Melvin und Howard

The story of hard-luck Melvin E. Dummar, who claimed to have received a will naming him an heir to the fortune of Howard Hughes.

I can't say I'm an expert on Howard Hughes, and I have never heard this story before. After watching the film and looking into it a bit, I am somewhat interested. Especially knowing that Agent Gary Magnussen was involved.

But the film itself is just alright. Very little of it has anything to do with Hughes or the courtroom drama. Much pf it has to do with the boring life of Dummar and the problems he had with his wife. This was okay, as far as movies go, but certainly nothing extraordinary. I would not place it among Jonathan Demme's best.

I saw this film only recently. I was sparked to see it because I was interested in seeing Paul LeMat in what I had heard to be was his most defining film role. From the first scene I was hooked. The scene in which the character of Melvin picks up Jason Robards, playing Howard Hughes, in the desert. The two singing Bye Bye Blackbird to each other and then remarking about the scent of sage and greasewood was both touching and humorous. Robards short performance in the film was underrated and one of the best I have seen him give. Paul Le Mat is wonderful, giving a performance that is oozing with comical sweetness and vulnerability. He is one of the only actors I have seen to truly embody the blue-collar man authentically. Mary Steenburgen in daffy and hilarious. There was not a lacking actor in the film in my opinion. It is a travesty that Paul LeMat never achieved the success that he could have with performances like this and in his many other seldom viewed films. This offbeat treat is one of the best written movies I have seen in a long time. If you get the chance to see it, please do.

I saw this film back in 1980/81 when it was first released and liked it a lot then. Now have seen it again recently, and it still holds up. There is a certain joy of life depicted in this film that is in some ways also bittersweet (and yet refreshing). What is sad in some regards now is the realization upon seeing it again that the era of life portrayed here is now gone from the collective American psyche to some extent. That isn't to say the film is dated per se. It's just that Melvin isn't cynical at all and he doesn't seem to have a hateful bone in his body. He's neither a wimp nor a man of intellect but someone whose basic humanity emanates.

What helps the film, too, is the pairing of actors Paul LeMat as Melvin, and Mary Steenburgen as Melvin's wife, Linda -- they are an endearing couple.

I attribute the film's memorable tone and spirit to not only the actors (including Jason Robards & some of the supporting cast) -- I like to believe that director, Jonathan Demme, put his stamp on this, too. Now in retrospect am learning that the writer (Bo Goldman) probably deserves some kudos.

In this day of $100 million plus movies with special effects that drown out the dialog and stars with out-sized egos and paychecks to match, a film like Jonathan Demme's minor masterwork, "Melvin and Howard," would be lucky to get a video distributor. Even a quarter century ago on its initial release, the film was largely ignored by audiences despite glowing reviews, Academy Awards, and critics kudos. However, those who make the effort to seek out this wonderful fable will be rewarded. Based on a story that may or may not have been true, "Melvin and Howard" spins the tale of an easy going hard luck kinda guy named Melvin Dummar who gives a lift to an old man he finds asleep in the desert. The man says that he is Howard Hughes, and, years later, when Hughes dies, Melvin finds a will that has been left on his filling station desk that names him as one of the heirs to the Hughes fortune. Since we know the ending before the film starts, the pleasures lie in the quirky characters and situations that screenwriter Bo Goldman and a terrific cast have created. Despite the circus that surrounded the question of the will's validity, Melvin was content just knowing that, during their drive, Howard Hughes had sung a song that Melvin had written. His evident joy in that simple event was a rare personal quality even in 1980. There are a lot of other unpretentious, yet memorable, moments in this outstanding film.

The film's opening interaction between Dumar (the quintessential dreamer/loser) and Hughes (who found his dream but lost himself)is hauntingly brilliant. As they drive along in Melvin's truck, on the cusp of desert's dawn, Melvin manages to draw Hughes out of his crusty and maniacal shell by getting him to sing one of his self-written songs. As dawn opens, Hughes is still singing. It is probably his most uncomplicated - yet happiest moment in years.

Melvin never does receive any money from the disputed and disregarded will. But he really does not care. He still has his dreams, and knows that validation can be found in impecunity as he reflects upon his encounter with Hughes: "No, I'm not going to see that money. That's all right. Because you know what happened? Howard Hughes sang Melvin Dumar's song. He sang it." Some moments are truly better than all the pain that money can buy.