The Aviator

Wenn Aviator etwas ist, dann ist es vor allem ein perfektes Beispiel für High Hollywood, das Hollywood, das Hughes in den 1920er Jahren mit seinen kühnen Visionen mit aufgebaut hat. Es handelt sich um ein akribisch ausgeführtes Genre-Schema, das sowohl atemberaubendes Spektakel als auch großartige Dramatik bietet. Wir können nicht umhin, die fabelhafte Kameraführung, die perfekt integrierten Tricks und die perfekte Musik der Epoche zu loben, die allem Stil und Atmosphäre verleiht. Die Geschichte von Howard Hughes ist nicht nur ein persönliches Drama, sondern auch ein Spektakel, bei dem einige Szenen Sie auf "Hollywood"-Art in Ihrem Sitz zusammenzucken und nicht atmen lassen (die exquisit gefilmten Luftaufnahmen sind es wirklich wert). Aber was noch wichtiger ist: Jeder Teil dient dem monumentalen Ganzen, und die Monumentalität des Ganzen überschattet nicht die persönliche und nicht sehr idealisierte persönliche Ebene. Hughes' Persönlichkeit ist das Zentrum, um das sich alles Spektakuläre dreht, nicht umgekehrt. Das ist es, was ich an Martin Scorsese schätze. Er hat sich nicht auf das große Thema eingelassen und versucht, unter die Oberfläche zu gehen. Er idealisiert nicht, sondern versucht, die Geschichte eines der faszinierenden Träger der menschlichen Vorstellungskraft und der Lust am Fliegen (im übertragenen und wörtlichen Sinne) in allen Schattierungen zu erzählen. Von meinem Platz aus sah es so aus, als hätte er Erfolg gehabt. Aviator ist ein wahrhaft großartiges Beispiel für ein Biopic in all seiner schillernden Pracht. Diesmal gab es keinen Platz für Elend... Die wenigen zusätzlichen Minuten, die der Film hat, können als Erbkrankheit betrachtet werden. Und Scorsese gelang es, das schwächere Drehbuch von Logan durch seine präzise Regie auszugleichen. (12.02.2005)

Paradoxically, the most interesting stages of Hughes’ life are merely mentioned in passing or completely ignored, while there is also a lot of needless filler (albeit excellently filmed). The actors are excellent, Scorsese’s still got it - it’s just that the screenplay isn’t one of the best ever written. Which is really a great shame and it knocks The Aviator out of the sky before it has the chance to take off. (06.11.2005)

After the not-so-favorably received (but brilliant in my opinion) Gangs of New York, director Martin Scorsese has ventured into slightly more recent history. He tells the story of an extraordinary person in an extraordinary style. A man who can be perceived as either a genius or a madman. You have to choose whether you will admire Howard Hughes for pushing the boundaries of technological and human capabilities or despise him for his obsessively guarded cleanliness or instability in relationships. Martin Scorsese gives you both sides of the story in a unique trip back to the early 1930s and late 1940s. The atmosphere of parties, bars, women, cigarettes, and unique music breathed so strongly on me that it tousled my hair. And in this environment, Leonardo DiCaprio moves with his characteristic elegance. The acting challenge was truly formidable. DiCaprio picked up the thrown gauntlet and, with a performance more than dignified, proved to everyone that he truly knows how to act. The entire film is full of one famous name after another. While I'm not particularly a fan of Cate Blanchett, neither physically nor as an actress, I must reluctantly praise her. Alan Alda as Hughes' main antagonist is absolutely superb. A lot of people fault the film for the story going nowhere at times. I strongly disagree. I attentively watched the entire three hours to see what was happening. Visually, the film is perfect. Some scenes are indelibly etched in my memory. For example, the filming of Hell's Angels or the plane crash between houses in Beverly Hills. Robert Richardson's brilliant cinematography adds the final touch to everything. Not only the period music but also Howard Shore's orchestration perfectly contributed to creating the (already perfect) atmosphere. Everything I've listed here should be enough to give The Aviator four stars, but the film has something that makes me want to give it no less than five. It has soul. The soul that allowed it to live and tell. Thank you, Master. (12.02.2005)

A stunning cinematic work by a true artist, both in image and acting. I wasn't bored even for a minute, the runtime was okay, I actually wouldn't have minded a bit more. And the emotional impact on me was all the greater because I have dealt with obsessive compulsive disorder in my life, so I know exactly what Scorsese was talking about, and that he didn't miss the mark is evidenced by the feelings of one of my friends, also OCD, who was shocked to find himself in the character of Howard Hughes. So, thank you Sir. (29.10.2005)

The pilot is not bad at all, but after two screenings in one year, I can't imagine trying to go through it all again even fifteen years later. DiCaprio is great, but surprisingly, Scorsese can't maintain a good momentum, he gets lost in Hughes' psychoses, and the story that goes to flowers is only fixed in the thrilling courtroom finale. (15.09.2005)