[yasr_overall_rating]
An unconventional love story of an aspiring actress, her determined driver, and the eccentric billionaire who they work for.
Howard Hughes started out as a producer in the film industry in the 1920s and then gradually transitioned into the aviation business, going on to become one of the most financially successful individuals in the world but he was also something of a recluse, in part due to having OCD, and as a result, displayed severe outlandish behavior and suffered from unpredictable mood swings. He was also known as a womanizer, having dated Hollywood starlets such as Bette Davis, Ava Gardner, Olivia de Havilland, Katharine Hepburn and Ginger Rogers so it is very fitting that none other than Warren Beatty portrays him in “Rules Don’t Apply,” a known skirt chaser and lady-killer in his heyday. Beatty’s first movie in 15 years, he not only stars in the film, he also co-wrote it, produced it and directed it and states that it is not a biopic, but rather a fictional spin on the charismatic entrepreneur, utilizing some of his well-known character traits.
Set in 1958, we are introduced to Marla Mabrey (Lily Collins), a young beauty queen from a small town in Virginia who has been invited by Mr. Hughes to come out to Hollywood for a screen test, with the promise of a starring role in one of his upcoming movies. Joined by her devout Baptist mother Lucy (Annette Bening), they meet their driver Frank Forbes (Alden Ehrenreich) at the airport where he transports them to their new place of residence, a beautifully furnished house overlooking the Hollywood hills below. Filled with excitement and motivation, Marla, as well as a bevy of other young starlets, must attend classes every day, none of them having met the solitary Hughes but over time, Marla begins to feel trapped, not being able to go anywhere or do anything without being accompanied by Frank, who must report her goings on to his boss, who in turn, reports to Hughes. One of many laws established by Hughes within his company is that none of his employees are to partake in any romantic or sexual interactions, if they do, they will be terminated immediately. In the beginning this isn’t much of a problem but as Marla and Frank spend every day together, driving from location to location, they begin to enjoy each other’s company. A little too much but before their relationship has a chance to blossom, Marla finally gets to meet Howard. While he comes across as very subdued and personable, nothing like the rumors circulating about him, he and Marla connect on a personal level. Shortly thereafter, she and Frank finally succumb to their desires, with disastrous results, where she quickly makes her way back to Howard’s place. Considering him a friend that she can confide in instead of her employer, but having consumed too much alcohol, they have a romantic liaison that changes the course of their lives forever.
Director Beatty obviously intended for “Rules Don’t Apply” to be his ode to the golden age of Hollywood and while he most certainly captures the essence and atmosphere of the period, the script has a tendency to wander, much like Beatty’s eye did in his prime. The trailer for the movie gives you the distinct impression that the story will revolve around Marla and Frank, who both just happen to work for Hughes but instead, we are introduced to a myriad of characters who work for, and work around, Hughes. Assistants, producers, directors, actors, agents, models, airline investors who have bankrolled millions of dollars into Hughes’ majority share of Trans World Airlines but have yet still to meet him face to face, and the list goes on. Unfortunately, most of these characters appear once, maybe twice, and are never seen again. The problem is that there are just too many characters to keep count of, not to mention the amount of celebrities playing them, from Alec Baldwin and Ed Harris, to Oliver Platt, Dabney Coleman and Steve Coogan, sometimes, less is more.
As Howard pretty much cuts off all communication with Marla after their encounter, she moves back home to Virginia because she might be pregnant and the story switches gears and concentrates on Frank and Howard, with Frank quickly making his way up the corporate ladder as he is not afraid to tell him how it is. He eventually becomes his confidant, and, at times, Howard looks at him like the son he never had and while it is a touching angle, sadly, it is never developed any further. The movie then switches gears again and we follow Hughes as he becomes bored with L.A. and packs up shop and moves to Las Vegas. Shortly afterwards, having been threatened by the mob, he decides to move to London for a while and then on to South America. Amusing in the beginning, the constant change of scenery becomes irritating as it serves no other purpose than to move the story forward, a plot device cunningly disguised as story development. There is no coherent structure to the overall script, it gives us sporadic glimpses into Hughes’ life but rather than focusing on one dominant storyline, we are given an endless supply instead, and told to pick whichever one we like most and go with it.
One of the film’s saving graces is the performances by all involved, especially Beatty. His Howard Hughes is utterly spellbinding as a man who has everything but at the same time, appears captured within his own confines. He is wealthy beyond belief but because he constantly distances himself from all who surround him, choosing his own company instead of placing his trust in others, he never truly gets to live. Granted, in his earlier years, he was a playboy, film producer, entrepreneur, and did anything and everything he could dream of but “Rules Don’t Apply” takes place in the last twenty years of his life, when he began slowing down, physically and mentally. Both Lily Collins and Alden Ehrenreich are fine in their respective roles, as are the rest of the cast but this film belongs to Beatty, plain and simple. I envision a gold statue in Beatty’s hand come Oscar night but it won’t be for directing, for as admirable and grandiose as “Rules Don’t Apply” was probably intended, Beatty’s performance is the only flawless accomplishment in a very flawed film.
In theaters Wednesday, November 23rd
