Even though I am not going to discuss about it in this article, the most captivating thing for me in ‘The Aviator’ is its colors. There is a lot to discuss from various perspectives and film production departments about the use of colors in the film, but for this article I am going to focus on the character design, visual motifs and how they communicate a deeper meaning. Before coming to ‘The Aviator’ I would like to discuss a common visual motif used in Indian films.
I watched mostly Marathi and Hindi films as a kid. In those films, (Most that were made anytime between 1913-2013) when a couple hugs, they slowly pan away from the couple and show us a framed painting of a horse or cut to two flowers bouncing on top of each other. It might sound silly, but this is the most intelligent method Marathi and Hindi filmmakers established in those times because movies were meant to be seen with the entire family in cinema halls. Why people were not comfortable to watch ‘bold scenes’ with their families is a different question. But the reason behind such decisions must have involved a couple of reasons. Such as- what if you cast a spectacular actress who is not comfortable doing a bold scene? Would you not cast her merely because of 2 or 3 bold scenes in the entire film? In addition, the kiss scenes or the sex scenes are beats, and not the whole narrative. Moreover, Indian couples back then never kissed in front of families or in public hence the Indian audiences in the past would not have connected with the characters kissing on the screen. The point is, they still established romance by using visual motifs mentioned above. Of course, as time passed it was overused like a vertigo effect in Hollywood films and comic sans in typography and became a cliché.
And hence, let’s talk about visual motifs that are designed specifically for one film, one story. The Aviator, starring Leonardo DiCaprio, directed by Martin Scorsese is a great example of such visual motifs that are connected specifically to one narrative. They help establish the character, unfold the story, help us reach beneath the iceberg. From the beginning of the film we know Howard Hughes (Leonardo DiCaprio) is intelligent, passionate and rich. That is a rarest combination we get to see in real life. Everyone who works for Howard tells him how unrealistic his plans are, and he proves them wrong every single time! Unlike most rich people, Howard drinks milk instead of alcohol. He works most of the time and makes impossible possible! A perfect hero is established. Now, Howard Hughes was a real person and ‘The Aviator’ is his life story. But we are not reading his biography or watching a documentary about him. We are not emotionally engaged with real Howard Hughes; we are connected to the Howard Hughes played by Leonardo DiCaprio.
This emotional engagement works very well the way it is structured. In the beginning we see a young, handsome, genius, passionate man with gorgeous blue eyes. (Exactly how my grandmother used to do describe a charming prince while telling me bedtime stories.) He is someone we all want to be and most of us are not. So, he is part of the fictional world until, he too faces problems, has emotional breakdowns in later parts of the film. This is the sweet spot where we connect with the protagonist. We empathize with him. It might be because your relationship broke the way his broke up in the film, or your colleagues too does not appreciate your vision, or it could be because you too burned your clothes or strives to be with your ex-girlfriend. The fact is- you were there with him at that point in the film! And that makes the film and the filmmaker successful.
Howard Hughes washing hands is pretty routine in the film. The deeper meaning behind it does not strike until we see him observe, literally stare at an old sweeper’s hand in the workshop. Before this scene we have watched him wash hands rapidly until they bleed. Howard washes hands every time he shakes hand with someone. Clearly, he is trying to ‘wash out’ the fact that he shook hands with someone. Also there might be an idea that whatever ‘gift’ in thinks he has with flying an aircraft is precious and hence chose wisely what to touch. But why? Why does he think he needs to wash his hands? And therefore, hand is a prominent visual motif used in ‘The Aviator.’ Even 4 years from now if anyone asks you to briefly narrate them the story of ‘The Aviator’ you will remember and mention Howard Hughes (Leonardo) washing hands. This visual motif has become an inseparable part of the film. It creates the drama; it makes the story more and more cinematic. But, instead of having a separate washbasin scene, drama could have been elevated by increasing the time from one person offers a handshake and Howard Hughes shaking hands with him. A closeup expression shot, a closeup hand shot, a mid and a closeup of the handshake and end the scene by Howard brushing his hands-on trousers. It would have done the needful to narrate the story, but it would not have given us information about Howard Hughes resulting in audience not feeling empathetic with Howard Hughes and maybe I would not even have thought to write about the film!
Another mesmerizing feature I observed was Howard’s palilalia. Now I am not sure if real Howard Hughes too had this disorder but even if he did, is that the only reason Leonardo’s Howard has palilalia? Scorsese is a genius director of all time and I refuse to believe he would choose to do it merely because of the fact. I think the palilalia has a philosophical perspective and that too is a visual motif. Both, people for and against Howard strive to stop him from his vision because they can’t see it, but nothing stops Howard. He doesn’t stop anywhere in life, but in his words! The universal truth about balance, you see! Destiny, God anything cannot stop this man from achieving what he wants but to maintain the balance- palilalia! This is what separates Howard from a superhero. The less problems he has, the less empathy we as audience have for him!
