A recent rare screening of Max Ophul's Hollywood film CAUGHT (1948) on TCM reveals a Howard Hughes stand-in who's just about the coolest, most terrifying version of them all! Let's look at the way Howard Hughes depictions evolved, or devolved, over the years:
1948 - ***1/2
No doubt that Max Ophuls was "a woman's director" and it's through a woman's eyes--an awkward good-girl fotune hunter mix of uncertainty and antithesis played by Barbara Bel Geddes--that we get a load of Robert Ryan as a sociopathic captain of industry named Smith Ohlrig. Here's a guy with suits so sharply pressed and perfectly tailored he seems like he could smash through a wall without getting them rumpled. I dug the film and thought he came across as the TRUE hero, especially compared to his rival, James Mason's befudded Lower East Side doctor. Bel Geddes takes a job as receptionist in Mason's LES poor folk clinic after she finds the life of a trophy dull. Meanwhile she's rich enough to set up a women's shelter all her own if she wasn't such an insufferable martyr.
Ohlrig's the only one who seems to have an inkling of what is best in life: crush your enemies, see them ruined financially before you, and hear the whiny bored sighs of der wimmen. Whether waiting in the car, or at home, all but whinnying over jigsaw puzzles by the cavernous empty fireplace, Ohlrig's women are meant to freeze in place like plastic dolls when he's not around, then spring to life as perfect hostesses when he pops in with subordinates and movie cannisters in the wee hours of the night. Despite its cliche'd soap opera girl torn between money and love narrative, CAUGHT is cool enough to almost turn me around on Ophuls, whom I've long considered insufferably bourgeois. CAUGHT shows me I better simmer down and go look again.
Great Harold Robbins-bitchy camp dialogue, and the guy from The A-Team, George Peppard, as zillionaire aviator and womanizer Jonas Cord. As I wrote in an earlier post, Cord and his hot stepmom (Caroll Baker) are like Tony and Cesca in the last reel of SCARFACE ("I can't tell whether I love you or hate you"/ "Both"), while his socialite wife rots at home. Meanwhile, Alan Ladd hangs onto his hat as western hero Nevada Smith, and Leif Erikson is Joanas Sr., who rants at his tomcat progeny: "A man's judged by what's in his head, not in his bed!"
Like Robert Ryan's Hughes in CAUGHT, Peppard's is a taciturn, ruthless businessman workaholic - but unlike CAUGHT he's also highly sexed, and suffused with daddy issues. Such a role might warrant over-playing in less capable hands, but Dmytryk and Peppard are smart enough to never let Jonas smile or betray a hint of emotion other than simmering hatred and Peppard's voice is marvelously tinged with nasal reverb, like he's always either freshly buzzed or really hungover.
2004 - **1/2
This was the second of the DiCaprio-Scorsese collaborations, and the character is actually supposed to be Hughes, and perhaps for that reason it's a lionization, a mythologizing, rather than a KANE-like expose of a man who owned the world but lost his girl, or something. Instead, we're supposed to swoon as Howard makes model airplanes and boffs chorus girls, and his OCD blossoms over the course of a few hand-washing scenes. Also, the script cheats, such as showing Hughes, insane in his screening room, watching WINGS over and over (I guess they couldn't get the rights to ICE STAION ZEBRA!) and suddenly pulling it all together in time to head to D.C. and surmount the odds just by pointing out Alan Alda's investment in United Airlines as unconstitutional... or whatnot. Cate Blanchett almost saves it as Hepburn, but the dialogue gives her little room to flourish as anything but a compendium of biography cliches now worn thin from overuse (the golf game, the night flying, the dinner with family, Spence).
The myth of Hughes endures because he was a rich weirdo who shunned all aspects of the bourgeois elite. He was the Donald Trump of his day, but less charismatic, more secretive and self-loathing, and genuinely introverted. His later germophobia led to a solitary life spent in a screening room, pissing into jars and watching one special film over and over -- a film that's well-known now because of said repeat viewings by Hughes more than any actual quality:
1968 - ***
Ever since I was a kid I've been fascinated by one aspect of the Hughes legend, his repeat round-the-clock viewings of ICE STATION ZEBRA in his isolation chamber/screening room. Why that movie? Why not the one I once did the same thing with, a similarly arctic adventure, 1951's THE THING? Maybe now I have the answer. A) he didn't have a copy since he probably had a falling out with Howard Hawks, and B) the THING has no submarine.
In the old days my friends--and their dads-- and I had a thing we called: 'waiting for mom to go to bed.' As soon as she did, we could breathe... and tell dirty stories... and bust open the bar or liquor cabinet without enduring mom's nagging and browbeating. This cool captain of industry-type father of my friend developed a habit where--after the Mrs. retired-- he'd quietly drink cognac in a snifter and watch DAS BOOT, which is like ICE STATION ZEBRA (both are submarine war films with nary a woman in the cast) over and over. Seeing this, I instantly thought of ZEBRA and Hughes, and the connection was made - submarines.
The peculiar appeal of war movies for intelligent, successful men like Hughes and my friend's dad likely involves the fantasy of having clear cut goals, a uniformly competent workforce, and a reliable chain of command, but submarine movies imply even more --a kind of freedom from the anxiety of being around women, and the chaos of the public sphere. In the sub it's just dudes you know, and booze you brought, all safe--in your little hideaway beneath the waves--from nagging wives. It's comforting to think that for all their influence and power, at the end of the day, rich white dudes just want to get high and hang out somewhere that's flush with poker games, flasks, bonding, and a safe blanket of ocean above... and no women to tell them what to do. DodoodooBumbumbum, oh what joy!