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143. Once Upon Time… in Hollywood – This Just In (#127)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Phil Bagnall, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Quentin Tarantino’s Once Upon a Time… in Hollywood.

It’s February 1969. Everything is changing. Hollywood itself seems to be facing an inevitable collision with the turmoil that has engulfed the rest of the world. Against this backdrop, lives intersect and collide. Returning from the United Kingdom, Sharon Tate moves in next door to washed up fifties western star Rick Dalton, both completely unaware of how profoundly their lives will impact one another.

At time of recording, it was ranked 127th on the Internet Movie Database’s list of the best movies of all-time.

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“Ladies, That Was Fun”: What’s Happening Under the Hood in “Death Proof”…

Okay… Warren’s sending over shots, and you know the house rules. If he sends over shots, you gotta do them.

What?

Hey, them’s the rules, baby.

Warren says it, we do it!

I love that philosophy! “Warren says it, we do it.”

The filming of Kill Bill, Vol. 1 and Kill Bill, Vol. 2 took nine arduous months. There were a variety of reasons for this, most obviously that the film represented a departure from the stylistic sensibilities and aesthetic associated with Quentin Tarantino. A director best known for his snappy dialogue and vivid characters was pushing himself outside of his comfort zone, building a movie that would incorporate elaborate action sequences and even an animated interlude. In fact, the films came after something of a short break in the director’s career. The six year gap following Jackie Brown was the longest in his career to that point.

As shooting was winding down, an incident occurred on the set. Details of that incident would not be made public for more than a decade and a half, although it would have a profound impact on all involved. By all accounts, Tarantino pressured Uma Thurman into driving a stunt car herself, leading to an accident. Thurman recalls, “The steering wheel was at my belly and my legs were jammed under me. I felt this searing pain and thought, ‘Oh my God, I’m never going to walk again.’” Thurman was not paralysed, but she was scarred by the experience, with a “permanently damaged neck and […] screwed-up knees.”

It was an act of reckless malfeasance from a director who had – with Reservoir Dogs and Pulp Fiction – announced himself as one of the preeminent directorial voices of his generation. Tarantino is remarkable among directors of his generation for establishing a cult of personality, being as effective on the chat show circuit as behind the camera. Tarantino has been known for making brass pronouncements and asserting his authority, from his famous assertion that he is god within his fictional universes to his insistence on shutting down lines of questioning in interviews to rejecting reporters’ questions outright.

The case involving Tarantino and Thurman is perhaps more complicated than a lot of the similar stories of directorial abuse that have entered the spotlight since the #metoo movement rippled through Hollywood. This complexity is compounded by the fact that Thurman has publicly forgiven Tarantino for his part in the accident, and for Tarantino’s contrition on that point. (Tarantino’s public support of progressive causes like Black Lives Matter also plays a part, even if there is still a larger debate to be had about Tarantino’s relationship with African American culture.)

Even if none of this was made public until after the release of The Hateful Eight, these details hang over a lot of Tarantino’s work since the accident. Tarantino has conceded, “Beyond one of the biggest regrets of my career, it is one of the biggest regrets of my life.” It is notable that Tarantino had always been particularly close to Thurman. The story for the Kill Bill films is credited to “Q and U”, the pair practically living together during the development of the story. (Tarantino allegedly promised the script to the actor as a thirtieth birthday present.)

The tragedy echoes through a lot of Tarantino’s subsequent work. It is notable, for example, that a lot of Tarantino’s later work focuses explicitly on the idea of rewriting history. Inglourious Basterds famously offers an alternate ending to the Second World War, a striking piece of historical revisionism. There are also shades of the tragedy to be found in Once Upon a Time… in Hollywood, which features two protagonists that are – to quote actor Brad Pitt – “two sides of the same coin.” Rick is a washed-up has-been who worries he is out of touch. However, his best friend is a reckless stuntman who may have killed his wife.

A lot of the discussion around Once Upon a Time… in Hollywood has likened it to Inglourious Basterds. This makes a great deal of sense. Both stories are effectively historical revisionist fairy tales. Notably, the opening chapter of Inglourious Basterds is even helpfully subtitled “Once Upon a Time in Nazi-Occupied France.” It is a logical point of comparison, but one that conveniently glosses over an even more obvious reference point for Once Upon a Time… in Hollywood within Tarantino’s filmography.

That point of comparison is Death Proof.

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New Podcast! The X-Cast – Season 4, Episode 15 (“Kaddish”)

Always a delight to stop by The X-Cast again. This time discussing a (relatively) underrated fourth season installment, Kaddish with the fantastic Russell Hugo.

Kaddish exists at a very weird point in the fourth season of The X-Files. It arrives following a blockbuster run of episodes, including Leonard Betts, Never Again and Memento Mori. Those are big episodes in the context of the show’s larger run the kind of stories that people have very strong opinions about. Kaddish follows those episodes, and so tends to be overlooked. In fact, it explicitly avoids dealing with any of the fallout from those episodes, at least directly. However, on its own terms, it’s a very lyrical and abstract story, a tale that is perhaps more timely now than when it was broadcast, a gothic fairy tale that hints at the big themes of the stories around it: about life, love, mortality, and loss. It’s beautiful in its own intimate way.

As ever, you can listen to the episode here, or click the link below.

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Non-Review Review: Once Upon a Time… In Hollywood

Once Upon a Time… in Hollywood is a fairy tale, for better and for ill.

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139. The Lion King (#45)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Phil Bagnall and Graham Day, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Rob Minkoff and Roger Allers’ The Lion King.

The Pridelands have enjoyed a period of sustained peace under the stewardship of the proud king Mustafa. However, Mustafa’s young son Simba finds himself embarking upon a journey of self-discovery and adventure as he learns just how fragile happiness can be and just how heavy responsibilities can weigh upon a king.

At time of recording, it was ranked 45th on the Internet Movie Database‘s list of the best movies of all-time.

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Star Trek: Voyager – Q2 (Review)

Q2 is an episode very much in keeping with the ethos of Star Trek: Voyager, particularly at this point in its run.

It isn’t just the strange nostalgia that permeates the episode, opening with an extended oral presentation from Icheb on the heroic exploits of James Tiberius Kirk from the original Star Trek and extending through to the unnecessary return of a beloved recurring guest character from Star Trek: The Next Generation. Nor is it the awkwardness with which Q2 affects a half-hearted compromise in its final act, with the series paying lip service to the fact that its omnipotent (and mostly friendly) guest star could get the crew home with a click of his fingers, while refusing to do that because it would break the series.

“Q2 ratings are way up!”

The essential Voyager-ness at the heart of Q2 is much more profound than all of that. It has to do with how the series treats is returning guest star. Q has been a part of the Star Trek universe dating back to Encounter at Farpoint. John de Lancie has been a recurring guest star on the franchise for thirteen-and-a-half years. Although de Lancie has aged relatively well, and although suspension of belief easily allows for it, even Q himself seems much older between his first and last appearances in the television franchise.

However, Q2 takes a character who was introduced as an immortal and all-powerful trickster god in The Next Generation, and transform him into a stressed middle-aged parent by the end of Voyager. This is a very Voyager approach to characterisation and development. It is how the series has approach many of its characters. In Caretaker, Chakotay was a rebel, Paris as a rogue, and Neelix was a free-wheeling trader; within the show’s first season, all of those rough edges have been filed off. The decision to do that with a character who is effectively a trickster god speaks a lot to the central philosophy of Voyager.

Not kidding around.

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116. Green Book – This Just In (#170)

Hosted by Andrew Quinn and Darren Mooney, This Just In is a subset of The 250 podcast, looking at notable new arrivals on the list of the 250 best movies of all-time, as voted for by Internet Movie Database Users.

This time, Peter Farrelly’s Green Book.

At time of recording, it was ranked 170th on the list of the best movies of all time on the Internet Movie Database.

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