The screening of films was back then just an exhibition through Kinetoscopes and on observing Lumiere brothers, Méliès converted his magic and circus tricks and set the real onto reel through silver screen. The main plot seeps into another narrative upon the discovery of the real identity of Georges Méliès, who is one of the most credible founders of motion pictures in the 19th century.
The lighting thereafter constantly has a parallel shift to the warm colors of copper and yellow as Isabelle helps Hugo in fixing the automaton and finding a key to its heart shaped lock. The constant blue lighting gives a frozen identity, miserable to be perceived by Hugo until he finds a friend, Isabelle who works with her godfather, Georges Méliès at the toy shop. Based on the book, ‘The invention of Hugo Cabret’, the plot revolves around an orphan, Hugo who has been repairing an automaton with his father before his death and wishes to “bring it to life” while setting the clocks right in the railway station in Paris in the 1930s. One might call it a children’s movie but the director exceeds the expectation of how one can view it as just a movie for children. Martin Scorsese uses this technique quite well in the film Hugo, creating an impression of realism while going back in time. This gives us an ideal perception of a scene in a film, further developing characters and the narrative according to the background, thus engaging the audience with a constant theme and ideology. He is known to have made hundreds of short fantasy and short-trick films in his Star Film Studios, picking every prop and character in the frame carefully. The movie, Hugo (2011) chosen to explain mise-en-scene is an interesting, rather a reflective way of looking at mise-en-scene itself since Georges Méliès is one of the pioneers of the idea of framing a scene. In the entirety of it all, it does include the performance of the characters as a significant aspect. However, the definition of mise-en-scene has seen a dynamic change over the years - from focusing on the props set on the stage to the angle in which the frame is captured in the reels. The idea of mise-en-scene is rooted in the theater plays where setting the stage is an essential component of putting up a play. According to the British Film Institute, it is simply put as everything that we see on the screen. Literally meaning “Putting in the scene” or “Placing the scene”, the concept of mise-en-scene helps to identify different aspects that actually adds depth to a movie or a play. Hugo by Martin Scorsese ( image source: )
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