Who is Howard Hughes?
He is one of the biggest icons of the 20th century who impacted some of the biggest industries in our society. This is the man who made some of the largest advancements in aerospace engineering during…period. In the early days of cinema, Hughes made some of the boldest choices imaginable. The films Hughes created like Hell’s Angels employed some of the most incredible filmmaking techniques including the use of a fleet of cameras instead of your standard one-camera set-up that most films utilized at the time. Heck, he even made changes to brassieres to make women look better in his films. It makes perfect sense why this man was known as…The Aviator.
Who would be the one to finally make a film about such an intriguing and towering figure in our society?
Warren Beaty was the driving force behind the creation of a Hughes biopic in Hollywood. Interestingly enough, Beatty succeeded but it took until the 2016 release of Rules Don’t Apply. A much older Hughes is portrayed in a strange love triangle. That is quite an interesting way to tell the story of such a fascinating figure. But Beatty was not the only one to attempt this man’s story. The list of directors who wanted to tackle this story is a who’s who of Hollywood class from Steven Spielberg, Brian De Palma, The Hughes Brothers, Milos Forman, Michael Mann, and Christopher Nolan. But when Leonardo DiCaprio became attached to the project and needed a new director, he turned to his Gangs of New York helmsman Martin Scorsese.
Who else would be the right choice than Scorsese for such an important film?
The Aviator sure seems like a unique choice in the echelon of Scorsese cinema. This is a period biopic that leaps through the 1920s until the 1940s telling the meteoric rise and struggles of this eccentric societal figure. This film even boasts one of Scorsese’s bigger budgets as it features some effects-driven scenes capturing the impressive flying elements of Hughes’s legacy. Filming Hell’s Angels up in the sky, breaking speed records, experiencing a horrible crash that led to a terrible inferno, and flying the largest plane of all time each highlight Scorsese’s handling of his big budget. But probably the most challenging element of the film is the portrayal of obsessive-compulsive disorder. Scorsese makes bold choices along the way to bring this all to life.
What about this eye-opening portrayal of OCD?
Scorsese takes a lot of care in the bold way that this disorder is portrayed in the film. The audience is led into the mind of Hughes while experiencing his anxieties along with this enigmatic figure. The expert work of Scorsese, cinematographer Robert Richardson, and editor Thelma Schoonmaker combine to make engrossing storytelling that involves the audience in the unnerving anxieties that Hughes experiences. Flashes of harsh light create a disorienting feeling which makes the audience struggle to see what is going on. The quick cutting of shots of Hughes’ fixations heightens the tension. DiCaprio does so much with his facial choices to create an increasing sense of anxiety and insecurity. Who would have thought that a single pea being stolen from a plate could make some spiral so much? The commitment to repetitive dialogue at key moments reinforces the loss of control that Hughes experiences. He is not the most talkative individual and maybe his own experiences make it hard to commit to something new.
But the impressive and dynamic portrayal of mental illness is not the only aspect that Scorsese is responsible for, right?
For a nearly three-hour film, Scorsese can create a perfect pace to keep the ball rolling. Each scene moves on with deliberate flair and sharpness which makes the flow of the film work so well. You would never expect this film to be this long but Schoonmaker’s editing and Scorsese’s energy make for a ripping roaring ride through the life of this towering figure. There are some other impressive technical feats that Scorsese incorporates into his film (thanks to Richardson). The colorization of the film is done quite deliberately to capture the film era for which Hughes lived and created. Along with the period lighting which gives The Aviator a specific classic Hollywood feel, Richardson was able to digitally recreate two defunct coloring styles for film, two-color, and three-strip Technicolor. When Hughes meets Katherine Hepburn on the golf course, this ambitious use of coloring is striking and hard to ignore. The audience feels whisked away to a different time (Scorsese is certainly channeling his inner cinephile with how he makes connections to classic film).
But how else does The Aviator bring classic Hollywood to life?
All the designs of the film are top-notch and period-accurate. The way the costumes embody this specific era of life is impressive, not a single piece feels out of place at all. Whether it is the sharp suits of Hughes and the rest of the men in the film or the jaw-dropping ensembles of the women (specifically all of Hughes’ love interests), these costumes deserved that Academy recognition that it received. Jean Harlow has this shiny and ambitious outfit at a film premiere that just might be the crown jewel of the film. The designs of the planes, theaters, and offices are all beautiful and impressively rendered. Some of the CGI might feel a bit aged but for the most part, I never once felt like I wasn’t in this specific period.
What about Hughes’ actual story?
Focusing on the 20s through 40s specifically, John Logan can highlight the most important events in Hughes’ life through this screenplay. The audience is treated to the long production process of Hell’s Angels. Logan can highlight Hughes’ ambitions and obsessions through this specific process. We also get a peek into the life that Hughes had and what life he will have in the future. His relationship to “back home in Texas’ ‘ is established as well as his interesting relationship with Professor Fitz, who is there for most of his major conflicts and struggles. This experience also acts as a conduit for the film to represent the changing tides of the silent to sound era of film and the studio system. Through the filmmaking elements of the narrative, The Aviator is also able to highlight the censorship struggles of filmmakers at the time (hilariously through Fitz measuring cleavage of major stars in different films). Hughes was a big figure in early cinema that pushed back on societal expectations of what was decent.
Where would this film, called The Aviator, be without its presentation of the evolution of airplane engineering?
This narrative piece works on multiple levels throughout the film. Periodically, Hughes finds ways to slowly improve and revolutionize the plane industry. Clever writing allows a single symbol of Hughes running his hand across a plane to initiate the improves these smaller scenes between Hughes and his engineer Odenkirk. Each of those scenes is subtle but conveys so much in the evolution of planes. We see the more intimate moments of Hughes’ life as he lets Hepburn fly his plane (the highlight of their romance in the film) and him breaking records while in the cockpit. The plane also delivers his lowest low when he crashes and almost dies (a horrific scene that honestly plays off like a horror film with elements we see again in Scorsese’s Shutter Island). The climax of the film soars on the wings of Hughes’ passion project, The Hercules.
But this airplane does not stop with just Hughes’ personal connection, does it?
Logan’s screenplay can tackle one of the biggest conflicts in the 20th century…TWA versus Pan Am. Hughes versus Trippe (and by association Senator Brewster and the US government). Hughes is the dreamer who wants to see the air industry soar into new places, but Trippe and Brewster want to continue to keep a vice grip on the hold they have. Money, of course! No one wants to give up control and influence. Some of the best-acted scenes in the film fly between DiCaprio’s Hughes, Alec Baldwin’s Trippe, and Alan Alda’s Brewster. They spar with some sharp and biting dialogue thanks in no small part to Logan’s writing and Scorsese can always find the energy to make it pop. This all leads up to one of the best scenes in the film where Hughes leverages his impressive charisma as he turns Brewster’s own hearing against him and tears him down in the most spectacular fashion.
But what would a great figure in society be without their own share of romantic relationships?
Hughes was certainly the playboy, and the film does not shy away from his awkwardness with social situations. From dating Hollywood starlets to grooming young women to be the next ones, he had quite the experience with them all. The list of women Hughes hoped to groom to become stars in Hollywood was long and we see this aspect of his life portrayed through one young woman. Hughes is not a perfect person (honestly far from it) and this aspect of the film really shows his shortcomings as a person. We see him struggle to connect and objectify women in many ways. Along with these young hopefuls, Hughes dated some of the biggest names in Hollywood. We see him struggle on the red carpet with the ravishes Jean Harlow (portrayed with great class by Gwen Stefani). The bigger and more impactful relationships occur with two other actresses. Kate Beckinsale’s Ava Gardner is a strong presence who pushes back on Hughes and puts him in his place quite a few times.
But who is the real romantic anchor of The Aviator?
Katherine Hepburn. Cate Blanchett certainly earned her Oscar recognition for the performance that goes well beyond an impression. Why is Hepburn so important in Hughes’ life? They started as a powerful couple of status as they walked the red carpets. They go out to clubs together. But the intimate and private moments for the couple help convey so much about Hughes’ character. One of the most heartwarming and meaningful scenes in the film is when Hughes hands the wheel to his plane to Hepburn. Her façade quickly dissipates to reveal a gleefully happy woman who is feeling the adventure that Hughes can offer. You can see all over his face that this genuine glee cuts deep into him. He feels comfortable with a woman who is truly open and letting him in. A visit to see the Hepburn family also helps flesh out Hughes as well. He clashes drastically with the old money of the Hepburn family which led to one of his most confident and measured verbal sparrings. He stands up for himself and that gets the attention of Katherine. But in the end, he allows paranoia and control to get in the way of keeping a wild spirit like Hepburn in his life.
But what about the incredibly stacked cast that The Aviator boasts?
First and foremost,…DiCaprio is a revelation. This feels like the first true mature leading man performance of his that lands. Gangs of New York was a good start, but it is The Aviator that truly allows DiCaprio to shine and feel like he can anchor a whole film. And for the record, this is a large film to anchor. His performance shines most in the scenes where Hughes struggles with his OCD. When the camera cuts quickly back to Hughes’ face in his more traumatic moments, there is a powerful fear and insecurity that DiCaprio can channel. With the slight shaking to the tight mouth to the wide eyes, each of these little choices comes together to capture poignant emotion. The audience gets to see so many sides to Hughes through DiCaprio’s committed and layered performance. There is such great confidence and movie star presence when Hughes is commanding his movie set or his engineering silos. You also see him at rock bottom as he embodies the emotional and physical decay when he becomes a hermit shut-in. Not many actors could carry those scenes with such presence and confidence, but DiCaprio shows why he is one of the best.
Who else commands the screen in this Scorsese biopic?
Blanchett certainly offers up the second most impactful performance behind DiCaprio. When first introduced at the golf course Hepburn is putting on her cinematic persona. You might think at this point that Blanchett is putting on an over-the-top impression of Hepburn but that soon melts away to offer up a moving and genuine performance. The unique glee and joy that Blanchett offers up in that airplane flying scene could have been enough to get her an Oscar. That is the moment you see a real human being through the performance and not a larger-than-life persona. We see her at her worst as she struggles without the spotlight she used to have. We see her confident and commanding in other scenes including when she stands up to Hughes towards the end of their relationship.
How about the rest of this vast supporting cast?
Baldwin is stern and cut-throat. He is strong and intense as he verbally spars on and off with DiCaprio throughout the film. One of the best surprises was seeing Alda grace the silver screen. His perfect charm and presence make for a believable politician and in this stage, someone who is devious and underhanded. Ian Holm is a nice surprise as he pops up periodically throughout the film to support Hughes in some of his strangest requests. Then you have a great crew of character actors who fill out Hughes organizations from John C Reilly to Adam Scott to Danny Huston to Matt Ross. Scorsese has so much clout that he even got big talents like Jude Law (as Errol Flynn) and Willem Dafoe (as Roland Sweet) to pop up for single yet memorable scenes.
Where does Scorsese’s film sit in the lexicon of biopics during the early 2000s?
This was a golden era for the cinematic biopic. Ray became a huge hit commercially and critically as Ray Charles became a household name again. Walk the Line offered up a star-making performance for the likes of Joaquin Phoenix and Reese Witherspoon. The Aviator might not always be included in this conversation, but it certainly should be considered one of the greatest biopics put to screen.
Scorsese’s filmmaking is over the moon and this film boasts incredible elements from acting to editing to the overall design of the film.
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Next time the conversation of great biopics comes up again…make sure to not forget Scorsese and his latest efforts.
