USA, 2004
Director: Martin Scorsese
Score: ***

It would seem more appropriate for Martin Scorsese to direct the biography of eccentric and reclusive millionaire Howard Hughes after Michael Mann (COLLATERAL) bowed out of the project. Scorsese has made films about celebrities (THE KING OF COMEDY, NEW YORK NEW YORK), madmen (TAXI DRIVER) and dirty dealings (GOODFELLAS) before. Together with actor Leonardo DiCaprio, who has done his turn with oddball characters (WHAT’S EATING GILBERT GRAPE?) and a host of accomplished actors as Kate Beckinsale, Cate Blanchett, John C. Reilly and a cameo from Jude Law as Errol Flynn, Scorsese has assembled quite the team for putting THE AVIATOR on celluloid.

As the title implies, Howard Hughes is portrayed primarily as an aviator. Film director, playboy and businessman come secondary. Scorsese devotes most of the screen time towards his obsession with flying and engineering design of new aircraft. In fact, the film’s best scenes occur when Hughes (DiCaprio) is piloting his craft or wheeling dealing with Pan-Am chief (Alec Baldwin). The trial speed sequence and the later crash that resulted in 78% burns over his body and crushed ribs are spectacularly executed. Though Scorsese omits the last years of Hughes’ life following his death, he covers most of his descent into seclusion and madness, especially his obsession over cleanliness. This is less glamorous material and the film starts losing momentum once Hughes, unshaven and unkempt, starts locking himself in a room.

DiCaprio and Blanchett do marvelous jobs at capturing the mannerisms of Hughes and Katherine Hepburn, besides acting their convincing roles. Scorsese also provides some insight to the origin of his cleanliness fixation – though it may be argued that what is shown might be a little hokey. (Hughes, as a boy is shown bathed by his mother in a tub before he was orphaned.) Though the best of the Scorsese films are the small budget ALICE DOESN’T LIVE HERE ANYMORE and MEAN STREETS, THE AVIATOR is worth a look for its splendid production values.

Review by Gilbert Seah.