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Scorsese has such an encyclopedic knowledge and understanding of cinema
that every shot, however inventive and daring, is effortlessly
composed. The direction, editing and cinematography are all the
first-rate work by individuals who are clearly masters of their
profession and the production design, costumes and makeup are the best
you'll see all year. Their efforts combine to create a world of rich
and lavish color, of excitement and glamour. Who wouldn't want to visit
THIS Cotton Club in 1935? It's hard to imagine who could trump the
technical team for Oscars this year.
With such a perfectly realized world in which to perform, the actors universally do an outstanding job. Despite the criticism of the hardcore DiCaprio-haters, the unprejudiced will observe an excellent performance that takes genuine risks and convincingly conveys the passing of more than twenty years. Importantly, DiCaprio more than holds his own when paired with Cate Blanchett and especially Alan Alda, who both give equally note worthy performances. Blanchett's interpretation of Katherine Hepburn seems spot on, and anyone familiar with the late actresses mannerisms will appreciate the hard work that clearly went into the recreation. Alda, one of the most consistently underrated actors around, delivers another masterclass in restrained character building as he oozes ambition and political dishonesty from every pore.
And yet, despite the obvious talent of all those involved and Scorsese's ability to effortlessly fill three hours, something about The Aviator fails to completely satisfy. Without wanting to sound like a film student, movies should, ultimately, be ABOUT something; love, honor, courage, redemption, the BIG ideas and themes that are the fuel of the plot. What was the drive of The Aviator? A rich guy recklessly spends lots of money to indulge his personal obsessions and gets away with it. We're never told how his experiences change him, and without change there's no journey. Considering the screenplay was written by John Logan, who usually displays a keen interest in showing the emotional evolution of his characters, the oversight is inexplicable. Ultimately then, much like Gangs of New York, The Aviator is simply the sum of it's parts, and however brilliantly those parts are realized, there doesn't seem to be a bigger theme to underpin and drive them.
The Aviator is a perfectly realized recreation of the era and one well worth experiencing. But the lack of a real emotional journey suggests 'all gloss and no substance', and ultimately prevents the movie from being truly great.
This is an astonishingly beautiful and moving film. Martin Scorcese has
created a seminal work -- one that brings the harrowing, big-studio,
adult movie making of the 1970's and totally reinvents and
reinvigorates it for today's audience.
The story traces the rise and demise of billionaire Howard Hughes as he struggles to find meaning and purpose in a life unfettered by concerns of money, talent or opportunity. Whether trying to get a plane off the ground or a young starlet into bed, Hughes attacks life with a fierce gusto -- plagued and prodded by obsessive compulsive germphobia that constantly threatens to consume and defeat him.
DiCaprio is amazing! It's the performance no one thought he was capable of. It is a dynamic, smart, funny, articulate, intense, mature and ultimately harrowing performance that relaunches his career as one of American's finest actors. At the end of the film, you just want to take him in your arms and sob. It's really that good.
Cate Blanchett is incredible as Katherine Hepburn. At first, I was a little thrown by how bravely she attacked the Hepburn trademark voice, but I was completely won over by the second line. It is a tender, funny, incredibly convincing star turn that supplies the heart for the first half of the film. The scene where she takes Howard home "for dinner" with the family is a classic! Kate Beckinsale does a surprisingly fine job with Eva Gardner -- conveying the slow burning passion of this Hollywood icon without ever lapsing into mere mimicry.
But, in the end, this isn't a love story -- it's a war story -- a war between Howard's unstoppable will and his fierce inner demons battling for Howard's soul. It is the major relationship in the movie and the true heart of the film -- one that fuels his eccentric genius and yet constantly threatens to rip his life apart. He tries to ignore it by sleeping with every beauty in town. He tries to outrun it, building faster and faster airplanes. Yet, it is his one constant companion from early childhood to his ultimate, inescapable end. And it is this relationship that leaves you devastated at the end of the film.
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.
Before Howard Hughes was a recluse so reclusive as to out-Salinger J.D. Salinger, he was a big time stud, who made big movies, flew fast planes, and courted gorgeous ladies; so say Martin Scorsese and John Logan, architects of this latest Hollywood biopic.' Leonardo DiCaprio continues his trend of turning in great performances with great directors, playing Howard Hughes between 1927 and 1947, the years where Hughes conquered the worlds of film and aviation, making room for romance with Katharine Hepburn (Cate Blanchett) and Ava Gardner (Kate Beckinsale). In later years, Hughes's mental problems would become legendary; at this stage in the game, he suffers only from pronounced germ phobia and mild obsessive-compulsive disorder. This is all expertly depicted by Scorsese, Logan, and DiCaprio. Stealing all her scenes is Cate Blanchett, who should start making room on her mantle for her Best Supporting Actress Oscar. It couldn't have been easy to play an iconic movie star like Katharine Hepburn, but Blanchett aces it. Kate Beckinsale, Kelli Garner (Faith Demorgue), and Gwen Stefani (Jean Harlow) are the other women in Howard's life, although none are as clearly defined as Blanchett/Hepburn. The villains of the piece are Alec Baldwin and Alan Alda, playing, respectively, Pan-American Airways CEO Juan Trippe and Trippe's bought-and-paid-for politician, Senator Ralph Owen Brewster. Both excel, with Alda coming off as both slimy and goofy at the same time. Alec Baldwin, like Cate Blanchett, steals every scene he has, playing Trippe as a delightfully suave villain. In his final scene he delivers a wonderful monologue on the future of Hughes's Trans-World Airline, and caps it off with the most hysterical use of the F word in many years. Also appearing: the dependable John C. Reilly as Hughes's business manager Noah Dietrich; Jude Law, who apparently can't go two weeks without seeing himself in a different movie, as movie legend Errol Flynn; Brent Spiner (yay!) as airplane executive Robert Gross; and Willem Dafoe as a photographer. "The Aviator" is overlong, and drags in places, but it is a great movie. I rate it a 9/10.
There is no doubt that THE AVIATOR is the masterpiece of both director
Martin Scorsese and actor, Leonardo DiCaprio. DiCaprio becomes Howard
Hughes. The actor is so profoundly absorbed in the role that the
DiCaprio we know from other films cannot be found in this film. It is a
bravura performance of great depth and magnitude. DiCaprio richly
deserves his first Academy Award.
I have never know much about Howard Hughes. This film opened my eyes to him as a personality, a businessman, aviator and his lavish lifestyle. DiCaprio no longer is the "pretty boy" from other films. The expressions he takes on are not handsome, the deeply furrowed brow, one could actually watch him, as Hughes' character, think his way through challenging situations, the mark of a highly gifted actor. Watching DiCaprio evolve into the paranoid schizophrenic Hughes in the latter part of the film is a stunning example of pure acting. Leo deserves recognition for recreating a most difficult personality.
Though the film is long, it never slows down nor gets boring and it commanded my attention from start to finish. It is masterpiece cinema for these two men and for other actors too. Cate Blanchette must be commended for her role as Katherine Hepburn. Every role was played by first rate actors.
If you want to understand a piece of American history from the 30s through the 1940s, this film will illumine you. It may not be the greatest film ever made but it sure is cinema to the max and worth seeing, without a second thought.
"The Aviator"--a biopic of Howard Hughes-- is clearly one of Scorsese's
lesser works. Still, a lesser work from Scorsese is far superior to the
greatest work of your average director. Here's the rundown:
The first quarter of the film is a total triumph, showing the young Hughes' bold endeavors in film when he produced what was at the time the most expensive and lavish film ever made. Scorsese tipping his hat to old Hollywood is the most fun he has had since "Goodfellas." The costumes, set designs, and pacing of this portion of the film are stunning and suck the viewer in.
The rest of the film, despite Scorsese's amazing and vivid attention to detail, is a muddled mess, giving us glimpses into Hughes' obsessive (and compulsive) ways, his womanizing, his ambitious foray into aviation and the early days of commercial flight, his fight against Congress at the end of WWII, and the notorious plight and ultimately single flight of his infamous "Spruce Goose." It's all semi-educational and semi-entertaining, but in the end I think the complicated life of Hughes remains a mystery.
As for the performances, they are amazing (thanks in most part to Scorsese, the ultimate actor's director). Leonardo Dicaprio in the title role gives yet another performance that goes against my natural loathing of him, and although he seems a bit too boyish playing Hughes in the latter years (and the film really suffers for it), he's impeccable for the better part of the film. Cate Blanchett as Katherine Hepburn is simply stunning and steals every moment she is on screen. Her look, her mannerisms, and her speech perfectly match the screen legend to a haunting degree. Alan Alda and Alec Baldwin in supporting quasi-villain roles are methodically perfect. And the nicest surprise was Kate Beckinsale, a normally flaccid actress, playing Ava Gardner. She came across as gorgeous, intelligent, and maximized her minimal screen time without ever overtly stealing her scenes. Like Sharon Stone in "Casino" and Cameron Diaz in "Gangs of New York" Scorsese once again coaxes a great performance out of an otherwise unremarkable pretty face.
In the end, "The Aviator" flies high thanks to Scorsese and the acting, even if the real person it depicts remains lost in a muddle of half truths and speculation.
Martin Scorsese's "The Aviator" is grand spectacle with a reverence for
the nostalgic, set in simpler times. As a snapshot of Howard Hughes's
life from 1927 to 1947, "The Aviator" is a portrait of a man of genius
and unmatched innovation, and also a man debilitated by severe
obsessive compulsive disorder and extreme depression. "The Aviator" has
an amazing performance by Leonardo DiCaprio as Howard Hughes, and a
mesmerizing performance by Cate Blanchett, who seems to inhabit the
role of Katherine Hepburn-- the love of Hughes's life. However, the one
indelible image I have of the film is the scene in which Hughes is
frozen in the men's restroom, because he can't make himself touch the
door knob for fear of germs and contamination. Granted this was a time
before obsessive compulsive disorder existed as a diagnosis. The scene
is intended as a dramatic arc, distinguishing a tragic flaw in Hughes.
However, for me it seemed overly indulgent, and was curious regarding
the scene length. Much like most of the nearly 3 hour movie, this is an
exercise in indulgence, and attention to detail that is only that.
Scorsese's balance between Hughes's genius and his great suffering is
good melodrama, but not very inspiring. I have a particular affinity
for Howard Hughes the man. Had John Lone's (and Michael Mann's) story
followed Hughes through the 1950's and beyond, the story would be even
sadder. "The Aviator" illustrates the highs of genius, and the abyss of
near insanity. This is an accurate depiction of an amazing man's life,
but it is skewed toward the broken aspect. So just personally for me,
it was frustrating to watch. To Scorsese's credit, one gets that he has
immense compassion for Howard Hughes.
Hughes' life sentence is established in the opening scene. Hughes's mother while bathing the young Hughes, tells him something that perhaps leads to his obsessive compulsive nature. Apparently he is incomplete in his relationship with his mother, and the story surrounding what she said.
Fast forward to 1927, when Hughes left his father's wealthy drill bit tool company in Texas, to be a maverick film maker in California. Hughes is an ambitious and novice film director, but he is smart and has unmatched drive. However, his real genius is as a pilot and an innovative designer of airplanes. His gifts for fame and fortune are established. Hughes (DiCaprio) then pursues a touching romance with Katherine Hepburn (Blanchett). This is the highlight of "The Aviator", even amidst the spectacular aerial cinematography, because it is just about relationships that move people. There is a wonderful moment when Hughes lets Hepburn take control of his plane as they fly above Los Angeles at night. As great as the chemistry is between Dicaprio and Blanchett, this romance part of the story goes on a little too long in the context of the movie.
From this point on, the movie becomes increasingly darker. Sure, Hughes has his share of triumphs, but everything is tempered by his spiraling decline into depression and his debilitating obsessive compulsive disorder. The acting is outstanding throughout the picture. This is Leonardo DiCaprio's most mature performance. He truly captures Hughes's intensity, genius, and charm. His suffering also elicits great compassion. Cate Blanchett is outstanding as Kate Hepburn. At first one wonders whether she is doing a caricature of Hepburn. She is not. She is being Hepburn. Blanchett's performance is simply stunning. An unrecognizable Kate Beckinsale is awesome as Ava Gardner. Beckinsale gives surprising layers to Gardner, who is really not all that she appears to be on the surface. John C. Reilly is fabulous as Hughes's CFO. In an understated fashion Reilly's performance anchors the movie. Alec Baldwin as Pan Am CEO, Juan Trippe, and Matt Ross as Hughes's engineer Glenn Odekirk give strong performances.
Scorsese's "The Aviator" is spectacular to view, and has a sense of history and tragedy. He offers an interesting portrait of the dichotomy between genius and madness, with an emphasis on the dark. This choice really lost me. "The Aviator" is amazing work, that is not very inspiring, though it was probably not intended to do so. That is a bit of a disappointment.
*** This review may contain spoilers ***
This film is about the world famous multi-millionaire Howard Hughes.
However, if the only thing you know about Hughes was that he was a
recluse who secreted himself inside his hotel in Las Vegas and was
obsessed with cleanliness, you may be in for a surprise. The film deals
with Hughes' life before all that.
After a brief prologue showing Hughes as a child with his mother advising him on cleanliness, we move forward to 1927 with an adult Hughes (played by Leonardo DiCaprio) directing his hugely risky film "Hell's Angels". "The Aviator" takes in Hughes' film-making achievements, his romances with some of the most beautiful women of the day (including Katherine Hepburn (a superb Cate Blanchett) and Ava Gardner (Kate Beckinsale)) and his passion for aviation. The picture of Howard Hughes that emerges from the film is of a brilliant man who was a ruthless perfectionist, constantly risking ruin and even death for his goals. This all makes his eventual fate all the more sad.
The film is brilliantly made, the cast are all very good in their roles (especially, as mentioned earlier, Blanchett as Katherine Hepburn) and despite lasting almost three hours, it is never dull. The main flaw, however, is that you never learn much about Hughes. Some more on his background would certainly have been welcome.
Any film by Scorsese, however, is worth seeing and this is no exception.
Leonardo Dicaprio, once again, shows his depth as an artist and his ability to carry a film. He deserves the Golden Globe, and his due as an outstanding actor. Howard Hughes, the man, remains a mystery and the portrayal of his obsessive compulsive disorder was a powerful view into his inner hell. The beginning scene set the pace for a journey into his privileged and dark world. The Aviator showed the torments and gifts of genius. Amazing job by all involved! Wardrobe, music, special effects, direction, acting...all award winning contributions. I left the film moved and disturbed, which shows the power of this film. Wonderful performances by all the cast and the time"flew" by...
*** This review may contain spoilers ***
The Aviator like the Spruce Goose itself only takes flight briefly and
is an overall disappointment. The thrills to be had are in the flight
sequences. However they are done digitally and in the editor's suite.
Scorsese's hand is rather flat on the throttle and the script plays too
broadly. You get the feeling that Scorsese himself is not quite in love
with his subject, Howard Hughes. The scenes that should work such as
Hughes caressing the rivets of a plane are seen through a cynical eye.
DiCaprio portray's Hughes as a nut and sociopath. Maybe he was in real
life but it's as if they want you to not like this guy. Not exactly the
right approach to making an audience friendly picture. We also have a
poor sense of continuity. After suffering massive wounds from a plane
crash, Howard Hughes heals up amazingly well and quickly. Totally
glanced over is the fact that he became addicted to morphine after this
event. If 75% of your body is burned and your heart has been dislocated
to the other side of your chest cavity I think you're going to care
more about killing the pain instead of washing your hands.
I can't help but think that James Cameron would of been a more apt choice to make this film. I believe his sensibilities are more in line with Howard Hughes. He would of portrayed Hughes as more of a Ayn Rand type character than a tragically flawed anti-hero.
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