Twenty-something Richard travels to Thailand and finds himself in possession of a strange map. Rumours state that it leads to a solitary beach paradise, a tropical bliss - excited and intrigued, he sets out to find it.
An undercover state cop who has infiltrated an Irish gang and a mole in the police force working for the same mob race to track down and identify each other before being exposed to the enemy, after both sides realize their outfit has a rat.
The script begins as a young Hughes directs one of Scorsese's favorite films, Hell's Angels. Hughes was so obsessed with perfection in the aerial sequences that he waits forever for perfect conditions, right down to cloud formations. The Aviator ends in 1946, when Hughes was still a dashing young man and romancing actresses like Ava Gardner and Katharine Hepburn. Written by
Ryan McIntosh <Save_Ferris85@hotmail.com>
The film's winning of the Best Cinematography Oscar has been attributed to the unique use of period color palette. The two and three-strip palette that is seen in the film was accomplished by the use of the LUT - 3D Look Up Table - graphics processor. It was designed by Joshua Pines, R&D VP of Technicolor Digital Intermediates. The processor was slipped into the digital projector and thus allowed filtering and applying the two / three color look into the negative. See more »
Howard Hughes' left hand is hanging up the phone as he points his right index finger up to acknowledge Katharine Hepburn as she walks into the office. In the next shot, his left hand is rubbing his forehead, and the finger is down. See more »
Martin Scorsese's most recent ambitious project does not disappoint.
I just saw this film in a special preview for NYU film students, with Martin Scorsese there to discuss and answer questions after, and I must say, it was pretty phenomenal. It is Martin Scorsese's best work since Goodfellas (this is obvious) and most probably his best work since Raging Bull. DiCaprio's character study of Howard Hughes, and his devotion to this role, is exquisite and reminiscent even of Robert De Niro's in Raging Bull. The film is lengthy, but this compliments it, for the story is riveting and the production is practically flawless (even the combination of computerized processes and more traditional photography was smooth and effective).
The presentation of the film, in an evolving color (from two-tone Technicolor, as Martin explained it to us, to three-tone, to modern by the later sequences) is absolutely stunning, and the cinematography by renowned Robert Richardson, ASC, is some of the best I've seen (and, in my opinion, deserving of an Oscar).
Cate Blanchett was impeccable as Katharine Hepburn, though, at times, I felt that the complexity of her character was never really deeper than a surface analysis.
She did her role flawlessly, but this is not to say that it really Alec Baldwin portrayed one of the flattest villains I've seen in a major motion picture, but, again, this is about Howard Hughes, and DiCaprio's performance is worthy of an Oscar nod at least, and perhaps an Oscar Win (certainly the best performance I've seen all year).
One of my few complaints, though, is the lengthy sequences featuring Howard Hughes as a solo aviator. Though interesting, entertaining even, the film was long enough already, and did not require such an exhaustive analysis of individual flight procedures.
Also, it seems that some of the themes were almost too redundant, such as the ways in which Hughes' psychological problems were performed. Much of the Hollywood history is good, even interesting, but it also sometimes seemed a bit self-indulgent, to the point where you questioned the necessity of ALL of those nightclub sequences in the film.
But, besides those relatively few complaints, it is a spectacular film.
In all: do not miss it.
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