It’s been years since the cameras stopped rolling on Rick Dalton’s driveway, but people are still arguing about what that ending actually meant. You know the one. That explosive, ultra-violent, slightly cathartic, and completely historically inaccurate finale. Once Upon a Time in Hollywood isn't just a movie about 1969; it's Quentin Tarantino’s love letter to a version of Los Angeles that probably never existed, even when it was actually happening.
Look.
Most people went into the theater expecting a bloodbath centered on the Manson Family. What they got instead was a "hangout movie." It’s a film where nothing happens, and then everything happens all at once. It’s about a fading actor named Rick Dalton (Leonardo DiCaprio) and his stuntman/driver/best friend Cliff Booth (Brad Pitt) just... driving. Eating celery. Feeding a dog named Brandy.
The magic isn't in the plot. It's in the vibe.
The Rick Dalton Paradox: Why We Care About a Washed-Up Actor
Rick Dalton is a mess. Honestly, he’s a tragic figure hidden inside a comedy. He’s a guy who had a hit TV show, Bounty Law, but blew his chance at movie stardom because of a few bad decisions and a drinking problem that makes his hands shake during a simple rehearsal. We’ve all been there—feeling like the world is moving on without us.
Tarantino uses Rick to show the "Old Hollywood" dying. This was a time when the studio system was collapsing and the "Easy Rider" generation was taking over. Rick is terrified of being a "has-been." In that famous trailer scene where he breaks down because he forgot his lines? That wasn't just acting. It felt raw. DiCaprio reportedly improvised much of that meltdown, and it’s arguably the most "human" moment in the entire Tarantino filmography.
Then you have Cliff Booth.
Cliff is the cool to Rick’s heat. He lives in a trailer behind a drive-in theater with a pit bull. He’s rumored to have killed his wife (a dark cloud the movie never quite clears up). He is the ultimate "man's man" in an era where that archetype was starting to look outdated. The chemistry between Pitt and DiCaprio is the engine of the film. Without their friendship, the movie is just a series of disconnected vignettes.
What Really Happened with the Manson Family?
This is where things get tricky. Tarantino plays with "Revisionist History," a trick he mastered in Inglourious Basterds.
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In real life, August 9, 1969, was the night the 1960s died. The Manson Family murdered Sharon Tate, Jay Sebring, Abigail Folger, and Wojciech Frykowski. It was a senseless, brutal act that changed Los Angeles forever. But in Once Upon a Time in Hollywood, Tarantino decides he doesn't like that ending.
He gives us a fairy tale.
The title literally starts with "Once Upon a Time." That’s your first clue. He isn't making a documentary. He’s creating a world where the "bad guys" go to the wrong house. Instead of finding a defenseless Sharon Tate, they find a drunk Rick Dalton and a very capable Cliff Booth who happens to be tripping on an acid-dipped cigarette.
The Spahn Ranch Scene is a Masterclass in Tension
Remember the scene where Cliff drives Squeaky Fromme (Dakota Fanning) back to the ranch? It’s arguably the best thing Tarantino has ever directed. It shifts from a sunny California afternoon into a full-blown horror movie in about three minutes.
The way the Manson followers just... stare.
The silence.
The dirt.
You feel the dread because you know who these people are in real life. Even though Cliff doesn't know he's in danger, the audience is screaming at the screen. This is where the film earns its E-E-A-T credentials; Tarantino captures the specific, cultish energy of the Manson followers—like Tex Watson and Pussycat—with terrifying accuracy, even while the plot itself is a total fantasy.
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The Bruce Lee Controversy and Authenticity
We have to talk about the Bruce Lee scene. It’s the one part of the movie that genuinely upset people, including Lee’s daughter, Shannon Lee.
In the film, Bruce Lee is portrayed as a bit of a braggart who gets humbled by Cliff Booth. Critics argued it was a disrespectful caricature of an Asian icon. On the flip side, Tarantino defended it, claiming Lee was known to be a bit "arrogant" on sets like The Green Hornet.
Whether you love or hate that scene, it serves a specific narrative purpose. It establishes Cliff Booth as a "lethal weapon." If Cliff can go toe-to-toe with Bruce Lee, then the audience knows he can handle the hippies at the end of the movie. It’s a classic "show, don't tell" moment, even if it comes at the expense of a real-life legend’s reputation.
The Sound of 1969: More Than Just a Soundtrack
Music is a character in this film. Seriously.
Tarantino didn't just pick "cool songs." He used the actual radio broadcasts from KHJ Boss Radio. You hear the real commercials from 1969. You hear the DJs. When Rick and Cliff are driving through the neon-lit streets of Hollywood, the music doesn't just play over the scene—it exists inside the scene.
- Deep Cuts: Instead of the typical "greatest hits" of the 60s, we get tracks like "Treat Her Right" by Roy Head and "Good Thing" by Paul Revere & The Raiders.
- The Mamas & The Papas: Their presence looms large, especially since they were actually friends with the people in the Polanski/Tate circle.
- Silence: Some of the most powerful moments have no music at all, just the sound of a roaring engine or the wind at the ranch.
Why Sharon Tate is the Heart of the Story
Margot Robbie doesn't have a lot of lines. Some critics complained about that. But they’re missing the point.
Sharon Tate in this movie isn't a character with a "growth arc." She is an angel. She represents innocence. When she goes to the movie theater to watch her own film, The Wrecking Crew, and sits there with her feet up, watching the audience laugh at her jokes—that is the soul of the movie.
Tarantino is giving Sharon Tate her life back. For two hours, she isn't a "victim." She’s just a young woman in love with life, excited about her career, and buying a book for her husband. By the time we reach the end of Once Upon a Time in Hollywood, the fact that she survives in this alternate universe feels like a genuine gift to the viewer.
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The Ending: Flame-throwers and Friendship
The finale is pure, unadulterated Tarantino. It’s violent, it’s loud, and it’s weirdly funny.
When Rick Dalton brings out the flamethrower from his old Nazi-killing movie, it’s the ultimate "f*** you" to the dark reality of history. It’s a moment of pure cinematic catharsis. The hippies who came to bring "death and destruction" are absolutely dismantled by a stuntman and a dog.
But the real ending is the final shot.
Rick walks up to the house next door. He meets Jay Sebring. He talks to Sharon Tate over the intercom. He’s finally "made it" into that inner circle he was so desperate to join. The gate opens, the music swells, and the screen fades to black.
It’s a happy ending that we know didn't happen, which makes it incredibly bittersweet.
Actionable Insights for Film Buffs
If you want to truly appreciate what Tarantino did here, you should do a bit of homework. The movie hits differently when you understand the context of the era.
- Watch "The Wrecking Crew": It’s the actual movie Sharon Tate is watching in the theater. Seeing the real Sharon on screen while Margot Robbie watches her is a trippy, beautiful meta-moment.
- Listen to the "You Must Remember This" Podcast: The "Manson's Hollywood" series by Karina Longworth is the gold standard for understanding the intersection of the film industry and the Manson cult. It makes every reference in Tarantino's film pop.
- Read the Novelization: Tarantino wrote a book version of the movie that adds massive amounts of backstory. You find out more about Cliff’s past (including whether he actually killed his wife) and Rick’s struggles with undiagnosed bipolar disorder.
- Look for the Easter Eggs: The film is packed with them. From the posters on Rick’s walls to the "Big Dan Teague" references, it's a treasure hunt for cinephiles.
Once Upon a Time in Hollywood is a movie that rewards multiple viewings. The first time is for the shock. The second time is for the laughs. The third time is for the realization that this is probably the most personal, tender story Quentin Tarantino will ever tell. It's a dream of a world where the good guys won, the bad guys got torched, and the sun never quite set on the Golden Age of Hollywood.