Reporting on the original 3-D outbreak in 1953, Manny Farber wrote of the technique’s visual potential: “Along with the sharpening of the outline of bodies, there is an effort to clarify the feeling of negative spaces—the spaces in a composition that are more or less unfilled.” Nearly five decades later, Martin Scorsese employs the technique to leave no space unfilled. In Hugo, he introduces the setting—Paris’ Montparnasse train station circa 1931—with an impossibly vertiginous, digitally-lubricated zoom that races past costumed passengers and smoky locomotives until it comes to rest on the retina of the eponymous orphan (Asa Butterfield). As sparrowish Hugo hides between the station’s meshing gears and tends to its many clocks, no chance is missed to endow images with a sense of depth: Diagonals and curves are the preferred forms, snow falls and pages flutter as if inches away from the 3-D glasses, a Doberman...
- 12/3/2011
- MUBI
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