Howard Hughes Repeating Phrases
The movies shows Hughes' affiliation with OCD and hermiting. It shows him choosing not to use the toilet, but instead use jars. It seems a sad way to end such a turbulent life, but the movie ends decades before Hughes' actual demise. His condition.
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From the December 4, 2004 Chicago Reader. — J.R.Million Dollar Baby. (Masterpiece)Directed by Clint EastwoodWritten by Paul HaggisWith Eastwood, Morgan Freeman, Hilary Swank, Jay Baruchel, and Mike ColterThe Aviator. (A must-see)Directed by Martin ScorseseWritten by John LoganWith Leonardo DiCaprio, Cate Blanchett, Alec Baldwin, Alan Alda, John C. Reilly, Kate Beckinsale, Adam Scott, and Ian HolmDespite his grace and precision as a director, Clint Eastwood, like Martin Scorsese, is at the mercy of his scripts.
But in Million Dollar Baby he’s got a terrific one, adapted by Paul Haggis from Rope Burns: Stories From the Corner.This book was the first published work by Jerry Boyd, writing under the pseudonym F.X. Toole, after 40 years of rejection slips. Boyd had been a fight manager and “cut man,” the guy who stops boxers from bleeding so they can stay in the ring, and he was 70 when the book came out; he died two years later, just before completing his first novel. This movie is permeated by those 40 years of rejection, and the wisdom of age is evident in it as well. Henry Bumstead, the brilliant production designer who helped create the minimalist canvas — he was art director on Hitchcock’s Vertigo (1958) and has been working for Eastwood since 1992 — will turn 90 in March, and Eastwood himself will be 75 a couple months later. All these years pay off in economy as well as observation.The offscreen narration is by a one-eyed ex-boxer named Eddie “Scrap-Iron” Dupris (Morgan Freeman), Scrap for short, who helps run a gym called the Hit Pit.
But the story belongs mainly to his best friend, Frankie Dunn, the gym’s owner (Eastwood), and Maggie Fitzgerald (Hilary Swank), the 31-year-old hillbilly Frankie reluctantly agrees to train and manage. This leads to some awkward point-of-view issues concerning what Scrap saw and what he merely surmised or heard about that are problematic only if one chooses to focus on them.
Howard Hughes Repeating Phrases And Examples
Having him recount events sometime after they happened only adds to the fatalistic noir atmosphere. As a boxing movie, this is every bit as grim as The Set-Up (1949) and Fat City (1972), and as an underlit look at a seedy American subculture, set mainly in a few lairlike locations, it’s as dark and doom ridden as the 1961 The Hustler (with which it paradoxically shares a ‘Scope format) and Eastwood’s own 1988 Bird.I can’t think of many things I’m less drawn to than boxing. Million Dollar Baby tends to view it as neither an especially interesting sport nor a metaphor for something else (as Raging Bull does), but rather as a particularly acute form of savagery in a savage world.
Howard Hughes Repeating Phrases Examples
“Boxing is about respect,” Scrap observes early on, “getting it for yourself and taking it away from the other guy.” Yet unlike Raging Bull‘s Jake LaMotta, Maggie shows few signs of vengefulness or spite. She merely wants to make her mark in a world where she’s long been labeled trailer trash.Apart from that, we know little about her past or about Frankie’s, and one of this movie’s triumphs is that it says as much as it does despite minimizing its backstories and offscreen space.
The performances of the three leads are perfect, so we don’t care that we don’t know what lies right outside the Hit Pit. Unlike most other Eastwood films, this one has no sex, depicted or remembered. We know Frankie has a daughter and that he writes her every week, but the letters are all returned and we never learn anything else about her. We also know nothing about her mother. When we belatedly get an account of how Scrap lost his eye and how Frankie was involved, this information almost feels like a glut.
We learn more about Frankie’s troubled Catholicism (he habitually attends mass and has an ongoing dialogue with a priest afterward) and his nurturing of his Irish roots (he studies Gaelic and reads Yeats) than we do about his everyday life, especially before he agrees to train Maggie. We never learn how Maggie spent her 20s.
And the two glimpses of Maggie’s mother and some of her other family members may be more than we care to know.Conservatives routinely link themselves to “family values,” yet this movie by a conservative filmmaker gives us one of the most negative views of family I’ve ever encountered. In a bleak world, where neither family nor religious faith offers any lasting respite, Million Dollar Baby offers redemption that derives from the informal and nameless loving relationships people create on their own rather than inherit from family, church, or society.The movie’s most memorable image – included in the trailer, in spite of its apparent irrelevance to the plot — occurs in a filling station, when Maggie glimpses and waves at a little girl holding a puppy in the front seat of an adjacent truck, a character we never see again. Later we see Maggie and Frankie enjoying lemon pie together at a roadside joint. Such moments, though surrounded by ugliness, darkness, and violence, offer all the transcendence we need. In a context so close to despair, small but considered acts of kindness and fleeting moments of happiness carry the force of epiphanies.Lots can be said for The Aviator as entertainment, though not much for it as edification. John Logan’s witty yet shallow script suggests we’ll learn something significant about the psychology of Howard Hughes (1905-’76), but it doesn’t deliver.Logan and Scorsese held my attention for all 169 minutes — through the comic extravaganza of Hughes (Leonardo DiCaprio) blowing a wad on his first talkie (the 1930 Hell’s Angels), the spectacle of his building and flying planes while romancing all the pretty ladies in sight, and his intrigues as he defies and outwits corporate entities larger than his own, such as MGM, TWA, and the U.S.