Posts Tagged ‘leonardo dicaprio’

Director: Martin Scorsese

‘The Aviator’–a biopic of Howard Hughes– is clearly one of Scorsese’s lesser works. Still, a lesser work from Scorsese is far superior to the greatest work of your average director. Here’s the rundown.

The first quarter of the film is a total triumph, showing the young Hughes’ bold endeavors in film when he produced what was at the time the most expensive and lavish film ever made. Scorsese tipping his hat to old Hollywood is the most fun he has had since “Goodfellas.” The costumes, set designs, and pacing of this portion of the film are stunning and suck the viewer in.

Scorsese’s direction is brilliant; he captures the spirit of the time, from the vibrant colors to the lush costumes, to the garish and (almost scary) club performers. “The Aviator” is as close to an epic as one can get. Scorsese has also experimented with some special effects too in “The Aviator”, something that he hasn’t played with too often. One scene in particular, where he is in a plane filming scenes for his film ‘Hells Angels’ is absolutely breathtaking. The sets in “The Aviator” were huge, the party and premiere scenes were electrifying, and some good actors headlined the cast of hundreds.

DiCaprio is brilliant as he portrays Hughes’ gradual descent into insanity. At first, as the movie opens, Hughes displays mild eccentricities. DiCaprio manages to subtly show us Hughes becoming worse and worse until eventually he loses all touch with reality, managing to return to normalcy for a monumental battle with a Senate Committee over his airline’s desire to begin transcontinental flights. Alan Alda was quite good in his role as Senator Brewster, the chair of the Committee, and someone in the pocket of the head of Pan Am Airlines (played by Alec Baldwin). The depiction of the Senate hearing was brilliant, and left no doubt that Brewster – knowing of Hughes’ fragile mental state – was an utterly beaten man, obviously taken completely off guard by a totally in control Hughes.

The women in the film are wonderfully well cast. Cate Blanchett has the task of playing Katherine Hepburn, who was herself so close to caricature that to play her accurately involves some risk. Blanchett succeeds in a performance that is delightful and yet touching; mannered and tomboyish, delighting in saying exactly what she means, she shrewdly sizes up Hughes and is quick to be concerned about his eccentricities. Kate Beckinsale and Gwen Stefani play notable roles as well.

Shot and edited like the way Hughes lived, it has a frenetic, implacable chemistry, jumping from extreme excitement to terrifying emotional scares. A credit to Leo DiCaprio as an actor, the sequence at the Coconut Grove bathroom is one of the film’s finest, and sloppiest in a way. And that’s the way the whole film plays.

What a sad man. What brief glory. What an enthralling film, 166 minutes, and it races past. But, in the end, this isn’t a love story — it’s a war story — a war between Howard’s unstoppable will and his fierce inner demons battling for Howard’s soul. It is the major relationship in the movie and the true heart of the film — one that fuels his eccentric genius and yet constantly threatens to rip his life apart. He tries to ignore it by sleeping with every beauty in town. He tries to outrun it, building faster and faster airplanes. Yet, it is his one constant companion from early childhood to his ultimate, inescapable end. And it is this relationship that leaves you devastated at the end of the film.

And while I won’t stay up too long lamenting Scorsese’s fifth loss at the Oscars, I will note that he went down with another of his best films. The Aviator is one of Scorsese’s best, and please look into it more closely before you blow it off.

Director: Sam Mendes / Cast: Leonardo DiCaprio, Kate Winslet

Based on Richard Yates’ 1962 novel (selected by Time Magazine as one of the 100 best English-language novels since 1923), director Sam Mendes brings ‘Revolutionary Road’ to the big screen and reunites its stars for the first time since they paired for the highest grossing film of all time, ‘Titanic’. The film opens boldly enough, spending just a few fleeting moments showing us how the Wheelers (DiCaprio and Winslet) met before throwing us head first into their disaster of a marriage.

It’s the 1950’s in Connecticut. Frank (DiCaprio) and April (Winslet) Wheeler are married with two kids – a bickering couple that can break into a screaming match of hateful words in an instant. Both April and Frank seem to hate their mundane existence. Frank commuting to his soul-sucking desk job every day and April attending to her two kids like what is expected of her. It is April who takes the initiative to find a solution and mend their marriage. She proposes to relocate to Paris and start a new life. The plans reinvigorate the couple and everything seems on the right track. Despite the shocked reactions of their friends, the Wheelers are resolute in their plans. But slowly events transpire which challenge the ability to keep their plans afloat and thus their marriage.

‘Revolutionary Road’ dissects a marriage, in two distinct and significant directions. The movie captures the timeless torment of an unhappy marriage, in the way the spouses know each other’s weak spots and go for them, and in the way arguments can explode the simplest of beginnings.

The acting is of the highest caliber, especially by the always-amazing Kate Winslet. Whether she is yelling at Frank or holding back her emotions, you always feel April’s pain and empathize with her desire to escape a life of mediocrity. DiCaprio is just as good, and you can’t help but feel for his affecting but flawed, character. Moreover, the set design and costumes are immaculate, and the cinematography is perfect. But as you are an hour into the film, you will realise, although DiCaprio enjoys the same screen time, it is Winslet’s film.

‘Revolutionary Road’ can be interpreted in many ways. You can watch it from Frank or April’s point of view. Mendes’ direction shines through the dim premise and while it’s unlikely to leave any audience member happy, simply due to its depressing nature, it may just enlighten some.