Hugo

More than just a tribute to the forefather of cinematic brats (weaned and further nourished on the sci-fi, fantasy and horror genres). The web of references to films and filmmakers who were influenced by Meliés and who possibly influenced Scorsese (who came to Meliés through his own spiritual father, Michael Powell) has multiple layers and one viewing is not nearly enough to disentangle them, while the revealing of the central idea, which is underpinned by numerous allusions, is no less entertaining. Film as a mechanical means of reviving memories, bringing people together and creating dreams. Here, only cinematic dreams, not real ones, which have the form of nightmares, serve as a reliable means of escape from reality (we therefore also mainly see examples from Meliés’s special-effects films and less from his reconstructed events). (In the second bad dream, there is a peculiar absence of clocks, i.e. time as a dimension, which mechanical inventions other than film lack). ___ The story isn’t divided into two parts; from the beginning, it’s about repairing a broken machine, with the first part accenting the mechanical level and the second part placing emphasis on the human level. We mainly see the machines first. They are placed in the foreground of the mis-en-scéne and, at the same time, Hugo pins all of his hopes on them. The first part also comes closer to grotesque films, as a human functions as an inanimate, mechanical object. The second part, from the activation of the automaton, is a partial negation of the modernistic enthusiasm over technological progress. Hugo starts to realise that the machines will not change anything about his loneliness. The guard’s mechanical leg, previously used as a source of gags, becomes a means of becoming close to the flower girl, who lost her brother at Verdun (mass slaughter thanks to the use of modern technology). The settings of the action are expanded with the addition of Meliés’s household and library. Books and people get more space. Technology is talked (theorised) about more than it is shown. ___ The mechanical thesis and the human antithesis logically lead to cinematic synthesis, to the joining of reason and emotion as, for example, Jean Epstein wrote about it (La Lyrosophie). The conclusion brings separate “peephole” scenes (gags) like those from early films into the overall narrative. Like the characters, these scenes find their place, their meaning. The film is constructed in such a way that it can result in a film. I cannot imagine a more wonderful tribute to the very idea of moving pictures. ___ The historical inaccuracies that Scorsese allows are easier to criticise than the outwardly atypical plot structure. Viewers’ dodging of the oncoming train can still be tolerated when reading the book by Tabard, who, as it happens, was not accurate in writing about Meliés, but not in Meliés’s own memoirs, which corrected other authorial errors. Meliés did not come across cinema by accident, as he was personally invited to a public film screening by the Lumière brothers and he did not create the camera from nothing, but improved an existing model by R.W. Paul. The decline in interest in his work did not come until the First World War. By about 1909, Meliés’s laborious method had made it simply impossible for him to shoot as quickly as the times demanded and he completed his final film in 1913. However, these details are overshadowed by his incredibly precise revival of old Paris and even older films (several seconds of Le Royaume des fées are memorable). The transfer into 3D gave these a new dimension without diminishing their charm. They are improved, though indirectly, by highlighting their meaning. Scorsese not only proclaims his love for film, but also calls on us not to forget. 90% (19/01/2012) (less) (more)