Aviator
No doubt about it: Howard Hughes was one of the most fascinating figures of the 20th century, a man of wealth willing to piss away millions in order to do things that advanced both the making of motion pictures as well as the aviation industry (and opened the door for the widespread use of commercial airlines). Leonardo DiCaprio, once so reviled by this viewer for his soulless turn in Titanic, continues to be one of the best developing actors of the 21st century, absorbing himself into the role of Hughes with such abandon that by the second half of the film he resembles the mogul so much that we forget weâre watching the guy that played the pretty-boy Jack Dawson, and the early scene where he coaxes a sexy cigarette girl into spending the night with him is a highlight as well as when he puts his fianceeâs âchampagne socialistâ family in their place during a dinner. Director Martin Scorsese directs this big-budget period piece with skill and subtlety, using the technique of having the color photography become more and more evolved as the story goes from the 1920s to the 30s and finally the 40s, throwing in a harrowing and traumatic plane crash as part of the deal. As for the supporting cast, we have Cate Blanchett saddled with the unenviable task of portraying well-known screen icon Katherine Hepburn: Adapting the âGreat Kateâ to her own acting style to a tee, the voice and mannerisms seem pitch perfect, even if the character, with her haughty upper-class demeanor, is not very likable, yet this viewer can see where Blanchettâs Oscar came from; Much more appealing in looks and personality is Kate Beckensale as Ava Gardner, in real life arguably one of the most beautiful women to ever live, and endowed by Beckinsale with a genuine sense of warmth and compassion while never forgetting her screen siren status (you can 100% understand why Hughes continuously asks her to marry him); Alec Baldwin as Hughesâ business rival brings a nice snake oil feel to the proceedings; Alan Alda (who was also nominated) brings as much as he can to the corrupt senator who persecutes Hughes, and their showdown at the Senate hearings where Hughes turns the tables on him is a highlight; and there are also good roles here for John C. Reilly, Ian Holm, Brent âDataâ Spiner, and Willem Dafoe. Among the negatives here is really the sense that Scorsese let things get a bit too bloated with the production: Unlike the more centralized and personal Raging Bull, Marty gets carried away with some details, like the lounge singer with an idiotic smile on his face as he sings, to an unnecessary cameo by Jude Law as none other than Errol Flynn, which seems to be in the movie for âgee whizâ purposes and nothing else, plus there is the appearance of Gwen Stefani (an inexplicable casting choice) in the brief role of legendary starlet Jean Harlow (whom she looks nothing like). Still itâs Leo, with his convincing accent and portraying Hughesâs obsessive-compulsive nature to a tee, that carries the day, even if Scorsese fails to provide a proper ending or epilogue and just pretty much clumsily brings the film to a halt as the closing credits start, but still an impressive effortâŚ
8/10