Tommy Lee Jones stars as Howard Hughes in a biopic spanning the life of the eccentric business magnate, from young hotshot mogul to notorious recluse. Hughes was such a fascinating character, possessed by a drive and idiosyncratic nature that brought him to the top but eventually took over in later years, and this contrast has provided the inspiration for many different retellings over the years.
This version was originally made as a 2 part miniseries, and unfortunately tries to get too much in over the course of the runtime, ultimately just skimming the surface of the eventful, stranger than fiction life story. I think I must have watched the theatrical edit, which explains the slightly disjointed way it's told, jumping through the key points as if it's just ticking them off.
Hughes goes from making a movie to becoming studio head to flying around the world, but the film never really elaborates on any of these remarkable achievements, anxious to move onto the next milestone and as a result getting quite monotonous after a while. I think even with the cut parts reinstated it still would have felt truncated, the format ultimately proving overambitious for a story of this size. The Aviator only covered the first half of Hughes' life, which made it feel much more developed and character driven.
This film is much more event driven, hitting all of the milestones but giving enough insight into any of the motivations, which remain at a distance throughout. I think a lot of this is down to the writing, which doesn't do enough to draw out the dramatic stakes. A good example is the portrayal of Hughes' near fatal plane crash and subsequent legal battle with the TWA; in The Aviator this provides the majority of the second half, building tension as to whether the rapidly deteriorating Hughes is willing to testify, but in this version he just goes immediately and without conflict, which can't help but feel like a missed opportunity.
Though Jones definitely looks the part, and it gave him a major career breakthrough, he never feels like he inhabits the character, which results in a flat performance that never gets to the heart of why Hughes behaved as he did. It might just be the limitations of the script, but Jones feels quite bland here, lacking the nervy, focused energy of Leonardo DiCaprio's take or the ragged, world weariness Jason Robards brought in Melvin and Howard.
He's better while showing Hughes' increasingly harmful quirks, though, and these are the strongest moments, getting across the compulsive nature of this behaviour, and if the film had leaned into this more it would have felt more developed and involved that it was. The film was based on a book written by right hand man Noah Dietrich, which might explain the detachment factor, as it always feels like it's being presented from a distance. Dietrich is played by a superb Ed Flanders, who's great as the down to earth voice of reason who increasingly becomes sidelined as the years go by as his employer's mental state begins to break down.
I though this dynamic was the best part of the whole film, given depth in a way none of the other relationships are, although it being Dietrich's account there's a definite undercurrent of bitterness to the way it's presented. Maybe the film was just made too soon after Hughes had died to really give a fully rounded portrayal of his story, lacking the hindsight later versions were able to have.
The Amazing Howard Hughes never quite takes off, going on a whistlestop journey that touches all the bases without enough substance behind it.
This version was originally made as a 2 part miniseries, and unfortunately tries to get too much in over the course of the runtime, ultimately just skimming the surface of the eventful, stranger than fiction life story. I think I must have watched the theatrical edit, which explains the slightly disjointed way it's told, jumping through the key points as if it's just ticking them off.
Hughes goes from making a movie to becoming studio head to flying around the world, but the film never really elaborates on any of these remarkable achievements, anxious to move onto the next milestone and as a result getting quite monotonous after a while. I think even with the cut parts reinstated it still would have felt truncated, the format ultimately proving overambitious for a story of this size. The Aviator only covered the first half of Hughes' life, which made it feel much more developed and character driven.
This film is much more event driven, hitting all of the milestones but giving enough insight into any of the motivations, which remain at a distance throughout. I think a lot of this is down to the writing, which doesn't do enough to draw out the dramatic stakes. A good example is the portrayal of Hughes' near fatal plane crash and subsequent legal battle with the TWA; in The Aviator this provides the majority of the second half, building tension as to whether the rapidly deteriorating Hughes is willing to testify, but in this version he just goes immediately and without conflict, which can't help but feel like a missed opportunity.
Though Jones definitely looks the part, and it gave him a major career breakthrough, he never feels like he inhabits the character, which results in a flat performance that never gets to the heart of why Hughes behaved as he did. It might just be the limitations of the script, but Jones feels quite bland here, lacking the nervy, focused energy of Leonardo DiCaprio's take or the ragged, world weariness Jason Robards brought in Melvin and Howard.
He's better while showing Hughes' increasingly harmful quirks, though, and these are the strongest moments, getting across the compulsive nature of this behaviour, and if the film had leaned into this more it would have felt more developed and involved that it was. The film was based on a book written by right hand man Noah Dietrich, which might explain the detachment factor, as it always feels like it's being presented from a distance. Dietrich is played by a superb Ed Flanders, who's great as the down to earth voice of reason who increasingly becomes sidelined as the years go by as his employer's mental state begins to break down.
I though this dynamic was the best part of the whole film, given depth in a way none of the other relationships are, although it being Dietrich's account there's a definite undercurrent of bitterness to the way it's presented. Maybe the film was just made too soon after Hughes had died to really give a fully rounded portrayal of his story, lacking the hindsight later versions were able to have.
The Amazing Howard Hughes never quite takes off, going on a whistlestop journey that touches all the bases without enough substance behind it.