Hugo

November 27, 2011 2 Comments

Movies are magic.  Martin Scorsese’s wonderful new film “Hugo” is a  wistfully joyful celebration of the magic of movies created with the loving attention of a movie master.  Scorsese is not afraid to embrace the technology of 3D cinema to tell the story of a plucky orphan(Hugo) and interweave  it  lovingly with the story of George Melies (Ben Kingsley), the pioneer of early cinema  who understood the magic of film.  Melies is best known for his 1902 film “Trip to the Moon” and the famous image of the “man in the moon”, wounded in the eye by a space capsule projectile from earth. Scorsese effortlessly weaves the 1930’s present with the iconic film past(the Lumiere brother’s famous  1897″ Arrival of a Train at La Ciotat” plays and replays itself throughout the film) to create a truly unique experience.  Melies was a filmmaker who was mesmerized by special effects.  How fitting that Scorsese pushes current special effects to tell his story.  I am avoiding summarizing or inadvertantly revealing any of the film’s magic that is best experienced fresh.(I do recommend grabbing a copy of Melies “Trip to the Moon” and the Lumiere Brother’s film just to experience the joy of these early filmmakers)  BUT NOW…GO SEE THIS FILM….FEEL THE MAGIC…..MOVIE MAGIC………Jolyn Wagner

Must See Movie of the Week
2 Comments to “Hugo”
  1. Dave Lundin says:

    “Hugo” is movie magic. One of the ideas Jolyn and I talked about was the relationship between the fascination in the movie with both fantasy films along with the mechanical device that projected them and a mechanical automoton or robot that Hugo also loved. When you see “Hugo”, see what you think. The film itself was irresistable, at times containing dreams within dreams and films within films. And it takes place in Paris of all places, the city of light, of course.

  2. Bruce Russell says:

    Some people like old things: old cars, old furniture, old clothes, old vinyl records, old computers, old films. They’re all kind of quaint and nice to observe from afar. But who really wants to ride in a Model-T rather than some 2011 car, wear scratch homespun clothing, listen to vinyl records rather than CDs, work on a big old computer rather than a laptop? Not many. For the most part, I find the same holds true of old films, especially those by Melies (I make exceptions for some Chaplin films!). Who would rather watch them than some well-done contemporary film?

    And why, in this film, does Melies have such a sudden change of heart when he learns that the others have been showing one of his early films? Shouldn’t he at least wait to see how it was received? There are too many dog and policeman chases in the film. And what was the secret Hugo’s father wished to pass on to him? Hmmm! Has Scorcese led us on a wild dog chase just so he could offer a tribute to Melies?

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