L'Exception à la règle

Rules Don't Apply (2016)

*** (out of 4)

Marla Mabrey (Lily Collins) arrives in Hollywood as a contract player for the one and only Howard Hughes (Warren Beatty) but before long she realizes all the weird stories she's heard about him are true. She strikes up a friendship with her driver Alden (Frank Forbes), although they can't take it any further due to Hughes' rules about his workers dating his future stars. Before long the two young people grow closer to each other as well as Hughes.

Isn't it shocking that it's been nearly twenty-years since Beatty wrote and directed a movie? It's even more shocking that it's been fifteen-years since he acted in one. There have been rumors of Beatty doing a Howard Hughes bio-pic for decades and it was rather shocking when news broke that he was finally making it. In another shocking turn, what people got certainly wasn't what they expected. I saw the movie six days after its release and it's already bombed with critics and at the box office. Sadly the picture just wasn't what people expected or wanted and who knows if this is the last time we see the legend on the big screen.

I must admit that it's rather shocking to see Beatty basically making an old-fashioned romantic comedy. I mean, he could have done that but why waste his Hughes bio on that type of movie? I want to say that I did enjoy the movie and I found it to be quite charming but at the same time you just have to wonder what was going on with this thing. The picture is certainly uneven to say the least. The first hour is basically the romantic side of the two young characters with Hughes basically a supporting player. The second half of the picture kicks up the drama and darker elements as the romantic couple take a back seat and Hughes gets the attention. I'm really not sure why they done the story this way but it seems like one or the other would have made for something better. Did I mention the strange sex/religion stuff going on?

As I said, once you get over the fact that this isn't the type of movie you're expecting, once you set back into your seat, what we get here is pretty good. I thought the romance actually worked in an old-fashioned type of way and there were certainly some great performances here. Both Collins and Forbes are terrific together. Both of them nail their characters and they also share a terrific chemistry with each other. Collins is really the stand out as she perfectly captures the innocence of her character. Beatty is also terrific in his supporting role. The first portion of the film has him doing a lot of great comic timing but Beatty gets to show his dramatic side in the second half with the character's troubles come into play. It really makes you wonder what he could have done in a straight bio. The supporting players feature some very well-known actors and all of them do a fine job.

RULES DON'T APPLY has some great cinematography, nice music selection and for the most part it's just a charming and fun film. Until the drama starts and then the drama works just fine as well. I just don't think the two mixed all that well and that's why the film seems uneven. Sadly, RULES DON'T APPLY will probably become known as being a major flop, which is too bad because there's a good movie here. Most people probably won't see that because we expected more from Beatty.

I have so much to say about this gem that I'm not sure where to start from. Let me just say that as soon as I heard Gutav Mahler's Adagietto coming out of the Hollywood Bowl while the young virginal couple sit in the car facing the moon, I was transported to Venice, the Venice of Luchino Visconti in Death in Venice. Throughout the film Mahler's Adagietto kept magically coming back so, for me, that's the film. Art and commerce, too much and too little, life and death. Warren Beatty, writer, director, producer also stars as Howard Hughes, a character who's lived in Warren Beatty's mind for decades. He moved me. It was clear why Hughes was a character that could allow Beatty to talk about very personal things without having to do it in first person. - Mia Farrow told Michael Caine between takes in Hannah And Her Sisters: "Woody is telling me things through you" - Here Warren Beatty is telling us things about him through Howard Hughes. A mass of contradictions that can only be explained in the heart and mind of an artist. I'm already a huge fan of Alden Ehrenreich right from Tetro and here he is wonderful, tender and real. Lily Collins is new to me but Annette Bening, well Annette Bening reminded me in her few minutes on the screen that she is one of the greatest actresses we've got. Death in Venice and the last image of Howard Hughes left me with a knot in my throat. I will certainly see it again, just as sure that Rules Don't Apply will be rediscovered in years to come.

Without a doubt, Howard Hughes was one of the most eccentric and enigmatic figures of the 20th century. A billionaire who went into the movie business, he left his mark on a number of industries. Martin Scorsese focused on part of Hughes's career with "The Aviator". Now Warren Beatty does so with "Rules Don't Apply". This one looks at a relationship between one of Hughes's starlets and her driver in the 1950s. It's not a great movie, but infinitely better than Beatty's last movie, the crime against humanity "Town & Country" (which rivaled Woody Allen's worst movie "Everyone Says I Love You" in being an obnoxious fetishization of neurotic New Yorkers having affairs with each other).

The only thing that drags this movie down is the appearance of two people: Steve Mnuchin (as a banker) and Louise Linton (as a potential starlet). They're now husband and wife. He's Treasury Secretary, while she Instagrammed a photo of herself and tagged the designers, and proceeded to make a let-them-eat-cake remark when a woman criticized her use of a government plane for travel (this was after she published a book purporting to tell of a year that she spent in Zambia, but the entire nation of Zambia disdained it as a promotion of the white savior trope).

Anyway, it's a good movie otherwise. Aside from Beatty, it stars Lily Collins, Annette Bening, Martin Sheen, Alec Baldwin, Matthew Broderick, Candice Bergen, Dabney Coleman and Ed Harris. To put that another way, it stars Clyde Barrow, Snow White, Carolyn Burnham, Capt. Willard, Jack Ryan, Ferris Bueller, Murphy Brown, a creepy boss and Jackson Pollock.

I'm surprised that Warren Beatty returned to directing after almost 20 years with another film about a disturbed man who is falling apart. Even more, why make another Howard Hughes film? You'd learn more about Hughes by watching the Tommy Lee Jones film or "The Aviator." Mr. Beatty was trying to be contemporary with the editing of the film (4 editors by the way) by cutting away from a scenes abruptly that were starting to get interesting.

The pace of the romance between the two lead characters was uneven and thus hard to believe. The costumes, production design, cinematography and much of the acting was great, but the narrative was confusing. There was a lot of interesting quirkiness and style, but because the point of view was scattered, it was hard to really get to know the characters.

Rules Don't Apply is a showbiz comedy about two star-crossed lovers. But it might just as well be director, producer and star Warren Beatty's mantra. Every so often the man steps out of whatever dimly lit bungalow he lives in and comes out with a big, bold project that stands quixotically and defiantly against the mores of the time. Reds (1981) grated harshly against the easy money proclivities of the Reagan Era while Dick Tracy (1990) looked backwards through the pulpy pages of loose leaf Americana while we looked on towards a post-communist world. Bulworth (1998), arguably Beatty's most radical film ripped off the facade of the yuppie, blue dog Clinton administration, revealing deep fissures between white liberals and the dreams differed of black Americans (albeit as told through the coddled, tone-deaf worldview of a limousine liberal). Now with Rules Don't Apply, Beatty is in full navel-gazing mode, making a movie so thematically simple that it's conventionality is its own form of radicalism.

The film details the brief stint in La La Land of one Marla Mabrey (Collins), the recently crowned Apple Blossom Queen and new RKO starlet on-call. She arrives fresh-faced from Fresno and encounters naive company driver Frank Forbes (Ehrenreich) who, like Marla, hopes to meet their employer Howard Hughes (Beatty). Problem is, this is 1958 and Howard Hughes has not spoken to anyone outside of his close circle of confidants for years. Caught in a state of arrested development, Frank and Marla begin a chaste attraction which alters their futures in unexpected ways.

Beatty portrays Hughes as a full on Falstaffian character; full of wit and intelligence but far too reckless and in-his-own-head to be taken seriously. He fits himself ever so awkwardly into the center of the action, allowing an ensemble cast of A-listers to orbit around the chaos that Hughes creates. It's an interesting mess to be sure. Hughes is simultaneously the most interesting character in the entire movie and the broadest; less a person than an event like the sinking of the Titanic.

Lily Collins and Alden Ehrenreich simply can't hope to compete for attention and screen time, even if their pleasant mugs immediately bring to mind James Dean and the luminous Audrey Hepburn respectively. They make the most out of their piddly roles with Collins managing to warble the catchy old-fashion title song and make the whole scene seem relevant. Yet when compared to the exacerbated gasps of Annette Bening, Alec Baldwin, Oliver Platt, Steve Coogan and Matthew Broderick, our two lovers are completely washed out of the film's more interesting excesses.

And there are some pretty fun excesses. There are solid if low- hanging comedic setups, snappy dialogue and goofy sequences of frenetic action which would otherwise seem slight if not for the fact that comedies are straight-up never made like this anymore. They also keep the ball rolling, making sure everything makes sense without much dead air.

In a career spanning nearly seventy years, Warren Beatty is about the closest thing to Hollywood royalty you got still working today. If you ignore his filmography, and have the patience to sit through a few stale jokes, Rules Don't Apply is basically a lesser Cafe Society (2016). Yet considering Beatty's work is often ahead of its time, Rules Don't Apply is basically a 90's Ganz/Mandel comedy mimicking the sensibilities of the 30's taking place in the 50's starring a guy not relevant since the 80's.