The Aviator is a good film. It is the kind of film that has epic qualities…large scope, vast landscapes, array of characters, historical, romance, action, drama…things that Lawrence of Arabia and more recently, Braveheart have. But, an epic by Martin Scorsese is guaranteed to have at least one other thing…quality. Basically a biopic of billionaire Howard Hughes in his early movie-making and piloting days, Scorsese choose Leonardo DiCaprio to play his Hughes…and even though my feelings are highly mixed on DiCaprio (basically, I don’t like him as an actor), I admire how Scorsese uses DiCaprio in this film and the chances the actor takes with the role. Though DiCaprio is good, what makes this film a grand epic is the way Scorsese shot it. When Hughes is working on his Hell’s Angels film, Scorsese is able to capture both of determination of Hughes and the danger of the stunts on the screen. Yet, when Hughes’s character retreats into himself and shows the first stages of the recluse he will become in later years, Scorsese also captures that using his camera…the inner pain and turmoil of Howard jumps out at the audience, even though often there is no dialogue to indicate that. In recent years, Scorsese has steered away from making personal films about New York and/or Italian-Americans, such as his earlier works like Raging Bull, Mean Streets, and Goodfellas. Even 2002’s The Gangs of New York, though about his hometown, felt less personal and more epic in scope. The Aviator might not be Scorsese at his best, but I would take his “epic” films any day of the week over some other films out there.
Posts Tagged: film industry
A dark, yet I’m sure realistic look at Hollywood in the 1950s through the eyes of a director, writer and actress. Kirk Douglas stars as the son of a vicious and unloved Hollywood studio head who even has to have his son bribe people to come to his funeral. His son, idealistic at first, soon has the movie business corrupt and harden him, just as it had done to his father. Told in a series of three flashbacks from each of the main players in Douglas’ life (the writer, the director and the actress), it is a well-done film that didn’t hold back any punches when it came to the truth about the movie business and its players.
After watching this film, saying “good morning” to folks takes on a whole new meaning. You say it and then just want to burst into song… “Good mornin’, good mo-o-ornin’… We’ve talked the whole night through…” etc. OK – maybe that’s just me. Maybe you won’t feel compelled to dance and sing around but I sure did after seeing this classic for the first time…and even subsequent times. Singin’ in the Rain is addictive. Yes, it is corny and hokey, but name a musical from the first part of the 20th Century that wasn’t. At least this one is poking fun at the movie industry and, in turn, itself. Unlike most of the Lerner/Loewe and Rogers/Hammerstein musicals of this same period, Singin’ in the Rain is more of a comedy than a drama. Well, OK, it does get pretty melodramatic but add Donald O’Conner to anything and comedy usually ensues. So, if you haven’t seen this one…or even if it has been a long time…check it out. When you walk into work tapping your toes, just sing “Good mornin’” to your co-workers and they will understand!
Narrated by a dead man (something we learn right upfront), this film is one of the most biting, harsh commentaries ever filmed. Attacking Hollywood (which for a Hollywood movie is a risk) had been done before this film and has been done since but nothing packs the same kind of punch as the decline of the old, washed-up silent movie star Norma Desmond, played perfectly by another washed-up silent star Gloria Swanson. William Holden plays Joe Gillis, a down-on-his-luck screenwriter who becomes Ms. Desmond’s personal screenwriter and “companion.” Director Billy Wilder uses the screen here to make a film as dark and dismal as the plot…and this only enhances the story. An example would be the house Norma lives in…Wilder shoots it like a funeral home. It’s always dark and shadowy, just like Norma and her dreams of a “comeback.” There are some things in this film that seem to be just added for “dark” comic effect…like the burial of the monkey. Yes—monkey. These little oddities add to Norma’s dark and foreboding feel…she’s not only a has-been but Wilder wants us to also know she’s mentally unstable. Holden does a great job as the “sane” character in the film. His performance is crucial since it has to be the glue that holds all of the insanity together. But, it also has to be strong since we know he’s a doomed man. After all…it is his character floating in the pool, dead, at the beginning of the film…
Humphrey Bogart is downright scary in this one…directed by Rebel Without a Cause director Nicholas Ray. Like another Bogart film noir film, Dark Passage from 1947, this is another one that Hollywood didn’t like to make that often…no “happy” ending. Most film noirs don’t end conventionally happy, but they do find some sort of resolution. There is no resolution here…In a Lonely Place ends even darker than it begins. The story revolves around Bogart’s character, who is a struggling screenwriter trying to get back on his professional feet. He has no desire to read the book he’s been asked to adapt so when he meets a young lady who has read it, he asks her to tell him the story…at his apartment. Nothing “bad” seems to happen but the next morning when we find out the girl has been murdered, we really are not sure how innocent Bogart really is. I mean, this is a man out of control. Right from the beginning, we see he has a bad temper and it only gets worse. This is NOT a nice guy, but somehow, due to the director of Ray and mostly to the stellar acting of Bogart, we like him. We feel for him and we WANT him to be innocent, even though we’re not 100% sure he is. One of Bogart’s best performances!!!