Warren Beatty finally releases his Howard Hughes project, and the result says more about Beatty than it does about Hughes.
Marla (Lily Collins) is an enthusiastic starlet from Virginia who has passed up a university scholarship to seek fame in the movies. She’s assigned personal chauffeurs Frank (Alden Ehrenreich) and Levar (Matthew Broderick), working alternate shifts, and attends dance and acting classes with the likes of Mamie (Haley Bennett), but, much to the chagrin of her mother Lucy (Annette Bening), is not met by Howard Hughes, and cashes paycheques while never being given her promised screen-test. But Frank is in the same boat. When they finally get to meet the eccentric recluse, their mutual attraction is already in danger of getting them both fired for immoral behaviour, if the deranged antics of Hughes; locked in conflict with TWA shareholders, Merrill Lynch money men, his CEO, and paranoid about being declared paranoid; don’t destroy their careers and/or their lives first.
One hesitates to say that Warren Beatty is so vain he made a film about himself, but the long build-up to the first appearance of Hughes, his persistent appearance in dim lighting to hide the rigours of age, the power-tripping of keeping people endlessly waiting for no reason, the constant baloney of stringing people along with projects that are never going to happen, the phone calls at all hours of day and night that must be answered, and the endless cooing to Hughes of his genius by pretty young women, all seem to speak more to the actual Beatty that emerges from Peter Biskind’s biography than to any real portrayal of Hughes. And let’s remember that Beatty; actor, co-writer, director, producer; has been working on this script since about 1980. This was, par Biskind’s narrative, to be the magnum opus.