Melvin and Howard (1980)

Melvin and Howard takes a tabloid-ready “Howard Hughes left a will” headline and, under Jonathan Demme’s wonderfully observant direction, turns it into something rarer: a funny, tender portrait of an ordinary guy trying to will himself into a better life. Paul Le Mat makes Melvin Dummar both exasperating and deeply likable, while Mary Steenburgen brings aching humanity to the collateral damage of his schemes, and Jason Robards gives Hughes a ghostly, unforgettable presence that hangs over the story like desert heat. The vibe is loose, lived-in, and quietly magical in the way reality sometimes is—full of small moments that land bigger than the sensational premise ever could. It’s not for viewers hunting a slick courtroom thriller or a definitive “truth,” but if you like character-driven comedies with heart and bite, this one sneaks up on you and stays.

Melvin and Howard is trying to turn a tabloid-sounding “Howard Hughes left me money” claim into a scruffy, human-scale portrait of an aimless guy chasing dignity, love, and a lucky break. If you’re expecting a punchy courtroom thriller or a big “did he or didn’t he” mystery, you may find it meanders on purpose, spending more time on messy relationships, dead-end jobs, and the quiet humiliations of everyday life. The humor is dry and the pacing is loose, so it can feel slight if you want clear arcs, big payoffs, or a more polished, plot-driven ride. That said, the performances (especially Mary Steenburgen’s) give it real texture, and if you like character studies with a bittersweet, lived-in vibe, it’s a surprisingly affecting watch—just be ready for some explicit language and a few scenes of nudity.