Does anyone remember the CB radio craze of the 1970s? It now looks like some strange cultural aberration in hindsight but it lasted for about eight years and was at the height of its popularity between 1974 to 1977. The CB radio lifestyle and its terminology infiltrated pop culture and was celebrated in top forty songs like C.W. McCall’s “Convoy” (1975) and Jerry Reed’s “East Bound and Down” (1977) and in TV series such as Movin’ On (1974-1976) and B.J. and the Bear (1979-1981). The craze was also a ubiquitous presence in movies, often driving the narrative in such drive-in fare as C.B. Hustlers (1976) and High-Ballin’ (1978) as well as Smokey and the Bandit, the number four box office hit of 1977. Yet, strangely enough, 1977’s Citizens Band (which stands for CB) was almost completely ignored by moviegoers even though it is one of the most entertaining and perceptive portraits of CB culture. It was also the first major studio film for director Jonathan Demme (The Silence of the Lambs), who was working with a screenplay penned by Paul Brickman (the writer and director of 1983’s Risky Business).
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Max Ophuls’ Caught
Over the years there have been numerous biographies written about aviation legend/studio mogul/eccentric billionaire Howard Hughes; everything from fake ones like Clifford Irving’s Autobiography of Howard Hughes to definitive accounts such as Howard Hughes: His Life and Madness by Donald L. Bartlett and James B. Steele. In contrast, there have been very few motion pictures about him. Martin Scorsese’s The Aviator (2004), based on the Bartlett & Steele biography, is the only feature film about his life to date. There was also a TV movie, The Amazing Howard Hughes (1977), with Tommy Lee Jones in the title role, and Jonathan Demme’s Melvin and Howard (1980), a quirky docudrama/comedy about Melvin E. Drummar (Paul Le Mat), a Utah man who claimed Hughes (Jason Robards Jr.) named him in his will after rescuing him in the Nevada desert.
Strangely enough, my favorite film about Howard Hughes isn’t a biopic at all but a noir-like melodrama featuring a character who was clearly inspired by the megalomaniac tycoon – Caught (1949), by German director Max Ophuls. Smith Ohlrig, the business tycoon modeled on Hughes, may not resemble him in terms of a biographical profile but on a psychological level he is the epitome of Hughes in the way he interacted with women, his employees and industry rivals.
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