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The Aviator (2004) – Trailer Included
Howard Hughes' Story Lifts Scorsese to New Heights
The Aviator Poster
Director: Martin Scorsese
Writer: John Logan
Starring: Leonardo DiCaprio, Kate Beckinsale, Cate Blanchett, John C Reilly, Alan Alda, Danny Huston, Ian Holm, Alec Baldwin, Jude Law, Brent Spiner, Willem Dafoe
"Sometimes I truly fear that I... am losing my mind. And if I did it... it would be like flying blind."- Howard Hughes
The Hollywood biopic as a spectacle has seldom been more rewarding than in Martin Scorsese’s The Aviator. An engrossing and exceptionally visualized telling of a segment of the Howard Hughes legacy, the film is a superb example of cinematic technique and craftsmanship.
Enigmatic, Howard Hughes’ eccentricities, obscene wealth and Gordon Gecko like determination made him a dominating force while alive. At the time peculiarities which turned out to be mental illness formed the legend of a high powered hermit riddled with paranoia.
"There's too much "Howard Hughes" in Howard Hughes. That's the trouble." - Katherine Hepburn
Womanizing starlets, his obsession with the female anatomy and Svengali like controlling nature during his Hollywood years fueled his controversial reputation. His films for all intents and purposes were early exploitation pieces be it the violence of Scarface or the sexuality of Jane Russell’s ample bosoms in The Outlaw.
"Actresses are cheap in this town - and I got a lot of money." -Howard Hughes
Beginning with the epic production of Hell’s Angels and concluding with the one and only time he got his beloved ‘Hercules” dubbed the “Spruce Goose” into the air. The film explores the man behind the mythos and what motivated his desire to achieve the impossible.
"The way of the future....the way of the future..." - Howard Hughes
Howard, Kate and Errol party like it's the 1930's
John Doe says:
Recreating the era with exquisite detail and a genuine comprehension of its subject’s complexities, The Aviator is a window through time. It’s a capsule that transports the viewer into history with a grandiose vigor befitting the larger than life central figure.
Martin Scorsese directs Leo on the Hughes touch.
The cinematography, sound design and editing are all flawless. Soaring with extravagant camera work, aged musical selections and a natural pacing, what begins as a bombastic assault whittles away to allow for the second half to be an introverted character study.
Telling the story of the mythic entrepreneur, engineer and industrialist was always a massive undertaking. Wisely writer Josh Logan focuses on Hughes the airman and the influence it had on all his endeavors and personal peccadilloes. This keeps the film in flight. With such a rich and compelling muse it would have been easy to divert the story in numerous trajectories but the disciplined screenplay stays on its chartered course right through to its double layered prophetic final line.
It’s not all a smooth ride though, turbulence hits with the assembling of the cast. Resulting in mixed reactions, especially when they are playing such recognized public figures.
Despite popular opinion, Cate Blanchet (Coffee and Cigarettes) as Katherine Hepburn is the weakest link. She lacks the presence and strength of the part and seems too distracted with diction to ever truly convince. Thankfully the role is so well written that her shortcomings don’t destroy too many moments.
Lacking a physical resemblance, the choice of Leonardo DiCaprio (The Basketball Diaries, What’s Eating Gilbert Grape) as Hughes sometimes fails but as the screen time clocks over we see a performance that is truly immersed. The manic instabilities subtly communicated become more dominant and mannerisms reflect the real man. It’s easy to tell that Leo would have had a hard time leaving the character onset each day.
Though Gwen Stafani’s (No Doubt) appearance is only brief, her Jean Harlow stops the film dead with out of place self consciousness. Jude Law (A.I.) as Errol Flynn also fails to impress.
Scorsese instructs Kate Beckinsale in the Ava Gardner style.
The supporting cast all boost the leads, John C Reilly (Boogie Nights) is especially good, proving again to be an MVP worthy of more accolades.
Danny Huston (The Proposition), Alan Alda (California Suite), Alec Baldwin (Glengarry Glen Ross), Ian Holm (Existenz) and Willem Dafoe (Shadow of the Vampire) all make an impression even with limited screen time.
Now it’s time for John Doe’s honest confession. He revisited the film recently with the intention of dissecting its many perceived faults. Expectations are often a negative influence on a reviewer. They can blind, hinder and cripple objectivity. Case in point The Aviator, which upon original screening in the cinema left JD disappointed. Perhaps it was his closeness to the Hughes story which meant he got tied down in the semantics of history. The obtuse miscasting and heavy use of CG too formed a prejudice that led to inevitable raging the first time round.
Happy to admit his mistake, this time the sheer brilliance of the experience as a whole overcame its weaknesses, some still present, some imagined. In the end the film is Scorsese’s strongest since Bringing Out The Dead and well worth recognition.
Watch the trailer for The Aviator
One of the most impressive sequences in the film, Howard Hughes crashes his high speed machine.
Horrorphile
I actually rather enjoyed Jude's turn as Errol. But yeah, Kate as Ava. Yum.
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I loved Blanchett as Hepburn but the others didn't do much for me. Beckinsale always is stunning on-screen.
For me I will watch anything with Leo in it and found his performance one of his best, but I may say that about everything he is in. I found the film so long and drawn out I actually started watch watching hoping an end was in sight.
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I actually rather enjoyed Jude's turn as Errol. But yeah, Kate as Ava. Yum. - I found the editing in places really clunky. It really surprised me. I found this also in Kings of New York. But not with Shutter Island.
Hi Bryn,
Are you inferring that I'm not always honest in my assessment
Jude just didn't cut it for me, the voice was wrong, the posture and poise too...but he did at least have the great "Tasmanian" line delivered with enthusiasm.
As for the editing, there were some cuts that drew attention to themselves but i thought they were appropriate in context and the continuity worked for me.....no argument that Gangs of New York was clumsy.
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Hi Deni,
I'm never really thought of Beckinsale as an actress either, but her turn in this and Snow Angels is forcing me to reassess.
As for Leo, he grows into the part here and I totally agree that the senate hearing is the highlight of his imitation. The first time he bugged me but on this second viewing I saw an actor interpreting a character rather than imitating which was rewarding.
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Thanks Matt,
As i said in my review, the first time around teh film fell flat with glaring problems totally linked to my own knowledge of the subject...this time it stood tall for the cinematic achievement...not flawless but well worth a look.
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Hi Shaun,
it wasn't so much Beckinsale's sexiness that did it for me, rather her channeling of Ava...Blanchett was certainly out of her element here and Leo deserves kudos for his commitment which came through on this pass.
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I loved Blanchett as Hepburn but the others didn't do much for me. Beckinsale always is stunning on-screen.
For me I will watch anything with Leo in it and found his performance one of his best, but I may say that about everything he is in. I found the film so long and drawn out I actually started watch watching hoping an end was in sight.
Hi jason,
i would never argue that Leo always puts forth effort, just sometimes is out of his depth (Eg: Blood Diamond, Departed) but in this he certainly gives his all and deserves credit.
Kate is pretty, but for me has ruined a lot of good films. In this however its her subtlety and uncanny essence of character that really impresses, much like in Snow Angels.
Blanchett really seemed incapable of bringing the presence of Hepburn to life for me. I just saw her trying but never being immersed in the part.
Thats funny you mention the length because the first time round it felt like an eternal running time but this time I wanted more.
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Totally agree with you James on Cosmetic appearance.
There is no denying DiCaprio has range, but he also has limitations.
Personally I think his two best are still The Basketball Diaries and What's Eating Gilbert Grape. Most recently in Ridley Scott's Body of Lies he impressed using his physical vulnerability well