Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The aviator movie essay
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The aviator movie essay
Director Martin Scorsese brilliantly portrays the life of billionaire Howard Hughes. Hughes was considered the richest man in the country and possibly the world (Katherine Ramsland). He had inherited his wealth first through his father’s business and then film making and aviation. Martin Scorsese accurately depicted Hughes’ image, health problems, airplanes, and the Brewster Senate Hearings with few inaccuracies.
Leonardo Dicaprio held the look and persona of Howard Hughes accurately. His hair was slicked back and parted which had been the most common style of Hughes’ life and the time period. This simple act helped create the character and gave Hughes a civilized look. Another signature trait of Howard Hughes was his mustache. The mustache was grown to cover a scar that he had received crashing the XF-11, July 7, 1947 (Anonymous-Check-Six). Scorsese did not add the mustache until later and this added accurate depictions. The hair style and mustache were used in Hughes’ times of sanity. There were times throughout his life when his illnesses and anxieties overcame him and his appearance became uncivilized. His hair, beard, and fingernails all grew and he rarely wore clothing and this added a parallel to Hughes’ life (Ramsland). Scorsese kept Hughes’ style and character during the film which helped accurately show the life of Howard Hughes.
Scorsese kept Hughes’ looks, and also showed the side affects from Hughes’ mental illnesses. Since Howard was a young boy, he had been suffering from Hypocondrism (Anonymous-Famous Texan). Hughes was greatly afraid of germs and was constantly washing his hands. He would refrain from shaking hands or coming near others. He was also known for burning his clothes because he c...
... middle of paper ...
...tyles. His health troubles were shown through uncommon traits and characteristics; Scorsese’s airplanes looked exactly like those made in the lifetime of Howard Hughes. Scorsese rarely threw false information into the motion picture and when he did, it was slight and miniscule.
Works Cited
Anonymous, "Crash of the XF-11". Check-Six. March 10, 2010 .
Anonymous, "Howard Hughes". Famous Texan. March 10, 2010 .
Ramsland, Katherine. "The Mystery of Howard Hughes". Psychological Autopsy for Death Investigation. March 10, 2010 .
McCaffery, Bob. "Senate Hearings". The Aviator Howard Hughes. March 10, 2010 .
The Aviator. Martin Scorsese
The Outsiders is a book about Greasers And Socs. The Greasers are the poor east side kids they would wear their hair long and greasy and they will dress in blue jeans, T-shirts, or wear they shirttails out and wear a leather jacket and tennis shoes or boots. The Socs are the rich west side kids that worn nice clothes, drove nice cars, and had all the pretty lady’s. They both was gangs in Oklahoma. The Socs they would jump Greasers, wreck houses, and throw beer blasts for kicks.
Like most, the stories we hear as children leave lasting impacts in our heads and stay with us for lifetimes. Hughes was greatly influenced by the stories told by his grandmother as they instilled a sense of racial pride that would become a recurring theme in his works as well as become a staple in the Harlem Renaissance movement. During Hughes’ prominence in the 20’s, America was as prejudiced as ever and the African-American sense of pride and identity throughout the U.S. was at an all time low. Hughes took note of this and made it a common theme to put “the everyday black man” in most of his stories as well as using traditional “negro dialect” to better represent his African-American brethren. Also, at this time Hughes had major disagreements with members of the black middle class, such as W.E.B. DuBois for trying to assimilate and promote more european values and culture, whereas Hughes believed in holding fast to the traditions of the African-American people and avoid having their heritage be whitewashed by black intellectuals.
The Pacific coast port city of San Francisco, California provides a distinctively mysterious backdrop in Dashiell Hammett’s The Maltese Falcon. Unlike many other detective stories that are anchored in well-known metropolises such as Los Angeles or New York City, Hammett opted to place the events of his text in the lesser-known, yet similarly exotic cultural confines of San Francisco. Hammett used his own intricate knowledge of the San Francisco Bay Area - coupled with details collected during a stint as a detective for the now defunct Pinkerton Agency - to craft a distinctive brand of detective fiction that thrived on such an original setting (Paul 93). By examining the setting of 1920’s San Francisco in The Maltese Falcon, it becomes apparent that one of Hammett’s literary strengths was his exceptional ability to intertwine non-fictional places with a fictional plot and characters in order to produce a logical and exceedingly believable detective mystery.
During his lifetime he was known as the wealthier self-made man in the world. Howard Hughes’ riches directly and indirectly helped America’s economy flourish for many decades. For one, Hollywood films accounts for a portion of U.S goods and service revenues. Also, he created many job opportunities for men who could not seek job during the depression and beyond. Two, Hughes was known for spending excessively thought-out his life and more so towards he later adulthood. He purchased an entire Nevada hotel, after refusing to leave when asked. He became Navada’s biggest landlord. Hughes went on a one hundred million dollar buying spree; he bought casinos, local airport, and a television station. All of which helped expand America’s economy. Also,
Through these extensive genres, Welles made a brand of himself. He was known for playing in theaters, receiving the American Film Institute’s Lifetime Achievement Award, the D.W. Griffiths Award, and was named number sixteen on the Fifty Greatest Screen Legends List of the American Film Institute. In Welles films, famous actors like Everett Sloane and Joseph Cotton made constant appearances. His filmin...
--clockwork orange... at times I wish I had those eye-lid clamps for some of my classes, that and bottle of visine, too. it's a nicely designed page, with lots of information on his films. I forgot he was the one who directed dr. strangelove, a personal classic of mine.
Since the birth of movies, Hollywood has strived to delve into the human experience and present certain aspects of life to the general population. Mental disorders are just one of many topics that are often explored for use in the media. The film A Beautiful Mind focuses specifically on paranoid schizophrenia, and follows protagonist John Nash’s life as he lives with the disorder. The film details Nash’s presymptomatic life at Princeton University, follows him through the early stages of the disorder, and continues as the symptoms begin to overrun his life. Luckily for Nash, his disorder is eventually clinically diagnosed and he is treated. The movie not only shares the tale of Nash’s life, but also shares with audiences a lesson about the
...n. Amid massive worldwide publicity, Irving was sentenced to 2 ½ years in federal prison only two months after he appeared on the cover of Time. It was money that etched Howard Hughes into the public mind. The sound of his name was associated with untold wealth, wealth supposedly accumulated through his gift for turning all he touched to gold. left the world with a spectacular legacy that will be remembered for years to come. His contributions to the film business, such as attention to detail and high budget spending, are still being used to this day. Howard’s cutting edge technology used to build his many planes has let to development of many aircrafts presently in use. In truth, we are left with two Howard Hugheses- the public and the private: the rational disguise and the world of shadows, of instinct to preserve and protect at any cost the image he had created. That it has taken so many years for the veil to part is tribute both to his genius and to his tragedy.
...d changing the tomb to say Plath. Hughes was then criticized even more when his new wife, his mistress, killed herself and their children the same way Plath did six years later.
The capitalist ideas so prominent in the Reagan / Thatcher era are as clearly instilled in the youth of the 1980s films as their, usually middle class, screen parents. Only “Pretty In Pink” (and indirectly, “The Breakfast Club”) actually confronts class differences; in the other films, the middle class way of life is accepted as default. Almost every John Hughes film is set in affluent suburbia with the repetition of certain imagery (the big house, gardens and tree-lined quiet streets, and often a wood-paneled station wagon) with a certain population (rich, white families), which is reflected in the body of the attended, well-equipped schools.
The Kite Runner focuses on the relationship between two Afghan boys Amir and Hassan. Amir is a Pashtun and Sunni Muslim, while Hassan is a Hazara and a Shi’a. Despite their ethnic and religious differences, Amir and Hassan grow to be friends, although Amir is troubled by Hassan, and his relationship with his companion, one year his junior, is complex. Amir and Hassan seem to have a "best friend" type relationship. The two boys, Hassan and Amir, are main characters in the book titled, The Kite Runner. The two boys have a relationship that is significantly different compared to most. There are many different facets that distinguish the relationship the boys possess. The boys do write their names in a pomegranate tree as the "sultans of Kabul" (Kite Runner 27) but, their friendship is not strong and it is one sided. Hassan has love for Amir. He loves him like a brother. Hassan is exceedingly loyal to Amir. The relationship between the two boys is emotionally wearing and rather gloomy for the most part. The main reason for their complicated relationship is the fact that Amir is Pashtun, and Hassan is Hazara. The Afghan society places Hassan lower than Amir. Hassan is Amir's servant. The placement of Hassan in the Afghan society disenables Amir from becoming Hassan's true friend. Amir sees Hassan as lower than human. Amir ruins the chance for friendship between himself and Hassan because he is jealous of Hassan, he thinks of Hassan as a lower human, and because Amir possesses such extreme guilt for what he has done to Hassan. Amir is an unforgivable person overall.
Hughes was born in Joplin, Missouri on February 1, 1902. He was born into a black family of abolitionists and his parents were both bookkeepers. When Hughes was young his parents separated, causing his father to move to Mexico and his mother to leave him for quite a while in search of a steady job. Hughes could never call a place ?home? for too long because he was always moving from one place to another or living with different family members and friends. This constant movement affected his writing because he learned about many different people and life styles from the places he lived.
Like Jordan Belfort who follows his own code, Scorsese often makes movies with protagonists who live outside mainstream norms (Connelly). Howard Hughes (the aviator) is another example of Scorsese’s work in which he demonstrates the eccentric protagonist character of Hughes and his contribution in the aviation history. Other Scorsese films, such as The Departed— about an undercover cop and his battle with the Irish American mafia— is also about the exceptional way that the cop character, also played by DiCaprio, acts outside conventional police work in order to perform...
The link between expressionism and horror quickly became a dominant feature in many films and continues to be prominent in contemporary films mainly due to the German expressionist masterpiece Das Kabinett des Doctor Caligari. Wiene’s 1920 Das Kabinett des Doctor Caligari utilized a distinctive creepiness and the uncanny throughout the film that became one the most distinctive features of externalising inner mental and emotional states of protagonists through various expressionist methods. Its revolutionary and innovative new art was heavily influenced by the German state and its populace in conjunction with their experience of war; Caligari took a clear cue from what was happening in Germany at the time. It was this film that set cinematic conventions that still apply today, heavily influencing the later Hollywood film noir genre as well as the psychological thrillers that has lead several film audiences to engage with a film, its character, its plot and anticipate its outcome, only to question whether the entire movie was a dream, a story of a crazy man, or an elaborate role play. This concept of the familiar and the strange, the reality, the illusion and the dream developed in Das Kabinett des Doctor Caligari, is once again present in Scorsese’s 2010 film Shutter Island. It is laced with influences from different films of the film noir and horror genre, and many themes that are directly linked to Das Kabinett des Doctor Caligari shot 90 years prior.
Albert Camus states that “In our society any man who doesn’t cry at his mother’s funeral is liable to be condemned to death” (Camus, 18). In the book The Outsider, Meursault defies local convention by not showing the sadness that is expected of him at his mother’s funeral. Ultimately, his life is dependant on this very decision of whether or not to show emotion. In the society that Meursault lives in, one is expected to conform to their standards and social norms. Anyone who deviates from these norms is considered an outcast and destined to die at the hands of society. Meursault was expected to show outwards signs of grief whether it was real or not. Even if the grief is artificial, most people will play to the audience and show signs of grief to minimize the risk of losing their life. Meursault’s was conflicted between following society’s rules and being true to himself. The nurse at his mother's funeral warned him that “if yougo slowly, you risk getting sun-stroke. But if you go too fast, you perspire and then in the church you catch a chill. She was right. There was no way out” (Camus, 22). The nurse’s admonition is consistent with his internal struggle. To Meursault, walking too fast is similar to conforming to society and walking too slow means following his own path. There is no middle ground to the situation, no happy median and no suitable compromise. Meursault faces the challenge of whether or not to conform on three main levels; physical, emotional and spiritual. He has the constant battle between following his physical self; his id, and doing what is right. Meursault also has to decide whether or not to be true to his emotions and decide if lying during his trial is a suitable course of action. Finally h...