Ohjaus:
Martin ScorseseKäsikirjoitus:
John LoganKuvaus:
Robert RichardsonSävellys:
Howard ShoreNäyttelijät:
Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, Chloë Grace Moretz, Ray Winstone, Emily Mortimer, Christopher Lee, Helen McCrory (lisää)Suoratoistopalvelut (4)
Juonikuvaukset(1)
Seikkailuelokuva orpopoika Hugosta (Asa Butterfield), joka asuu salaisessa kammiossaan Pariisin Montparnassen rautatieaseman syövereissä. Kellosepän taidot edesmenneeltä isältään (Jude Law) oppinut Hugo pitää huolta aseman monimutkaisesta kellojärjestelmästä, pakoilee aseman armotonta vahtimestaria (Sacha Baron Cohen) ja koittaa samalla selvittää isän jälkeensä jättämää mysteeriä. Avukseen hän saa uteliaan Isabelle-tytön (Chloe Moretz). (Nelonen Media)
(lisää)Videot (16)
Arvostelut (12)
Martin and his big movie. Not his best, but undeniably his most personal. Here Scorsese (Hugo is him) professes his lifelong love of stories in the form of a melancholic kids’ movie which isn’t so much for kids, after all. And in addition to this he was the first to prove that 3D has its rightful place in cinema, where it can be something more than a mere good-looking bolt-on. Mainly and primarily this is a darn good movie; and that is all that is important in the end.
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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%
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2009 – Pandora. 2010 – the cyberspace of TRON Legacy 3D. 2011 – A Parisian train station. Three very different magical worlds and three reasons to pay a few crowns more of a 3D cinema ticket. In addition to the intoxicating visuals, Hugo captivates with its two child protagonists (such likeable kids is not something you see everyday in film – with Chloe is no surprise, but Asu was unknown to me) and its sincere love for cinema. As it’s clear from all the reviews, Hugo is a beautiful celebration of the beginnings of cinematography and it’s very easy to surrender to it. What’s worth noticing is that both Hugo and the silent and black and white The Artists are this year’s biggest Oscar favourites and they’ve received the most nominations. Both deal with a certain period that marked a turning point for cinema. Hugo focuses on the beginning of the century in France, and in particular the work of G. Mèliès, which was setting the trends at the time, and the turning point means WWI, due to which the epicentre of the film world moved to America. The Artist, in contrast, celebrates the American silent movies of the 20th century, and the turning point is sound. Both of them imprint the world into their format, where The Artist is a silent romantic comedy and Hugo is a fairytale that uses special effects to bring the viewer into its (3D) world (and that’s why you must watch it in 3D). Almost like Mèliès A Trip to the Moon, init? :). It’s interesting how it came together this year…
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Paradox: the simplest film illusion created in the most technically complex way. A return to the initial astonishment. For me, it’s not closest to The Artist and other parallels presented here, but rather Herzog's Cave of Forgotten Dreams. Even Scorsese tries to return to the magical moment of ecstasy from the world of visions, to the dimension in which the image on the retina changes into the complex world behind it. I spent two hours in the movie theatre in bliss and ecstasy from something that was not and is not. Hugo's value is not in its (factually dubious) encyclopedic teachings, but in the fact that the film teaches us to rejoice in the imagination - not in the stimulating visual expansion that evokes its utter stunting, but in the journey into the interior in which the most beautiful spells are always performed, stimulated by the magic of pen and celluloid masters. I hope that one day I will raise a kid that the anachronistic illusionist Hugo will entertain, even with its embarrassingly romantic (and soothing) vision of the world as a mechanism in which everything has a fixed place...
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Some dreams do come true. The magic of film intertwined with reality, sketches with meticulously crafted images fly through the air, and Martin Scorsese pays homage to the beginnings of cinematography without getting overly sentimental or desperately trying to make the movie into a classic. Hugo seems like a sophisticated fairy tale about a boy and his great adventure, only to ultimately transform into a fascinating journey through human imagination and determination. And that nostalgic hurricane of memories of children's books and movies, as well as fascination with unreachable worlds, has a power that managed to captivate me completely.
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