Agreed. And I appreciate the nostalgia for bygone eras. I highly recommend Straight Outta Compton for the same reason. Even if it weren’t sociopolitically relevant today, which the original album, unfortunately, presciently was, the film serves as an important time capsule for anyone who grew up in the US in the 90s. Rap going mainstream was the beginning of hip hop eclipsing rock and roll as the American standard for cool, emulated by artists all over the world. It is one of our major exports. Yet we failed to truly hear and believe its message. We just thought it sounded cool.
My parents and their friends talked a lot about Laurel Canyon. It sounded like a lot of pioneers who created something that never existed before. Another American time capsule.
Nostalgia is not my obstacle here. My obstacle is the constant centering of white men – in this case, a director superimposed fictitious men on top of real characters. That feels more like hijacking than “revisioning”.
If imagining an alternate ending to a tragic story is the most valuable quest of this time, (and your interpretation sounds more compelling than anything I’ve read so far), then why wasn’t Sharon Tate the main character? Why couldn’t Tarantino have Valkyrie-d the story without fabricating new characters? Why did Brad Pitt and Leonardo DiCaprio even need to be in it as anything more than supporting characters, if at all? Bankability, I know.
I agree that positivity is welcome. So why not let Margot Robbie reenvision the story? Why not let a talented woman command the screen and drive the plot through that very particular moment in time to a different reimagined destination?
Not to keep beating a very tired drum but white men love giving white men awards for movies about white men. If it’s getting annoying hearing people complain about it imagine how annoying it is to keep seeing reincarnations of the same story your whole life.
If white men can be so disaffected and disenchanted by changing times imagine what life might be like without every historical, political and cultural advantage.