Once Upon a Time in Hollywood is one of my favourite films. From the colourful visual textures which capture the retro aesthetic of 1960s film, to the captivating performances of its stars (Leonardo DiCaprio as actor Rick Dalton, Brad Pitt as stunt double Cliff Booth, and Margot Robbie as Sharon Tate). The film encapsulates 1960’s Hollywood, following the lives of Rick, Cliff and Sharon as they negotiate the rapidly changing film industry. Years before it’s release, the film was written as a novel by Tarantino, having not yet decided whether it would be turned into a screenplay. When I discovered Tarantino had followed up on this and published a novelisation of Hollywood, I was overjoyed. The novel mostly follows the events of the film, except with additional backstory, characters’ inner thoughts, and enough references to 1960’s film to satisfy the ultimate film buff.
Tarantino’s novelisation mostly follows a couple of days in the lives of the stars of the film in February 1969, but divulges into past and future backstories and other narratives between this time. The backstories broaden the personal lives and personalities of characters portrayed in the film, providing a more detailed feel of the film industry in 1969. These include real-life 60’s actors James Stacy, Aldo Ray, and Sharon Tate (the former portrayed by Timothy Olyphant in the film), but most noticeably stuntman Cliff Booth. Booth is portrayed as possibly the most laid-back yet no-nonsense guy in Hollywood. The book details his WWII history, describes in detail how many times he’s got away with murder, extensive detail on his passion for Japanese cinema and erotic cinema, and even explains how he obtained his faithful pit bull Brandy. In essence, Booth is portrayed as the coolest psychopath in 60s Hollywood. In contrast to his best friend and anxiety-ridden Rick Dalton, Booth is content with his career and has accepted the changes occurring in Hollywood at the turn of the decade; happy to enjoy himself and be Dalton’s go-to guy.
Most of Rick Dalton’s scenes in the novel are the same as the film, except in the novel Tarantino provides Dalton’s ongoing inner thoughts during these scenes. I always appreciate this in books, as it distinguishes between characters act and how they feel. Dalton is struggling to find his place in a film industry that is rapidly changing from the one he’s used to. Attempting to make a transition from his hit 50’s Western show Bounty Law to 60’s film, Dalton has a choice of acting in films he’s not comfortable with or fading into obscurity. As such, most of Dalton’s thoughts are rather cynical, often containing spiteful comments about those around him which reflect his discontent with the changing film industry. Despite this, Dalton is strangely likeable. He mostly keeps his cynical thoughts to himself, in an attempt to appease those around him to maintain himself in a good light and accept the changes. Dalton finds himself playing the antagonist on the set of real-life 60’s Western series Lancer, which Tarantino details the plot of in certain chapters. This was one of my favourite aspects of the novel, effectively providing a story within a story; a morally ambiguous Western revenge tale which modestly reflects the genre which defined the previous decades of film which came before it. The way Dalton goes from playing Western hero in the 50’s to Western villain in the 60’s captures the essence of what Once Upon a Time in Hollywood is about; the fading of the classic Western scene into a New Hollywood which deviates from the norms of so-called ‘golden age’ of Hollywood.
The novelisation of Once Upon a Time in Hollywood provides many of the components that made the film stand out. It is a celebration of a by-gone era of TV and film, and details how actors of the time navigated their careers through this changing time. As in the film, the novel doesn’t have much of a conventional plot, but simply details the events of the characters’ lives and by doing so absorbs the reader into the era. As such, those who didn’t enjoy the film probably wouldn’t enjoy the novel, but then it’s unlikely you’d be reading the novel if you haven’t seen the film! The novel allows Tarantino to flex his extensive knowledge of the history of Hollywood, packed with references to the most well-known 60’s flicks like how Rick Dalton was nearly cast in The Great Escape, to more obscure references to Japanese cinema with a list of Cliff Booth’s favourite films from Japanese director Akira Kurosawa. The era is not just captured in it’s film scene, but also in it’s music scene. In the film, Californian radio station KHJ is constantly playing whenever the characters are driving, and just like the film, the novel constantly reminds the reader which music track or ad is playing; from Paul Revere & The Raiders to Red Apple Cigarettes (‘Take a bite and feel alright!’). It is this level of detail that underpins why Once Upon a Time in Hollywood is regarded as Tarantino’s ‘Magnum Opus’, and the novelisation is the perfect accompaniment to this celebration of 1960’s Hollywood.
G does Films 