After Shutter island, which reveals the poor health of his movies, Scorsese brings us today a 3D movie for Christmas. If it starts to feel a little Christmas tree, we must admit that the movie includes somes flashes showing that the art of director is not dead. However, all is far from what we can really expect from his talent.
For several years, Martin Scorsese known as having a abysmal lack of inspiration, partly due to his vain will to pay strict sense homage to the classical Hollywood cinema. His most recent movies are rather like repository objects deprived of personality, running on the effects of mechanical stage. The caricature Shutter Island confirmed that the author of Goodfellas and Taxi Driver was a mere shadow of himself. So we waited for Hugo Cabret, a project that falls back into his mad desire to become a sort of encyclopedia of cinema.
This time, it is Méliès who is honored through a script adapting a novel by Brian Selznick: the story of Hugo, a young orphan living in the Paris of the 1930s, who seeks desperately the key that can activate a PLC bequeathed by his father. Cloistered in the Montparnasse train station, the child runs into Georges Melies (played by Ben Kingsley), whose work has fallen into complete anonymity. With this subject within the story - quite unusual for Scorsese - we can expect a flood of symbols and fantasies.
This is partly the case: stage setting is sometimes appropriate,particularly in the metaphor filled of the creative workings of cinema (assembled animation and unaimation; of humans and machines), based on a recurring pattern quasi-organic mechanism (played by the figure of the automaton). We also feel the love that the director brings to Méliès, he reconstructs very well the most famous stars - surely the sequences of the most successful movie.
The movie includes some interesting proposals, particularly in its autobiographical aspect: Hugo seems to double the part of Scorsese, a child fascinated by the technique, who wants to give life to his dreams, he keeps looking at the world through opening angles, as a filmmaker who captures images with his camera, he also uses machines to produce the dream, the movie can heal hurt souls. The digital work of a goldsmith and 3D images appeared also to be consistent, Scorsese is part of a lineage with the magician Méliès. But despite his qualities, Hugo Cabret appears in a excessively mechanical and intelligent group.
The filmmaker seems too concerned about the technical aspect of the movie, completely reworked in post-production and thus forgetting to give a little magic and meaning in everything. Good ideas are part of an structure overloaded by effects and overall balance. This applies to the rhythm of the movie, which is burdened by embarrassing scriptwriting redundancy. The mechanical character of Hugo Cabret is expressed by characters who look like themselves to robots, the actors play coldly and disembodiedly. The Oscar is awarded to the tired Ben Kingsley, who appears throughout his range of precomputed emotions. If in his conception and intentions, this story turns out better than the last works of the director, he simply lacks spontaneity and a true creative spirit.
Plans and magical sequences, sometimes very beautiful, enter in the way that is too piecemeal in a narrative schema without surprises, because of poorly operated secondary characters - the scenes around the station master played by Sacha Baron Cohen are fairly useless. The filmmaker seems to constantly be lost in this infantile world where he seeks to presume himself as an author, but fails to completely control a cinematographic machinery which works in the automatic mode. If the reconstructions of movies of Melies are impressive, they also symbolize the shift of Scorsese's work for several years: a cinema of reproduction and of simple tribute, devoid of originality.
The historian is totally overwhelmed by his archives. Being different from a man who has long been likened to the revival of American cinema in the 1970s and 1980s, and who ends today by making fairly conventional movies for the holiday season. Although Scorsese movie has a few interesting ideas to offer, his cinema is in a really worrying regression.
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