![]() ![]() Maybe he (or someone else, with his help) should whip out a quick essay film instead, because the evidence here is just enough to suggest that a tightly focused featurette on the subject would help earn the Italian exploitation director some cred in film theory departments.īut the doc’s treatment of Corbucci, who died in 1990, is largely haphazard and anecdotal, pairing a sketch from his boyhood (he was in a Fascist Party choir that performed at a meeting between Hitler and Il Duce) with some clips from the Westerns in which authority figures execute those who oppose them. Once we’re finally in the doc proper, Tarantino informs us that he once considered penning a book on Django writer-director Corbucci, which in part would argue that all his Westerns were about fascism. This little bit of fan fiction is amusing enough, but hasn’t Tarantino already had his shot at repurposing all his Hollywood leftovers in the novelization he released in June? It’s even stranger when you realize that Tarantino’s yarn is pure fiction - part of the offscreen narrative of Once Upon a Time In Hollywood, in which Leonardo DiCaprio’s faded movie star goes to Italy to wring a few dollars from his remaining fame. That’s a lot of real estate in a film whose closing credits start to roll at the 72-minute mark (and which pads things out before then with too many on-location home movies). Things begin rather bizarrely, with a story from Tarantino that runs for about nine minutes. ![]() Screenwriters: Steve Della Casa, Luca Rea Venice: Venice Film Festival (Out of Competition) ![]()
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