Hugo is dazzling and ranks amongst Scorsese's best.

Brian Selznick’s The Invention Of Hugo Cabret was meant to evolve from print to motion picture.  The Invention Of Hugo Cabret is bursting with adventure, history, and fantasy.  Selznick crafted a story that I enjoyed reading to my daughter over the past summer.  I took my daughter to see Martin Scorsese’s adaptation of Selznick’s book and despite trimming some of the muscle; screenwriter John Logan (Gladiator, The Aviator, and the upcoming Skyfall) did a superb job of streamlining the book for the screen.  Although I have always admired Scorsese, I initially thought that he was an odd choice for directing Hugo.  Of course his dynamic range can be applied to any genre of film, but I wrongfully suspected that his unconventionally razor sharp editing (courtesy of editor Thelma Schoomaker) and unpredictable camera angles would get in the way of this endearing story.  But this seasoned veteran applied the same simple yet meticulous touches to this film as he did in 1993 with The Age Of Innocence. 

Hugo Cabret is highly intelligent and blessed with incredible handiness.  He is orphaned after his father (played briefly by Jude Law) is killed in a fire.  Hugo has to resort to stealing in order to survive, and this causes him to be pursued by the station inspector played by Sacha Boren Cohen.  The station inspector was once an orphan, but firmly believes that orphanages provide appropriate rehabilitation for troubled youth.  Sacha Boren Cohen gives a performance that is comedic/stern and should merit consideration for a best supporting actor Oscar nomination.  Equally as good is Ben Kingsley, whom I still scratch my head about due to no Oscar nomination for his supporting in Schindler’s List.  Kingsley portrays the great French Filmmaker Georges Melies`, whom made hundreds on silent films in the late 19<sup>th</sup> and early 20<sup>th</sup> century.  Once WWI ravaged Europe, Melies` joined the war effort and about 80% of his films were lost or melted down to make ladies’ shoe heels of all things.  Melies` initially sees Hugo as a common thief, but the two have an uncommon yet powerful connection due to a certain invention.  

The heart of the movie is that life can have a happy ending just like the movies.  Melies`’ was depressed and isolated because he believed that no one would ever be interested in seeing his films ever again.  Hugo is a testament to the importance of film preservation.  Scorsese is equally as knowledgeable as a film historian as he is a director.  He is fierce supporter of the Library of Congress’ National Film Registry division and the Blu Ray format.  Scorsese believes that preservation forever captures our nation’s history and intimate memories.  Blu Ray presents the film in the quality of the original first distribution print without altering any of the cinematographer and sound crew’s efforts.   Scorsese warmly integrated actual footage of Melies`’ into Hugo and matched fictional footage flawlessly with the help of ace cinematographer Robert Richardson.  I saw the film in 2D, but the early tracking shots (that reminds film buffs of Charlie Chaplin’s Modern Times) will most likely be stunning for those that like the 3D format. 

Unfortunately Hugo’s international and domestic gross combined is well below its near $150million dollar budget.  But Martin Scorsese, John Logan and producer Graham King should be incredibly proud of their film. They have crafted a surefire Oscar contender and this film will generate great revenue in Blu Ray and DvD sales.  Perhaps time will be kind to this grand film, and it may one day be considered for permanent preservation. 

Hugo- A

Below is a short clip of Melies' most famous film:  A Trip To The Moon.

These Amazing Documentaries!

I have purchased some great documentaries on the film industry such as "The Warner Bros Story" and "Moguls and Movie Stars".  With each being over three hours long.  Yet, the 88-minute These Amazing Shadows is the best documentary about the history of film that I have ever viewed.  The equally good outtakes add about another 20 minutes to this superb documentary. 

Viewers are treated to footage inside of Packard Campus, a Library Of Congress operated facility that has been dedicated to preserving America’s films that are deemed “culturally significant” by a review board composed of studio moguls, film historians, and moviemakers.  The board receives input from the public by emailing nominations to Donna Ross (dross@loc.gov).  Please refer to (http://cinematicimpact.com/home/2011/11/28/for-your-consideration.html) for rules and regulations in regards to nominating a film for preservation. 

I purchased the Blu-Ray version of These Amazing Shadows and the entire 88-minutes is in stunning 1080p.  The interviews and movies being featured are a true testament to what preservation and hi-definition media can accomplish.  The “wiper effect” is used to show the before and after results of preservation.  The ultimate goal of technicians and chemists is to restore the film to it original state, not to change anything. 

Christopher Nolan, Rob Reiner, and John Lassetter are among the celebrities featured in interviews.  But interviews with unsung heroes whom preserve the films and independent filmmakers are equally enticing.  The conversations range from Christopher Nolan speaking on Blade Runner to Japanese-Americans speaking on the significance of the documentary Topaz.  Topaz gives a dire but historically important account of the placement of Japanese-Americans into internment camps.  Towards the end of the documentary, African American director John Singleton divulges that he was an advocate for the racist yet innovative The Birth of a Nation to be preserved. 

Of course anything can be bit-torrented these days.  But if you are interested in this glorious documentary please purchase the DvD or Blu-Ray format to support the National Film Registry.   

These Amazing Shadows: A-

For Your Consideration.

Below is a brief but hopefully effective description of movies that Cinematic Impact and Rohan Mohmand of www.mastersofcinema.net believe are worthy of preservation.  Immediately below this passage are the rules and criteria of The Library of Congress' National Film Registry.  I hope that readers will appreciate the films that we suggested to The Library of Congress. 

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CINEMATIC IMPACT'S LIST FOR PRESERVATION

The National Film Registry clock is ticking. If you want to nominate a film to be considered for the 2011 selections to the National Film Registry now is the time to make your move. It is a very simple process to nominate/vote for a film.

There are a few simple rules:

1) The film must be at least ten years old. (That means Gladiator is now eligible!)

2) The film must be "culturally, historically or aesthetically significant." (That may sound lofty, but don't forget - Animal House, Blazing Saddles and The Producers have met that standard.)

3) The film must be American, or at least have some sort of relatively significant American involvement. (Example of a film on the NFR that stretches the "American" involvement: Lawrence of Arabia.)

Once you have decided on a film you want to nominate you should check to make sure it is not already on the National Film Registry. The Library of Congress maintains a complete list of the 550 film on Wikipeida at the following link: http://en.wikipedia.org/wiki/National_Film_Registry

Okay, you've discovered that your nominee is not on the NFR, so what do you do next? You should write a short statement on why the film is important to you or to American culture. You don't need to sound like a film scholar - just write from the heart and try to be somewhat coherent.

Then, (drum roll please) you email it to Donna Ross at the Library of Congress

dross@loc.gov

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The Color Purple:     

 

Steven Spielberg’s 1985 film was severely short-changed at the 1986 Academy Awards Ceremony.  True, the film was nominated for 11 Oscars including Best Picture.  However it did not win one single golden statue, and Steven Spielberg did not receive a best director nomination.  The Color Purple’s simple but well acted emotionally charged story has elements of self-persecution, racism, isolation, forgiveness, and redemption.  All of this is gloriously captured with sweeping and naturalistic cinematography.  The predominantly black casted movie is a testament that any ethnic group can relate to a well-told story.

Memento

 

Christopher Nolan’s non-linear psychological thriller is an unforgettable experience.  The audience is equally as perplexed and feels the revenge driven rage of the film’s main character: Leonard Shelby.  Guy Pearce is superb and has the deer in the headlights look throughout the movie, no matter how close (or at times how far) he is coming to find and kill suspected wife-killer John G.  The movie was based on Christopher Nolan’s younger brother Jonathan Nolan’s short story Memento Mori.   The older Nolan expanded the short story into an audience pleasing and critically acclaimed movie that strangely did not garner a best director nomination for Nolan.

The Lord Of The Rings:  The Fellowship Of The Rings

 

After George Lucas’ episodes 4,5, and 6 of Star Wars, there was no major movie trilogy until Peter Jackson’s LOTR: The Fellowship Of The Rings.  In an age where computer generated imagery was becoming increasingly laughable to audiences, this film utilized state of the art technology to give audiences a grand adventure in the battle for middle earth.  The ability to have hundreds of characters engaged in battle in a single frame was not possible until 2001. 

The Sixth Sense.

Some may argue that once you have seen the twist in this movie, then it is fairly useless to re-watch.  However, the lead-up, follow thorough, and infamous “twist” are all highlights that many directors have attempted to replicate throughout the years.  M. Night Shyamalan has made utter rubbish in the later years of his career, trying to replicate the success of The Sixth Sense.  But even the director’s obsession to top this film, should be a testament of how powerful this film has become over the years.

The Shawshank Redemption

 

A movie that had one of the direst openings in film history arguably has one of the greatest endings of all time.  Andy Dufrense’s 500-yard crawl to freedom is one the subtlest yet riveting escape sequences ever filmed.  The acting chemistry between Tim Robbins and Morgan Freeman is highly believable, and unforced. 

 

Pulp Fiction

 

 

The late Gene Siskel and critic partner Roger Ebert, called Pulp Fiction “One hell of a Ride”.  For 154 minutes audiences are given a very unorthodox neo-noir that was imitated frequently in the following years.  The film should also be credited with saving Miramax from bankruptcy.  Tarantino has elements of Alfred Hitchcock and spaghetti westerns present in this 1994 film, which will entertain mainstream and artsy audiences alike.  John Travolta and Samuel L. Jackson as two philosophical henchmen whom talk about the differences between American and European McDonald’s hamburgers before killing their targets is unforgettable.