#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Biopic of billionaire Howard Hughes, starting with his early filmmaking years as owner of RKO studios but mostly focusing on his role in designing and promoting new aircraft. Hughes was a risk-taker spending several fortunes on designing experimental aircraft and eventually founding TWA as a rival to Pan AM airlines owned by his great rival Juan Trippe. When Trippe’s politico Senator Ralph Owen Brewster accuses Hughes of being a war profiteer, it’s Hughes who gains the upper hand. Hughes also had many women in his life including a long relationship with actress Katharine Hepburn. From an early age however, Hughes was also germophobic and would have severe bouts of mental illness.
Plot: A biopic depicting the life of filmmaker and aviation pioneer Howard Hughes from 1927 to 1947, during which time he became a successful film producer and an aviation magnate, while simultaneously growing more unstable due to severe obsessive-compulsive disorder.
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|7.5/10 Votes: 335,610|
|7.2 Votes: 3849 Popularity: 18.307|
We all live in our own movies, and particularly like movies of people who do so more literally. Here are three in one film:
Martin Scorsese: My regular readers know that I have been very critical of his films. Sure, they are crafted well enough, but the world he created was not one worth visiting. His films until recently were of the Italian storytelling school which focuses on characters. Those characters do not inhabit their worlds as much as create them. Scorsese’s camera, therefore, was affixed to people, almost by a visible thread.
But those of us who watch film seriously know that there is nothing but empty darkness just outside the camera’s eye. There’s no world, so there can be no God, or fate, or luck or whatever material you imagine fills the river of life. He knows it is a cheat as well and has said so. Just like many other fabulously successful filmmakers who know their work is hollow, in his later years he’s tried to mature… to master a greater notion of creation.
“Gangs” was a success in this regard though an unfinished film because the Weinsteins pulled the plug. It marked a completely different approach to space and context, and I applauded it. Now he actually finishes a movie in the new style. Though this is a story of a man, it is no longer anchored to the man. The camera is now Orson Welles’ camera with shots of the space with people in it. So obvious is some of this that when Hughes first retreats, he stays out a room that inexplicably (and unhistorically) has strings tied from hither and yon from objects. Take another look at that room and see all of Scorsese’s old camera angles. I think we can welcome Scorsese now as the best new filmmaker of the year. This is as much his story as Hughes’.
Cate Blanchett: Cate is one of three actresses alive who can fold her acting, meaning that she can simultaneously deliver two characters in the same motions. She’s at the top of her game here (while Julianne is devolving with an apparently thick husband). Hepburn was an amazing actress, deeply untalented in the conventional measures but capable of engineering her surroundings to suit. Her engineering of the “Philadelphia Story” persona is Hollywood legend. She engineered a character that worked, then stepped into it. The old Scorsese would have hired someone like Streep to play Hepburn and lumbered around after her.
The new Scorsese allows Cate to flower and willingly supports the folding: an actress (Cate) playing a character (Kate) who is playing a character. You can see all the conduits of control, all the taught strings at two levels. God, what a great time to be alive!
Howard Hughes: The movie gave the impression that Howard simply inherited his money. No so. He was a brilliant engineer who famously codesigned systems and the engineering organizations to support them. While most of us were barfing at frat parties, he designed a drill bit (often credited to his father) that is still the standard in the industry, together with a set of screw connections that has since become the international standard. That’s where the money came from. And though he went loopy toward the end, he ensured that 100% of his wealth (yes, all assets were sold) went to endow the world’s largest private research institute.
This was a passionate engineer in a world of monopolistic thugs (Gates take notice), truly what we like to think the “free market” is all about. The movie also ignores a key movie connection: He always intended the “Spruce Goose” to be made of wood, and because all US manufacturing assets were committed, he designed a production system that allowed small businesses, even backyard groups, to make pieces that would be floated down rivers and successively be glued into larger parts. This (what he called the “packet production system”) was the first serious research into what we today call “virtual enterprises.”
When the war ended, he sent his virtual enterprise experts into his film business where they used the system (freely giving away details) to destroy the vertically integrated studio system. Nearly all movies today use his virtual enterprise approach and the Weinsteins (producers of this very film) are the current masters of the system.
Ted’s Evaluation — 3 of 3: Worth watching.
Dark and dour; a saga, not an epic…
Martin Scorsese’s Howard Hughes biography flies high and mighty when it does indeed fly–down on the ground, it’s aloof, cold and a little slow…and yet, one gets the impression Scorsese doesn’t notice. He’s an extremely self-satisfied filmmaker who doesn’t bother to pick up the pace. When Hughes begins to deteriorate, the movie gets bogged down in the same red-tinged psychological muddle that doomed the entire midsection of “New York, New York”. The period flavor–as with “New York”–is careful but unsatisfying, and Leonardo DiCaprio is serviceable in the lead but nothing grander, nothing more than workman-like (his little boy voice strains throughout, cussing like a kid playing grown-up; his height doesn’t detract, however, and his weight and demeanor seem correct). Cate Blanchett playing Katharine Hepburn is too fast at the beginning, but finds a more appropriate style; unfortunately, there’s too much of her. Thelma Schoonmaker’s lightning-fast editing fails her and Scorsese in this instance. We don’t need to see Hepburn arriving at the movie studio, turning the lights on and meeting a handsome admirer. Whose story is this? The sequence around the Hepburn family dinner table is, however, a smash, and Blanchett is lovely in her period wardrobe. I didn’t believe for a second the impersonations of Jean Harlow (very minor) or Ava Gardner (a big problem) …and what happened to the “Outlaw” controversy? It seems to take place off-screen. The editing also slips up in the final third, allowing scenes to run on too long and letting shots get ahead of themselves (as with DiCaprio behind the wheel of the Hercules, seeming to turn the plane too early). Howard Shore’s score is great, Robert Richardson’s cinematography is terrific, but “The Aviator” is overall a disappointment; an expensive and good-looking lump of coal. ** from ****
Original Language en
Runtime 2 hr 50 min (170 min)
Genre Biography, Drama
Director Martin Scorsese
Writer John Logan
Actors Leonardo DiCaprio, Cate Blanchett, Kate Beckinsale, John C. Reilly
Country USA, Germany
Awards Won 5 Oscars. Another 81 wins & 130 nominations.
Production Company Cappa Productions, Forward Pass, Miramax Films, Initial Entertainment Group, Warner Brothers, Appian Way
Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 2.39 : 1
Camera Arriflex 435, Panavision Primo Lenses, Panavision Panaflex Millennium, Panavision Primo Lenses, Panavision Panaflex Platinum, Panavision Primo Lenses, Panavision Panastar, Panavision Primo Lenses
Laboratory Technicolor, Hollywood (CA), USA (digital intermediate)
Film Length 4,659 m (Sweden), 4,554 m (Norway), 4,631 m (Denmark), 4,653 m (Germany)
Negative Format 35 mm (Kodak Vision2 500T 5218, Eastman EXR 100T 5248, Vision 200T 5274, Vision 320T 5277, Vision 500T 5279, EXR 200T 5293)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (anamorphic) (Fuji Eterna-CP 3513DI)