Respond to these rapid questions in our Rules Don T Apply quiz and we will tell you which Rules Don T Apply character you are. Play it now.
The perfect title for Warren Beatty’s first film as an actor since “Town and Country” in 2001 and his first film as a director since “Bulworth” in 1998 is “Rules Don’t Apply,” which is also the title of the film. He is able to get away with more than most actors due to the fact that he has twice as much money made at the box office and ten times as many movies to his name. Beatty, who is now 79 years old, is not only a great movie star but also a trailblazer in the industry. He parlayed his influence as an actor into roles as a producer and director of films that star himself and are consistently interesting. Even though he has worked at a snail’s pace since the 1970s, it is difficult to look over his output and think, “What a slacker,” even though “Reds,” which was released in 1981, is probably the best of the bunch.
The work that has been done is not only meticulous and done with passion, but it is also original and frequently peculiar. Only someone with Beatty’s peculiar personality would use his last option in a multi-picture studio deal to make a film as problematic, bizarre, and wonderful as “Bulworth.” The plot of the movie centers on a suicidally depressed senator who reinvents himself as a rapping political philosopher. Or, “Love Affair,” which was ostensibly directed by Glenn Gordon Caron (of the television show “Moonlighting”) but is pretty clearly a Beatty film, right down to its wordless, choppy music montages, sumptuous scenery, and glamour filters so oppressively smeary that they make Beatty look like an extraterrestrial haloed by heavenly light.
This is not a movie about aviation billionaire and filmmaker Howard Hughes, exactly, even though he is in it, and it is not a biopic of Howard Hughes either. Instead, it is a movie that just so happens to have Howard Hughes in it. Warren Beatty’s most recent film is another proud entry in a strange filmography. It’s a romantic comedy starring a couple of attractive young people, played by Alden Ehrenrich and Lily Collins, who carry themselves like bland ingenues but who quickly reveal themselves to be very odd ducks. The film is directed by Nicholas Stoller and stars Lily Collins and Alden Ehrenrich. And it’s a historical drama about Hollywood during a period of deep change, the early 1960s, when Beatty was about the same age as Ehrenreich’s character, a driver for Howard Hughes, and the major studios were beginning a decline that would ultimately allow a figure as unusual as Beatty to emerge. The film is set during this time period, and Ehrenreich plays a character who is Beatty’s driver.
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The character of Howard Hughes, who was 59 at the time the film was made but was portrayed by Warren Beatty, who was twenty years older, doesn’t show up until a good ways into the film. As was the case with Col. Kurtz in “Apocalypse Now,” he is never actually seen but is constantly discussed. In point of fact, the people he employs don’t see him very often. Hughes, like Beatty a few years ago, is referred to as a filmmaker, despite the fact that he hasn’t made a new film in an extremely long time, and he is increasingly defined by his eccentric behavior. The role of Frank Forbes, played by Ehrenreich, is that of a driver for Beatty, and he is responsible for transporting a group of approximately 28 beautiful young women to and from various classes designed to mold them into marketable movie stars in preparation for a project that Hughes is preparing to direct but the details of which are unknown. After moving to Los Angeles from a small town with her mother (played by Annette Bening), aspiring actress Marla Mabrey (played by Lily Collins) moves into a spectacular apartment paid for by Howard Hughes that overlooks the Hollywood bowl and begins taking classes designed to make her more refined, accomplished, and refined.
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There is a budding romance between Marla and Frank, but it is complicated by the fact that both of them were raised in very religious households. Marla was brought up Baptist, and she lives with her mother, who is bubbly and friendly, but very judgmental. Frank, on the other hand, is nearly as devout a Methodist. The looming attentions of Hughes, who treats all of his young starlets like members of a sheik’s harem despite the fact that he does not have sexual relations with any of them, further complicate the situation. In point of fact, the only thing the actresses and the employees of Hughes have in common is the fact that neither of them has ever met Hughes. The phone is the primary mode of communication between Hughes and them. Occasionally, he will call them out of the blue and either start a very lengthy monologue or begin belittling them for some breach of protocol or perceived slight they may have committed. On payday, he has a clipboard lowered from a window in his office so that actresses can sign for their paychecks while standing outside on the street.
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No one is aware of the genre of film that Hughes is planning to produce, nor is it known what sort of abilities would enable a young actress to land the lead role. And no one has the courage to question Hughes about the additional information. Everyone who works for Hughes refers to him as “Mr. Hughes,” even in conversations that take place in complete privacy, in the same way that acolytes speak of a religious figure or cult leader. The majority of the film’s characters are differentiated from one another by a mix of an innocence that is slightly bland and a ferocity that is eerie.
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Marla and Frank continue to gravitate toward one another, and soon it is pretty clear that Frank is in love with her. Regarding Marla, it is difficult to say because she is difficult to read. Marla does eventually get the chance to meet Mr. Hughes, and from there, a relationship of sorts develops between the two of them. The extreme age gap between them gives the affair a creepiness that is only exacerbated by Marla’s startling ruthlessness (she is genuinely smitten by Hughes, but she is also trying to gain advantage over the competition), and by Hughes’ desperation and, at times, heartbreaking loneliness. It is difficult to determine whether his obviously severe mental illness has always been this severe or whether it has been exacerbated by the strange autocratic behavior that his wealth and success have enabled him to indulge in. He has locked himself up inside a vault that he has constructed on his own.
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“Rules Don’t Apply” is a big production that manages to carry itself with the nonchalance of a much smaller one, despite being shot by Caleb Deschanel, who is Warren Beatty’s regular cinematographer, and having been co-written by Beatty. A soundtrack of vintage pop and swing tunes and classical cues (including a snippet of Mahler’s Ninth, which you’d think would be way too heavy for a film this light) and a wild ride in Hughes’s wooden airplane The Spruce Goose are some of the highlights of the movie. Warren Beatty’s signature music montages are silent and end abruptly, and they are one of the film’s defining characteristics. The movie is longer than two hours, but it has about as much plot as one of those inconsequential “programmers” that used to run on the second half of a double bill in the 1930s. The tone of the film is at once extremely cynical (primarily about how Hollywood entices and exploits starry-eyed young people from other places) and nostalgic for the way things used to be. The cars, the skirts, the heels, the fedoras, the cigarettes and cocktails, the vintage prewar architecture (some of it recreated digitally), and the vintage prewar architecture all speak to a longing to go back to a specific period in the industry that forged Warren Beatty as a young man, and that his innovative work as both a writer and producer (especially on 1967’s “Bonnie and Clyde”) would help dismantle.
The title song is performed twice, at full length, on solo piano with Marla on vocals, and the movie just sits there and lets you listen to both renditions of the song. There are a lot of scenes that aren’t very long, so when Beatty cuts away from them, you might think there was a problem with the projection. The length of time for others ranges from five to eight minutes, and they have the polish and structure of a scene from a play. The movie goes in several different directions before coming to a complete halt. It’s a mess, but a glorious one, and it’s so obviously the expression of one artist’s vision, seemingly immune to studio notes, that when you find yourself wondering, “Who on earth could this possibly be for?” you realize that it’s a compliment. It’s a mess, but a glorious one. The entertainment value of “Rules Don’t Apply” is questionable, but the film should be given a half-star bonus for its audacity. Not only are they not produced in this manner any longer, but I have my doubts as to whether or not they ever were, unless Warren Beatty was involved. I overheard a fellow critic say, “I have no idea what to say about that movie,” after the screening. If Beatty could have heard that, I like to imagine that the first thing that went through his mind was “victory.”
For more personality quizzes check this: Midnight Special Quiz.
