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hollyw

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The author, Miles Mathis, critiques the film Once Upon a Time in Hollywood, asserting it’s a poorly executed attempt to “blackwash hippies” and a weak response to his previous work on the Manson story. He argues that the film fictionalizes events and characters, particularly altering the ending to depict hippies being killed instead of being the killers, which he finds absurd and unconvincing. Mathis criticizes the film’s heavy budget and A-list cast for achieving so little propaganda-wise, suggesting a lack of creative talent and a reliance on nostalgia. He notes redeeming moments, like the young girl and Brad Pitt beating Bruce Lee, but overall finds the film to be “sour frosting without any cake.”

Mathis highlights several “reveals” in the film. He points out that Joni Mitchell’s song “Circle Game” is used without her singing it. He also believes a painting of Leonardo DiCaprio makes him resemble Jack Nicholson, which Tarantino uses to suggest a father-son relationship, a theory Mathis previously explored. The scenes with Bruce Lee are interpreted as revealing his “fakeness,” potentially linked to rivalries with Jackie Chan and Jet Li. Mathis finds the Spahn Ranch scene with Bruce Dern to be particularly ham-handed. He also critiques the final scene’s depiction of characters unable to pull a trigger, a recurring Tarantino trope.

Mathis connects Brad Pitt’s character, Cliff Booth, to John Wilkes Booth, suggesting it’s not a coincidence given Tarantino’s alleged connections to powerful families. He also draws a parallel between Margot Robbie playing Sharon Tate and Nancy Kwan, a Chinese-American actress, speculating on connections between Chinese surnames like Chan and Kwan and Jewish names like Cohen, further linking to the Rockefeller family through the Hebrew word for “rock.”

The author challenges the notion of Hollywood being liberal, arguing that Tarantino’s portrayal of hippies as inherently hateful and fascist demonstrates a clear agenda. He points to DiCaprio’s character’s immediate animosity towards hippies as evidence. Mathis suggests that Tarantino and others involved are not liberals but are from “fascist old families” tied to agencies like the FBI and CIA, who opposed hippies due to their anti-war stances.

Mathis notes the large cast and crew as further evidence of widespread participation in slandering hippies, comparing it to the Manson event. He also points out the implied gay relationship between Pitt and DiCaprio’s characters. He critiques a scene where Pitt refuses a sexual advance from Margaret Qualley’s character, Pussycat, interpreting it as a “morality sermon” and evidence that Tarantino is “working for the man.”

Finally, Mathis asserts that Quentin Tarantino is Jewish, not Italian Catholic, and is connected to powerful families, including the Hamiltons, and thus related to many in Hollywood. He brings up Tarantino’s controversial defense of Roman Polanski regarding the alleged rape of a 13-year-old, questioning if a liberal would hold such views. Mathis concludes by interpreting the Red Apple cigarettes in the film and DiCaprio’s tagline as a nod to the CIA.

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