Scorsese creates a richly textured, barely fathomable, three dimensional world to compose a profoundly heartfelt elegy to the cinema and the masters that have come before him. And once you’ve let yourself be captivated by the film’s stunning imagery, nestled snugly within the spectacle is a compelling story performed by talented, charismatic actors – Don Logan never once entered my brain for the whole film.
What struck me most is Scorsese’s continuing reverence for the films that have come before him and how they inform the films of today – not by ripping them off, but by warmly suggesting them at the opportune moment. His gift is to remind us that there is an entire world of great films put there to be seen of only we go digging for them. It’s a message I hold dear to my heart as a guiding principle in my approach to the movies.
Facebook
The Film Cynics
Steve's Twitter
Are you guys are back up and running? Awesome!
Hey, Darren! Hope all is well! I wouldn’t go as far as saying we’re back. I’d say we’re keeping the contributions down to a simmer, if that. (You could also say that I’ve resigned to write about as often as Brian.) Hugo was a great experience though, I couldn’t contain myself. That’s how it is with guys like us, I guess.
Hugo was great. I could have used more of Emily Mortimer, even though she was peripheral.
Do you think she would have actually enhanced the film? I mean, I could have done with more Ray Winstone, but I don’t see him adding much more.