best cinematography shots from the aviator

Reilly is predictably dependable as Noah Dietrich, Hughes’ financial advisor. Kate Beckinsale acquits herself surprisingly well as Ava Gardner, Ian Holm adds some nice comic relief as Professor Fitz and John C. She transcends cheap imitation into a full-bodied performance that allows the audience to accept that she is attempting to play, arguably, the most famous actress of all time. Cate Blanchett has “Oscar-nomination” written all over her with a stunningly accurate portrayal of Katherine Hepburn. The real stars, however, are the supporting roles, which play out as a “who’s who” of contemporary Hollywood. DiCaprio turns in one of the best performances of his career, invoking Hughes with an adventurousness and restlessness that he adroitly couples with the mogul’s eventual drift into madness. Mayer (the last M in MGM), and Jean Harlow (played by No Doubt singer Gwen Stefani).The acting is all top-notch. In its wide scope, there are interesting touches, like the appearance of legendary Hollywood luminaries Errol Flynn (played by Jude Law, hamming it up to perfection), Louis B. The film follows Hughes’ glory days over a two decade period, from the late 1920s to the late 1940s, noticeably ignoring the hermetic drug-filled conclusion of his life. It then flash-forwards to 1927 and the set of “Hell’s Angels,” a film that Hughes produced and co-directed. The film begins in an expository flashback which attempts to explain some of Hughes’ later oddities. It is everything that we hope for in film from the man who brought us “Raging Bull” and “Taxi Driver.” While the rest of the film doesn’t quite reach the grandiose heights of a few key scenes, The Aviator is a majestically artistic and ambitious statement in an age where the word “epic” has come to mean turgidly pretentious Hollywood productions like “Pearl Harbor” or “Alexander.””The Aviator” is the story of Howard Hughes (Leonardo DiCaprio): film producer, aviation giant, Hollywood playboy and all-around eccentric. There is a sequence almost two hours into Martin Scorsese’s “The Aviator” that is startling, explosive, harrowing and even a little emotional.

Best cinematography shots from the aviator