What to make of the OnceUponATimeInHollywood ending
, I found it inevitable and thrilling as it unfolded. The flow of images and sounds — such fury, under such tight control! This is where Fred Raskin, his editor since Sally Menke passed away, matches her powerful use of restraint.
With long, plot-less stretches of characters driving cool cars, loitering at bus stops and strolling through shopping districts,might be the most accessible specimen of transcendental cinema yet, and the film's climax owes as much of its power to the preceding hours of calculated "boredom" as to the steadiness of Tarantino's visual construction.
It's as if stuntman Cliff, a serene Hollywood foot soldier who's seen and suffered it all, was the editor here, as his wry gravitas sets the pace and mood for any scene he's in, no matter how panicky and scattershot his screen companions. He's a Michael Madsen kinda Tarantino character, minus the psychopathy.
As for the so-wrong-so-right ending, entering the gates of Cielo Drive's Hollywood heaven: I felt a chill of melancholy that Spielberg got out of me when the old game designer walked off into some kind of virtual afterlife hand in hand with his childhood self in. Damn, too many Spielberg references for a movie that is more obsessed with the TV and international co-production workhorses that were active when Stevie was just crashing the Universal lot.
Now tell me something about those directors, or that "world" of filmgeekdom, and about Cliff, a character who, alongside said geekdom, seems this film's reason for being.: I don’t really disagree with most of your argument, though you — and several of our peers —seem to gloss over the part of's finale that I find to be most unsettling: the scene where Cliff savagely bludgeons Manson's Family.
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