Scorsese uses 3-D here as it should be used, not as a gimmick but as an enhancement of the total effect. Notice in particular his re-creation of the famous little film "Arrival of a Train at La Ciotat" , by the Lumiere brothers. You've probably heard its legend: As a train rushes toward the camera, the audience panics and struggles to get out of its way. That is a shot which demonstrates the proper use of 3-D, which the Lumieres might have used had it been available.
In one heartbreaking scene, we learn that Melies, convinced his time had passed and his work had been forgotten, melted down countless films so that their celluloid could be used to manufacture the heels of women's shoes. But they weren't all melted, and at the end of "Hugo, " we see that thanks to this boy, they never will be. Now there's a happy ending for you. Roger Ebert was the film critic of the Chicago Sun-Times from until his death in In , he won the Pulitzer Prize for distinguished criticism.
Jude Law as Hugo's Father. Christopher Lee as Monsieur Labisse. Asa Butterfield as Hugo Cabret. Ray Winstone as Uncle Claude. Richard Griffiths as Monsieur Frick. Helen McCrory as Mama Jeanne. Emily Mortimer as Lisette. Michael Stuhlbarg as Rene Tabard. Reviews Scorsese meets the sorcerer of cinema. Roger Ebert November 21, Now streaming on:. Even for non-believers, all movies are essentially ghost stories and time machines. Animation can be construed as the miracle of bringing the inert and the dead, as well as the past, back to life.
Thus, narrated from beyond the grave, Sunset Boulevard evoked cinema's conjuring trick even as it pondered the medium's obsolescence. Never mentioning the spectre of television, the movie displaced Hollywood's impending crisis back to the technological upheaval of 20 years earlier — the coming of sound.
Many film-makers, including Orson Welles and the avant-gardists Maya Deren, Harry Smith, Stan Brakhage, and Kenneth Anger , identified their practice with magic — albeit in varying ways.
Welles had extensive experience as a stage magician and made his last feature, the faux documentary F is For Fake precisely about cinematic sleight of hand; Deren was a serious student of Haitian vodoo; Smith considered his cut and paste animations a form of alchemy; Brakhage referred to "trick" as the medium's fundamental rule; and Anger was a disciple of Aleister Crowley , who considered making a film akin to casting a spell.
Walt Disney would have agreed. Others were more pragmatic. Film scholar Rachel O Moore opens Savage Theory , her study of cinema as "modern magic" with a scene from the MGM comedy Too Hot to Handle : a swashbuckling newsreel photographer played by Clark Gable uses "white" magic to confound the hostile savages of the Amazon rainforest, rigging a projector to show a crazy montage not unlike Bruce Conner's A Movie on the trees.
The natives are beset by images of incoming trains, stampeding rodeo riders, explosions and, most effectively, a forest fire. Gable instructs his translator to "tell them that if they behave themselves, I'll bring the great water and put the fire out" — which he does with a dissolve to Niagara Falls. Everything in his movies is potentially animate; all objects and landscapes are in a state of flux. Statues come to life, monsters turn to flowers, a palace rises out of the floor, the queen of hearts walks off an outsized playing card and vanishes in a pillar of orange fire.
Hugo 's centrepiece is a colour print of A Trip to the Moon. If humans appear as puppets, the rest of the cosmos is shamelessly anthropomorphic. Hugo is an orphan boy living in the walls of a train station in s Paris. He learned to fix clocks and other gadgets from his father and uncle which he puts to use keeping the train station clocks running.
The only thing that he has left that connects him to his dead father is an automaton mechanical man that doesn't work without a special key. Hugo needs to find the key to unlock the secret he believes it contains. On his adventures, he meets George Melies, a shopkeeper, who works in the train station, and his adventure-seeking god-daughter. Hugo finds that they have a surprising connection to his father and the automaton, and he discovers it unlocks some memories the old man has buried inside regarding his past.
Hugo is an orphan who lives in a Paris railway station, tending to the station clocks during his uncle's mysterious absence. He scrounges food from the vendors and steals mechanical parts from the owner of a toy shop, Georges Melies. In fact, Hugo's father was a watchmaker and he has inherited his father's talents for all things mechanical.
Years before, Hugo's father found an intricate mechanical man, but they could never figure out how it worked. Hugo befriends Melies's ward, Isabelle, and together they have an adventure, one that centers around Melies himself. Hugo is an orphan boy who works on the clocks and is trying to survive while hiding from the relentless yet clumsy and stupid Railway Inspector in the train station in Paris in the 's.
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