"I've lost millions -- it's what I do." While that line could be attributed to any number of high-flying, wheeler-dealer types, few lived it as extravagantly as Howard Hughes. Born in 1905 and heir to the oil well drilling bit company he inherited at the age of 19, he went on to make the most expensive movie ever to date ("Hell's Angels"), spent millions on experimental planes (with which he broke various world records and endured bad crashes), bought and sold expensive companies, built and briefly flew the world's largest plane, and later died, appropriately enough considering his fascination with aviation, in-flight over his home state at the age of 70.
Of course, what most people think of upon hearing the name Howard Hughes is the germ fearing recluse with long nails and hair who collected his own urine. A precursor and possibly a role model for another eccentric millionaire -- a certain pop star who's gone over the edge -- the man became something of a symbolic joke for that sort of mental illness.
All of that may likely change with the release of "The Aviator," director Martin Scorsese's loving and lush biopic about the billionaire inventor, daredevil and celebrity. While various films have featured the man in one way or another -- such as "Melvin and Howard" -- this is the first to focus directly on him and oh, what a show it is.
It's not quite the best work by Scorsese ("Taxi Driver," "GoodFellas"), however, and it suffers from same of the same problems inherent to many biopics. Namely, that's being somewhat superficial and episodic in its quest to cram as much of its subject and related history into its limited running time (although this one clocks in at more than two and a half hours).
While the collective whole might not be grand (although it grows on you hours and days after seeing it), many of the individual moments clearly are, whether they're some spectacular plane crash sequences (and I do mean spectacular), a fiery Senate hearing or the eventual, if only brief liftoff of the famed Spruce Goose.
The veteran filmmaker -- who works from an original screenplay by John Logan ("The Last Samurai," "Gladiator") -- certainly knows his way around a camera, and the professional-looking result is always up there on the screen. With his camera nearly always on the move and featuring absolutely lush production design, the various individual scenes and the overall film are visually spectacular.
As is Leonardo DiCaprio ("Gangs of New York," "Catch Me If You Can") in the lead role. While I had my doubts about whether the actor could pull off the part -- without just being some sort of unemotional impersonation -- Leo takes the character and makes him his own, delivering what's arguably his best work to date. Playing the various idiosyncratic but nevertheless related parts of the real man's life, the actor nails the performance, creating an intriguing, entertaining and troubled character.
The filmmaker has wisely surrounded him with a terrific cast, even if some of the performers aren't allowed much depth -- such Kate Beckinsale ("Van Helsing," "Underworld") as Ava Gardner -- or screen time -- including Jude Law ("Alfie," "Cold Mountain") as Errol Flynn or No Doubt lead singer Gwen Stefani (making her feature debut) as Jean Harlow. While the likes of John C. Reilly ("Gangs of New York," "Chicago") as Hughes' hustling, right-hand man, Ian Holm (the "Lord of the Rings" films) as a somewhat bewildered meteorologist turned cleavage expert, and Alec Baldwin ("The Last Shot," "The Cooler") as a slimy corporate airline rival are all good, two supporting performances truly stand out.
One is from Alan Alda ("Same Time, Next Year," TV's "M*A*S*H") who plays a U.S. Senate committee chairman who figures Hughes will be easy prey to devour for the financial benefit of him and others, but discovers that he's facing a much more formidable opponent than he imagined. His and DiCaprio's various scenes together -- including the final, contentious hearing showdown -- are terrific.
The real standout, however, is Cate Blanchett ("The Life Aquatic," "Veronica Guerin") who gets the task of playing a Hollywood legend, one Katharine Hepburn. Faced with even more of a daunting task than DiCaprio since everyone knows how the famous actress looked and sounded, Blanchett thankfully avoids caricature and makes her character a real, flesh and blood person. Her scenes with Leo give the film some needed downtime and emotional investment for the viewer. If there's any justice in the movie awards world, both performers should be getting their due.
As might Scorsese. Although the overall effort might not be as tight, cohesive or deep as some may be hoping and/or expecting, there's no denying this is a heck of a directing job. Filled with memorable, exciting, engaging and even funny moments and performances, the film certainly makes an impression and is interesting and often highly entertaining from start to finish.
I can't attest to the film's historical accuracy and/or any artistic liberties taken with the stories and/or people. I can say, however, that I learned a lot about Hughes -- or at least his various accomplishments -- and rather enjoyed the cinematic schooling in the process. Not perfect, but with its many pluses far outweighing its various flaws, "The Aviator" is a must-see experience and rates as a 7.5 out of 10.
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