Mar 5, 2015

Scorcese’s The Aviator – Howard Hughes, Hollywood & the CIA

Film poster for The Aviator. Image:
Film poster for The Aviator. Image:

By: Jay

I thought we’d take a rest from the usual sci fi/transhumanist series of films I generally focus on and do something a bit different – Martin Scorcese’s 2004 The Aviator.  While most viewers probably found the Howard Hughes story a captivating dramatic portrayal, reviewing this film I was reminded of a lot of background dot connecting I had done in the ten years since it premiered related to Hughes.  As readers can probably imagine, the rabbit holes around Hughes that Scorcese only hints at are in fact much deeper and darker than Martin’s meta-narrative production revealed.

The Aviator was nominated for 11 academy awards, won five, and is undeniably a well-made film, yet in my estimation leaves out many key details in relation to the real story of Hughes.  Thus, in considering the nexus of intelligence, Hollywood and the occult, The Aviator and Hughes are key intersects for JaysAnalysis style material.  With that in mind, this analysis will not solely focus on the film, but aspects of Scorcese’s film and Hughes’ secrets in relation to the deep state shadow government.

In this regard, we can posit that Scorcese, being a longtime Hollywood insider, may have even chosen the meta aspects of The Aviator with Hughes’ film directing period to mirror the control of Hollywood by the establishment.  In other words, directors themselves are “directed,” as I’ve highlighted many times.  If that sounds outlandish, consider that Scorcese’s 2011 Hugo contains the theme of old Hollywood and the freedom and creativity director’s had in the silent era contrasted with the elite controlled, cookie-cutter simulacra that would come to characterize modern Hollywood.

Hugo is, in part, about the loss of creativity and the demise of Hollywood, so we can speculate that Scorcese is conveying that message earlier in The Aviator, as the film opens with Hughes filming his 1930 war (propaganda) epic, Hell’s Angles (the most expensive film of its day).  Hughes was a Hollywood outsider who filmed his work largely form his own pockets, and as a result, the military picked up on his skills for propaganda much like the establishment did with Kubrick and his collaboration with NASA.  The dark marriage comes to the fore once again!

Hughes’ engineering work also contributed to his contracts with the Air Force, as well as deals with Lockheed-Martin, leading to his rise in the formation of TWA.  Hughes would prove instrumental in the airline companies becoming global, but his rise also makes more sense given his intelligence connections he acquired, as we shall see.   Buddying up with the military industrial complex and working on a number of covert engineering and spy plane projects, Hughes became a source of danger for the establishment, given his knowledge.
Hughes' 1930 war propaganda film, Hell's Angels.
Hughes’ 1930 war propaganda film, Hell’s Angels.
His eccentric behavior and extreme obsessive-compulsive tendencies combined with extreme paranoia didn’t help, either, with the CIA encircling Hughes in the form of Mormon bodyguards.  The Mormon mafia connections with Hughes would become evident in his death, bequeathing a billion and a half dollars to Mormon institutions.  Consider as well that the Mormon Church has a large CIA contingent, deriving many of its rituals from Freemasonry.

While all of this can be teased out from Wikipedia links, still deeper connections remain.  The CIA’s Robert Bennett had lucrative ties to Hughes through his front company (for the Agency), The Mullen Company, which included many connections to later Watergate figures, such as Chuck Colson.  Another crucial player was a former Mullen Company man and former boss of Bennett, the infamous E. Howard Hunt, who confessed on his death to a role in plotting the JFK assassination.

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