Tue. Sep 26th, 2023

Fans are speculating what Tarantino’s tenth and final movie would be, but he already gave his career a fitting swansong.

Leonardo DiCaprio and Brad Pitt in Once Upon a Time in Hollywood.

Since Quentin Tarantino has promised to retire after creating 10 movies and he’s presently got nine under his belt, people are speculating what his tenth and final movie would be. There are lots of concepts he’s floated in the past, from a third Kill Bill movie to a Vega brothers spin-off to an Inglourious Basterds sequel dubbed Killer Crow, that may form the basis of the director’s final movie. Due to the writer-director’s reputation for delivering highly entertaining movies, there’s a lot of pressure on each movie he releases as it is. But the promise of what may be his final film – even if it doesn’t actually end up being his final film – will create overwhelming expectations. The only thing that could satisfy everybody is an Endgame-sized crossover in which all the heroes and villains from the Tarantino-verse face off in a gory war royale.

Quentin Tarantino Signs Deal For Once Upon A Time In Hollywood Book.

Although 10 is a neater, rounder number for a finished filmography than nine, Tarantino probably already made the perfect last movie with his most recent production, Once Upon a Time in Hollywood. A loosely scripted snapshot of Los Angeles in 1969 when the film industry was permanently damaged by the introduction of New Hollywood and the horrible murders of Sharon Tate and her companions, Once Upon a Time in Hollywood already felt like the appropriate final artistic statement from Tarantino.

Margot Robbie as Sharon Tate in Once Upon a Time in Hollywood.

Starring Leonardo DiCaprio as a has-been movie star and an Oscar-winning Brad Pitt as his out-of-work, happy-go-lucky stunt double, Once Upon a Time in Hollywood puts all of Tarantino’s usual tropes – nonlinear storytelling, rapid pacing, blood-drenched action scenes – in the backseat in favour of an immersive day-in-the-life hangout movie that captures ‘60s L.A. beautifully. Unlike Tarantino’s prior movies, which are genre pieces drawing on specific wells of cinematic history, Once Upon a Time in Hollywood is a broader retrospective on cinema itself – specifically the time when American filmmaking threw traditions out the window and the rebels took over Hollywood. Given that his movies had become relatively well-defined by the time he made his ninth feature, Tarantino tossed in a few ironic subversions of what fans have come to expect from his flicks in Once Upon a Time in Hollywood to keep the audience guessing. The anticlimactic anxiety in the Spahn Ranch scene harken back to Tarantino-helmed suspense moments like Butch’s Pop Tarts sealing Vincent Vega’s destiny in Pulp Fiction. But instead of finishing with a boom like those usual set pieces, Cliff Booth learns that George Spahn is, indeed, resting, exactly like the hippies suggested.

Thanks to his use of excessive vulgarity and brutal violence.

Tarantino isn’t known as a very mature filmmaker. But a couple of his movies are unexpectedly sophisticated. Jackie Brown has a muted, relaxed style to its version of Elmore Leonard’s Rum Punch, leading to a dramatic cross-cutting finish. While Jackie Brown was acclaimed as Tarantino’s most mature (and most unappreciated) movie for years, Once Upon a Time in Hollywood possibly grabbed that distinction by drawing connections between the characters’ arcs and the implications of the historical background without the necessity for a clear storyline. The closing set piece in Once Upon a Time in Hollywood is one of the most beautiful and mind-blowing sequences in movie history. After Tarantino murdered off Hitler in Inglourious Basterds, audiences weren’t expecting his depiction of the Manson murders to be factually accurate. But what does unfold in the movie still managed to startle. The violent violence that Tarantino fans attend to his movies to see came back with a fury when Cliff and Brandy turned on the Manson killers. After the relatively bloodless first and second acts, Tarantino made up for it with a complete movie’s worth of violence in the third act.

The ending picture of Once Upon a Time in Hollywood.

Then, following one of the greatest fight scenes ever put on film, Rick is invited up to Sharon Tate’s house, and the path of Hollywood history is changed forever. This gloomy, fairytale-like climax feels like it appropriately closes the book on Q.T.’s lavish, revisionist cinematic epic. It’ll be tough for Tarantino’s next movie to beat this stunning last sequence, because it seemed so decisive – not only for the movie itself, but for the filmmaker’s whole career and relationship with film. In a perfect world, Tarantino would never stop making movies. No one is making pictures quite like Tarantino’s, homaging obscure subgenres and merging clunky speech with explosive action, and even the director’s poorer efforts, like Death Proof and The Hateful Eight, still have a lot to offer. But, on the other hand, Tarantino’s desire to retire after creating 10 movies makes sense. A lot of the world’s finest directors, like John Carpenter and Francis Ford Coppola, have eventually alienated their audience by continuing to crank out pictures much past their prime – as far as a director’s reputation goes, every Jack cancels out a Godfather. Of course, Tarantino would want to prevent his own creative demise to protect the legacy of his earlier works, and 10 sounds like a great, round place to call it quits.

But he had made the ideal end movie.

Once Upon a Time in Hollywood is a loving love letter to the cinema, so it would make sense for it to be Tarantino’s big farewell to the medium. If he’s going to stick to the retirement plan he’s been preaching for years, there’s still one movie still to go before he departs the director’s chair for good. There’s a chance that the pressure of exceeding the triumph of Once Upon a Time in Hollywood might inspire Tarantino to go above and beyond and create an even greater movie as his fabled tenth and final opus.

By Adam

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