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Jonathan Sanders

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February 24, 2012 - 2:30 pm
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This is Scorsese’s love letter to film, and while the spectacular cinematography dazzles, the characters best allow us to fully experience this unique world.

Scorsese brings more to the table than one would expect even from his varied filmography. Working with Robert Richardson and Thelma Schoonmaker, his cinematographer and film-editor of choice, the director takes the opportunity to show off his deep appreciation of the craft. This is a film lovingly translated from the page to screen, and even the multi-dimensional flourishes designed to give 3D a push into the art-house realm don’t distract from the story he’s trying to tell.

I’ve heard a great deal about Hollywood’s embrace of The Artist, which re-introduces the silent film genre to modern audiences. That discussion ignores Scorsese’s loving homage to the works of the real-life George Méliès, whose early films Hugo recreates in glorious technicolor detail. When World War I forced him to choose between his filmed fantasies and the reality of life, he made his choice to sell his films. But in the process, losing his realm of artistic expression left him less than whole. No wonder Hugo and Isabelle would fall for these short vignettes, and even more-so why Méliès and his wife would dedicate their lives to making the films.

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Thus, Hugo makes the best case for film preservation. Many of the Méliès’s works from barely a century ago remain lost to modern viewers.

Scorsese has built his place in the history of American film. If Hugo can’t receive its due now, perhaps decades from now audiences will regard the picture as a breakthrough in modern family cinema. If we don’t preserve our movies now, future generations won’t have the chance to decide for themselves these films’ historic importance.

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Modern day Best Picture winners frequently disappear in all the fanfare, rarely remembered with much kindness as time passes. Though the film stands leagues above the competition, perhaps the best thing that could happen here would be for Hugo to let Oscar pass it by and allow an audience to coalesce around it once current hype recedes.

See also: Chris Queen’s Oscar’s Only Human: The 10 Biggest Academy Awards Blunders

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Jonathan Sanders is a freelance music critic currently writing for PJ Media, PopMatters.com and for his personal reviews site, "Hear, Hear!" (http://hearhearmusic.com) A 2008 graduate of Ball State University's journalism school, Sanders lives and writes from southern Indiana where he lives with his wife Aimee.
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