These are some preliminary thoughts from a first viewing of Martin Scorsese’s Hugo. I’m in the process of writing a chapter on representations of Georges Méliès for a forthcoming book, so this will be one of my primary texts, and I’ll need to watch it again. I thought I would assemble some notes as I go along. As a result, this might read like a string of disjointed observations at times, but hopefully there will be some points of interest for you along the way. I’m happy to discuss the film, too, and I’m aware that it has divided moviegoers in a way that it didn’t necessarily divide the critics. A quick perusal (which is all anyone should usually have to endure) of the IMDB comments page will give evidence of popular objections to the film. It was looking like a weighty flop on its domestic release, but Hugo will probably just about claw back its $170million budget (the best evidence that this greenlit at a time when it looked like 3D was an infallible cash-cow) when the totals are added up from international markets. So, please leave me a comment if you have an opinion about this film. Continue reading
[See also The Hugo Trailer.]
The development of Scorsese’s adaptation of Brian Selznick’s The Invention of Hugo Cabret continues apace, with the announcement of some pretty solid casting decisions. Spectacular Attractions is unnaturally interested in this film, partly because it comes from a beautiful book, but mainly because it combines two of my favourite things, Georges Melies and automata.
The cast list now includes Hit Girl herself, Chloe Moretz as Isabelle:
Asa Butterfield from The Boy in the Striped Pyjamas as Hugo Cabret:
And (Sir!) Ben Kingsley as Georges Melies, a fine selection, and one that hadn’t occurred to me:
Sacha Baron Cohen (just watched his nauseating turn as an Israeli tour guide on The Simpsons – a really misjudged and lazy episode) will most likely be involved as the station inspector. So far so good. But always skeptical…