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I think there was a way to deal with Polanski, similar to how the cigarette ad in the credits cites “throat burn,” acknowledging what we know about cigarettes from a modern standpoint while still allowing the characters to smoke them.
TARANTINO FILMS MOVIE
We’re watching this movie with a sort of double vision where we’re supposed to know Sharon Tate’s story, but forget what we know about Polanski. That plays against Tarantino in some miserable ways, especially with regards to Roman Polanski’s inclusion and the overwhelming praise the characters give him without any nod to what we know about Polanski now. Jenna: Margot Robbie does a great job, but this gets at my frustration with the film: It relies on the audience having some familiarity with the ’60s, on our knowing Sharon Tate’s story, and who Charles Manson and the Manson Family are. Margot Robbie as Sharon Tate in Once Upon a Time.
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I don’t think the hubbub over her not having enough lines was warranted his portrayal of her came off much more kind and sensitive than I expected. Karen: I still think Tarantino manages to humanize Sharon, reclaiming her from being just “the woman who got murdered,” which is how we tend to think of her. It undercuts the portrayal of her as a well-rounded, grown-ass woman. We’re getting character development, but she’s also being objectified.Įmily Heller, Staff Writer: I agree that Tarantino does a good job of humanizing Tate, but she embodies a lost innocence in our collective consciousness, and in the movie, she’s used as a symbol of hope. If it weren’t Tarantino, I maybe wouldn’t think that much about it, but it is, adding this layer of extra meaning. The scene in the movie theater tells us a lot about her, but it’s also framed so that we see her dirty feet. Jenna Stoeber, Video Producer: She’s a well-developed character, but that development is weirdly positioned over the course of the two-and-a-half-hour runtime. What did you make of her role in the film? Karen Han, Entertainment Reporter: The portrayal of Sharon Tate has been the flashpoint of mixed reactions to Once Upon a Time … in Hollywood. in Hollywood, Polygon’s own Karen Han, Emily Heller, Simone de Rochefort, and Jenna Stoeber put their heads together to discuss Tarantino’s oeuvre, starting with his treatment of Sharon Tate, and branching out to discuss not only the director’s love of shocking his audience, but of feminism in modern film as a whole. In the wake of the release of Once Upon a Time. In fairness, the appeal of Tarantino’s work to women, as well as his treatment of female characters, isn’t an easy one to dissect. The director’s brash work is notorious for appealing primarily to men, and in the way a movie like Goodfellas spurs extreme defensiveness, the idea that women could love his work, or rather that they could love his work without still having some reservations about it, has yet to become accepted fact. Quentin Tarantino’s place in popular culture has never been as succinctly boiled down as in the McSweeney’s article entitled “ An Oral History of Quentin Tarantino as Told to Me By Men I’ve Dated” exists.