The release last year of Martin Scorsese’s HUGO has brought to the forefront a long-deceased cinema pioneer. That would be Georges Méliès, who is played in HUGO by Ben Kingsley.
What makes Méliès so interesting historically is that he was as much an illusionist as a filmmaker. His imagination allowed him to concoct and employ a range of special effects in the films he made around the turn of the 20th century. These effects include time lapse photography, multiple exposures, and hand-painted color on film shot in black-and-white.
I recently presented a paper at a Hofstra University conference spotlighting the 50th anniversary of the New York Mets. My subject was “The Mets in the Movies” and I chronicled the various celluloid references to the Amazins, from Bill Mazeroski, the Pittsburgh Pirates Hall of Famer, hitting into a triple play against the Mets in the screen version of Neil Simon’s THE ODD COUPLE to Billy Crystal’s wearing a Mets baseball cap while running with the bulls in Pamplona and herding cattle in CITY SLICKERS.
There is a movie, currently in release, which tells the story of a young man who finds himself in a life-threatening situation. All that sustains him is the found photo of a beautiful woman, whom he has never met. He survives but finds himself lost and frazzled, and unable to function in the everyday world. So he sets out to find this woman-- and make her real.
HOUSE OF PLEASURES, which was shown on the film festival circuit under the more appropriate and less commercially exploitable title HOUSE OF TOLERANCE, is a stinging mood piece which explores the plight of a group of prostitutes in a high-end Parisian bordello at the turn of the 20th–century.