, but it's that spiritual ending we've seen so many times: the ghost who doesn't know he's already dead walking into the light to live with the spirits of his friends and family for eternity. What a beautiful loving finale, and it's a deeply personal moment for Tarantino it seems, whose dedicated his life to this artform. I’m really not sure how I feel about real murders being put on the same level as DiCaprio and Pitt’s gentle decline into obscurity.
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Jul 30, 2019 16:22
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