What Quentin Tarantino has been doing for years as a filmmaker – reimagining different genres through bold and distinctive artistry – he has now done with movie novelizations, in his book version of Once Upon a Time in Hollywood. (If you haven’t seen the movie or want to read the novelization, well, spoilers ahead.)
Has there ever been a novelization that all but eliminated the movie’s climax, a much-discussed and unforgettable one, no less? Or unmasked a beloved lead character as a psycho? Or inserted so much new material, including different genre exercises, that it’s almost like three books in one?
Open the old-school paperback cover of “Hollywood” and you’ll find a pulp Western and reams of geeky film criticism, commentary, and history interlaced with the tale of actor Rick Dalton (Leonardo DiCaprio), stuntman Cliff Booth (Brad Pitt), starlet Sharon Tate (Margot Robbie), and the Manson Family.
This is Tarantino’s creative playground, and he really lets loose, unconstrained by