In death, Sharon Tate was born into myth, an “it” girl with a canyon house, a famous director husband, and a beauty Hollywood craved as its mirror in an age of acid trips and biker gangs.
In death, Sharon Tate was born into myth, an “it” girl with a canyon house, a famous director husband, and a beauty Hollywood craved as its mirror in an age of acid trips and biker gangs, a time when America was unmoored and the studio system was giving way to brash, young independent filmmakers.
The film is as much homage to Tate as it is to an era of halter tops, draft dodgers, Joe Namath and “Easy Rider.” She dances at the Playboy Mansion and races in a convertible with Polanski, whose “Rosemary’s Baby” had made him a heralded auteur. In mini-skirt and white go-go boots, Tate slips into a movie theater to watch her part as a secret agent in “The Wrecking Crew.
Tate’s magic was that she was a fleeting ingénue, her face everywhere, as if on a pinwheel spinning through pop culture. Her brand could be recycled and reinvented. The 50th anniversary of her death brought the April release of the widely panned “Roman was the star in that relationship and Sharon was the beautiful actress wife. You didn’t walk into a room and think this is Meryl Streep,” said Toni Basil, choreographer on Tarantino’s film, who knew Polanski and Tate and once dined with them in France. “Sharon was dear, sweet and aware of her sexuality but not competitive with other women.
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