ATLRetro

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

HUGO – (2011) Limited Edition 4K Ultra HD Three Disc Set
5 out of 5 Bananas
Starring: Asa Butterfield, Chloë Grace Moretz, Ben Kingsley, Sacha Baron Cohen
Director: Martin Scorsese
Rated: PG
Studio: Arrow Video
Region: Free
BRD Release Date: 07/18/2023
Audio Formats: DTS-HD MA 7.1 and LPCM 2.0 (48kHz, 24-bit)
Video Codec: HEVC / H.265
Resolution: 4K Ultra HD (2160p) presentation of the 2D version of the film in Dolby Vision (HDR10 compatible), (1080p) Blu-ray presentation of the film in 2D and 3D
Aspect Ratio: 1.78:1, Original Aspect Ratio 1.85:1
Discs: 4K Ultra HD, Blu-ray 3D, Blu-ray Disc, Three-disc set (1 BD-100, 2 BD-50)
Run Time: 126 minutes
CLICK HERE TO ORDER

HUGO is Martin Scorsese’s love letter to cinema. I’m going to assume that regular readers of this column have almost all seen the movie since its release in 2011, either in the theater in glorious 3D or at home via the device of your choosing. Based on the profusely illustrated book, THE INVENTION OF HUGO CABRET, by Brian Selznick, the movie is as much an ode to films and those who make them as the book was to… well, books and those who write and illustrate them. Director Scorsese took the literary centric tropes of Selznick’s work and applied the cinematically equivalent ones to suit his own medium to great effect. In doing so, he makes a gentle but substantial case for film preservation, including much needed information to modern audiences of what is lost forever and what may yet be saved for posterity and why it’s important to preserve them.

The visuals, performances, music, directing, and other technical aspects of the film have been examined minutely by critics, but one of the attractions on the Arrow Special Edition release of HUGO that’s worth emphasizing is supplemental features, including producer Heather Buckley’s extended interview with author Selznick as he discusses the genesis of the book, his intentions and aspirations in creating it, and finally examining the theme of the story. He remarks that the theme was brought up with him by a fan who said they believed that the story centers around creating our own families by choosing the people one surrounds oneself with, an admitted revelation to Selznick. I see where that applies to both film and book, but my own thoughts lean more toward themes of healing ourselves through helping others heal, as Hugo (Butterfield) and Isabella (Moretz) demonstrate not only with Papa Georges (Kingsley) but with each other, and as Station Inspector Gustav (Cohen) and flower girl Lisette (Emily Mortimer) embody. Much of Hugo’s backstory supports this theme as well, without refuting Selznick’s preferred thesis.

Arrow Video’s presentation of HUGO on 4K UHD is presented in stunning 2160p in 2D, and in 3D as it was always meant to be viewed by Scorsese (in 1080p), as well as a 2D version on the included blu-ray disc. The image quality in 2D (I am not fully equipped to evaluate the 3D presentation, though the consensus among other reviewers is that there is a marked improvement from the Paramount BRD) is an order of magnitude crisper and clearer than the previous Blu-ray release, without being over-sharpened. Color fidelity is fantastic, as is density in blacks and whites. The sound is also up to speed, making this the most pleasing copy of the film I’ve seen since it’s theatrical release.

Extras include an audio commentary by Jon Spira; the theatrical trailer (HD; 2:18); as well as a third disc featuring Inventing Hugo Cabret, a new interview with Brian Selznick, author and illustrator of the original novel on which the film is based; Capturing Dreams, a new interview with director of photography Robert Richardson; The Music of Dreams, a new interview with composer Howard Shore; Ian Christie on Hugo, a new interview with the acclaimed film historian and editor of SCORSESE ON SCORSESE; Secret Machines: Hugo and Film Preservation, a new visual essay by filmmaker and critic Scout Tafoya; Creating New Worlds, a new featurette in which French film historian and author Julien Dupuy examines the life and the legacy of Georges Melies and his impact on cinema and special effects; Papa Georges Made Movies, a new featurette in which film critic and historian Pamela Hutchinson explores the days of early cinema; Melies at the time of Hugo, a new a visual essay by filmmaker and writer Jon Spira plus five archival featurettes on the making of the film – Shoot the Moon: The Making of Hugo; The Cinemagician: Georges Meliés; The Mechanical Man at the Heart of Hugo; Big Effects, Small Scale; and Sacha Baron Cohen: Role of a Lifetime. There is also an image gallery, a folded mini poster, and an insert booklet written by Farran Smith Nehme.

HUGO is what the French might call an “event cinemalogique,” and deserves all the accolades from critics and movies fans that it has received, as does Arrow Video for the care taken in preparing this package. Most highly recommended.

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Retro Fan, Famous Monsters of Filmland, SFX, Video WatcH*Dog, and many more. He is the author of the upcoming book The Art of George Wilson from Hermes Press.

Ape caricature art by Richard Smith.

When the Academy Theatre, the Artifice Club and the City of Avondale Estates present the 4th annual S.T.E.A.M.Fest this Sat. April 14 and Sun. April 15, the Steampunk world will come together for one heck of a good time.  Musical and theatrical performers confirmed for the Festival include Philadelphia’s This Way to the Egress, Mister Joe Black from the UK, San Francisco’s Unwoman, Los Angeles’ The Peculiar Pretzelmen, Texan comedic styling of Mr. Saturday and Sixpence, Charleston’s Megan Jean and the KFB, Atlanta’s own The Extraordinary Contraptions and Play It With Moxie, plus The Awalim Dance Company bring steps from the Middle East and Thimblerig Circus giving us the wonders of their fictitious Moldavian homeland, and more.

But why stop with the world when S.T.E.A.M.Fest can hang the Moon? The Academy has acquired an exclusive screening of an amazing restoration of Georges Méliès’ masterpiece, A TRIP TO THE MOON (1902), 110 years after its first release of this hand-painted marvel of early cinema. Steampunk short films of various stripes will be on show all weekend in the fantastic Tea Parlor.

Moving from screen to stage, this year we will feature the world premiere of THE ADVENTURE OF CAPERCALLIE BRIDGE by Maegan Mercer-Bourne, which tells the tale of Mycroft Holmes and his adventures.

S.T.E.A.M.Fest, which stands for Steampunk Theater, Entertainment, Arts and Music Festival, is Atlanta’s only Steampunk arts festival (and, quite possibly the ONLY Steampunk Arts Festival in all the Solar System). Live performances and musical acts will be complemented by many artists, authors, illustrators, actors and filmmakers talking about their involvement in the Steampunk genre. Whether in the vendor/dealer’s room, workshops, panel discussions, a costumes contest, musical and theatrical performances, out by food trucks, or dancing with the DJ’s spinning until the wee hours of the morning, some of the best and brightest in the Steampunk scene will be mixing and mingling with all the guests at the event.

Costumes are encouraged, but not required!  Props are welcome and weapons must be peace-bonded.

Tickets range between $25 to $100 and can be purchased online and at the door, with VIP sales closing down this Saturday, April 7 at midnight.  Be sure to note that there is a discount for young people with a valid high school ID. To find out more, visit the S.T.E.A.M.Fest Website , the  S.T.E.A.M.Fest Facebook page or the S.T.E.A.M.Fest Facebook link Event page . Follow S.T.E.A.M.Fest on Twitter at @ArtificeClub.

Blair Crimmins and the Hookers. Photo credit: Scott McKibben.

With HUGO and THE ARTIST nominated for a bevy of Oscars this year, silent films seem to be getting a lot of love lately reimagined in creative ways for the 21st century. From what we’ve heard about OLD MAN CABBAGE, a short film co-produced by popular neo- ragtime band Blair Crimmins and the Hookers and Atlanta’s Ninja Puppet Productions, it sounds like a fantastic local addition to the oeuvre and a great reason to come out to the historic Plaza Theatre again this Sat. Feb. 4 at 10 p.m. But the night’s much more than just seeing a cool movie – Blair and the band will be playing the soundtrack live as the film unwinds on the big screen and then a complete concert afterwards in the alluring art-deco setting of the Plaza stage.

Based on a Blair Crimmins & the Hookers song and set in a farm forgotten by time, OLD MAN CABBAGE tells the tale of two dust bowl farm kids who find their lives flipped upside down when they are caught in an accident with an abusive father. Like so many classic children heroines, they run away to join the circus, only this particular one is distinctly supernatural. Without giving too much away, the cast features performers from the Imperial OPA Circus, well-known to the steampunk community. OLD MAN CABBAGE is directed by Raymond Carr, the founder of Ninja Puppet Productions, a collection of artists and professionals dedicted to the creation of innovative art and storytelling of all sorts.

As we pointed out in a previous short feature on Blair, you might think of ragtime as kind of quaint, but you wouldn’t be talking about his and the Hookers’ take on this 1920s form of jazz. Remember that they didn’t call the Twenties Roaring for nothing. In fact, you might even describe Crimmins’ high-energy style as “in your face” as rock ‘n’ roll. Except the groupies would be flapper girls, and the band is playing instruments your grandparents would approve of from banjo to accordion, saxophone to piano, trumpet to trombone—and may be accompanied by antics inspired by the best vaudeville comedy. Oh, did we mention that while the music swings, the lyrics to many of the songs are also delightfully decadent and dark.

ATLRetro has thought for a long time that it’s high time for Blair to be Kool Kat of the Week, but this week we had no excuse but to catch up with one of the Atlanta Retro scene’s most talented performers to get a sneak peek into what promises to be a sensationally surreal Saturday night at the Plaza. Tickets to the screening and concert are just $10 in advance and can be purchased here or $12 at the door.

What’s the story behind OLD MAN CABBAGE and your involvement with Ninja Puppet Productions?

“Old Man Cabbage” is a track off THE MUSICAL STYLINGS OF, which tells the story about a young man who moves into an old house and becomes possessed by the ghost of an old ragtime musician who lives there. It’s a biographical dramatization on how I became so enamored with early jazz. Raymond Carr took that ghost story and expanded it to give more backstory to the characters, and instead of the haunted house created a whole speakeasy of specters who reenact their gruesome demise every night. Quite a story. I won’t give the whole thing away.

So is it an extended music video or is it a movie? And what’s the running time?

Raymond calls it a short narrative film. I jokingly refer to it as my jazzy version of “Thriller.”  The film runs about 15 minutes long.

Is it performed with puppets or human characters since Imperial OPA is involved?

You won’t find any puppets or ninjas in the film, although we did use some sets built in miniature and green screens.  We brought in a lot of other local talent and used the video as an vehicle to showcase our Atlanta favorites. The circus group Imperial OPA, the cabaret troupe Davina and The Harlots, some aerial acrobats and a number of fantastic swing dancers all put their talents in the film, not to mention the people behind the scenes in makeup and costume who brought the prohibition style to the screen.

There seems to be a rebirth in fascination with circuses and carnivals, from the popularity of Cirque de Soleil to books like THE NIGHT CIRCUS, by Erin Morgenstern, which explore their darker, more mysterious side. There’s even that surreal, crazy Guinness commercial. Do you have any thoughts on the current appeal of circuses and where does OLD MAN CABBAGE fit in?

There certainly seems to be a renewed interest, and I’m glad to see troupes exploring all the different facets of the circus tradition. From the classic freak and sideshow acts to the more bohemian variety stuff, many young performers finding their place on the periphery of mainstream performance theater. I don’t know if that’s entirely new, but I can say I [have seen] a lot of very interesting [acts] just in the last few years.  I do think that Atlanta is grabbing a place in art and culture that can now compete with some other big cities.  There is a very youthful and unjaded excitement in the artistic community here.

How did you prepare for scoring OLD MAN CABBAGE?

I prepared for scoring the film by watching other silent movies. Of course, the classics METROPOLIS and CABINET OF DR. CALIGARI, which are always fantastic, but I also watched THE GOLEM for the first time, which was one of the earliest monster movies ever made. It was filmed in 1920 about a rabbi who makes a giant man out of clay and brings him to life to protect the Jewish neighborhoods of Prague. I really dug that one and would recommend that to anyone with an interest in silent film.

Anything you’d like to share about the why behind the 1920s speakeasy setting and what the filmmakers did to ensure set, costumes and music were authentic?  

There wasn’t a lot of discussion on why the film should have a Prohibition era style.  That’s where my inspiration lies. That’s where home is for me. I know Raymond did a lot of research and studied old photos to ensure that film looked authentic.

And it’s silent, which seems even more apropos given the popularity and Oscar nominations for THE ARTIST and HUGO, two movies that pay tribute to the silent era. I’m supposing that was just lucky timing? 

Current trends always herd people to different areas to search for new life, to find something that they’ve been lacking, an oasis. I can see people who are finding that needed refreshment in the silent film era. Being beat over the head with the GLEE stick and AMERICAN IDOL will get anyone to pay for a ticket to silence.

Blair Crimmins. Photo credit: Katie Bricker.

What else do you have planned for Saturday night at the Plaza and do we need to dig out our bowties, golf caps, spats and flapper dresses?

Seeing a well-dressed crowd always brings a smile to my face. You won’t be the only one dressed up if you choose to do so. Davina and The Harlots will be dancing onstage and throughout the room in full flapper gear. The OPA will also be working the crowd in their usual fashion. The whole evening promises to be taste of pandemonium.

How did you personally discover and fall in love with ‘20s ragtime music and vaudeville?

It’s just music that endlessly amuses me. You know when you’re doing something you truly comfortable with as an artist because you never get tired of it. Once my writing steered in the right direction, the ship took off on its own.

Your gigs are always packed and your music and performances embrace the past but sell so well in the 21st century. Are you surprised to see how many people enjoy a musical style that’s nearly a century old in a time of fast-passing fads? Any thoughts on why Retro is so hip?

I don’t think it’s a fad or new thing. I feel as if people of every generation reach an age when they discover something cool from the past. Chances are, if you find something that you identify with, you’ll find a whole group of people that love it, too. As you watch new people discover it, there is a tendency to think “Wow, this is really catching on”; the reality is that it has never gone anywhere.  Its popularity is always fluctuating but never dies or becomes reborn. Some of the bad trends die and hopefully never wake up, i.e. polyester suits, but the really good stuff sticks around forever for generations to enjoy.

After Saturday’s screening, will OLD MAN CABBAGE be heading out on the film festival circuit or what are the plans for the film?

Yeah, Raymond is going to talk more about that at the film premiere.

And of course, what’s next for Blair Crimmins & the Hookers? 

We have a lot of great touring on the books for this year. There will definitely be new singles out this year and maybe a record. I’ve already been talking with some of my favorite local artists about the next music video, and I’ve got some other film opportunities in the pipe. Things are about to get real busy for The Hookers. I’m trying to do as much as I possibly can and never lose an opportunity to let the music take me somewhere new.