Tale of 19th century New York high society in which a young lawyer falls in love with a woman separated from her husband, while he is engaged to the woman’s cousin.
Hugo is an orphan boy living in the walls of a train station in 1930s Paris. He learned to fix clocks and other gadgets from his father and uncle which he puts to use keeping the train station clocks running. The only thing that he has left that connects him to his dead father is an automaton (mechanical man) that doesn’t work without a special key which Hugo needs to find to unlock the secret he believes it contains. On his adventures, he meets with a shopkeeper, George Melies, who works in the train station and his adventure-seeking god-daughter. Hugo finds that they have a surprising connection to his father and the automaton, and he discovers it unlocks some memories the old man has buried inside regarding his past.
Director Martin Scorsese speaks candidly and passionately about one of his formative filmmaking influences: the late Elia Kazan. Utilizing precisely chosen clips from Kazan’s signature films including “On the Waterfront,” “A Streetcar Named Desire,” “Gentleman’s Agreement,” “Baby Doll,” “A Tree Grows in Brooklyn,” “A Face in the Crowd,” “America, America,” and “The Last Tycoon,” and interview footage of the director himself, co-directors Scorsese and Kent Jones recount the director’s tumultuous journey from the Group Theatre to the Hollywood A-list to the thicket of the blacklist. But most of all, they make a powerful case for Kazan as a profoundly personal artist working in a famously impersonal industry.
The world of New York intellectuals has often been memorialized in books, but rarely on film. Martin Scorsese teams up with David Tedeschi (editor on several Scorsese documentaries) to direct The 50 Year Argument, a documentary tribute to The New York Review of Books whose 50-year history saw it frequently on the frontlines of cultural and political debate. The film features a wide array of interviews with the magazine’s international contributors, all of whom exemplify the power of language to provoke, illuminate and effect change. Sitting at the helm is Bob Silvers, who has edited the magazine for its entire history, having done so alongside Barbara Epstein until her death in 2006. [Synopsis courtesy of Toronto International Film Festival]