Ed Howard: If there’s anything that can excite an impassioned debate among film fans, it’s the topic of 3D. The technology has been around for a long time in one form or another—the first 3D films were released in the 1950s—but its popularity tends to wax and wane, sometimes reaching peaks where it’s a huge fad and a box office draw, while at other times the technology falls into disfavor and disuse. We are currently, without a doubt, in the middle of one of 3D’s peak periods, and there are even those, like James Cameron, who argue that 3D is the future of film. It’s pretty rare these days for any big animated film or summer blockbuster to get released to theaters without being in 3D, and older hits from the Star Wars series to Titanic are being refitted and re-released with 3D effects grafted on.
Our entry point for this conversation is provided by the release of two 3D family/adventure flicks made by esteemed directors working in the 3D format for the first time. Martin Scorsese’s Hugo and Steven Spielberg’s The Adventures of Tintin are very different movies, both in their own right and in how they use 3D. Scorsese’s latest work is a deeply personal (but also, paradoxically, uncharacteristic) ode to the early cinema, a formalist celebration of the joys of movies. Spielberg’s film, an adaptation of the beloved comics by Belgian artist Hergé, is arguably less of a personal work, a propulsive, often funny, action movie that hardly ever pauses for breath. Though both films share a certain witty European sensibility and both are family-friendly crowd-pleasers, it’s hard to imagine two more different movies in terms of tone: the breathless, wide-eyed wonder of Hugo and the kinetic, nearly slapstick violence and adventure of Tintin.
Precisely because these films are so different, and because they’re the product of two highly respected American directors rather than just two more disposable holiday-season spectacles, they provide a perfect opportunity to discuss the merits of 3D, to consider whether this technology really is, as filmmakers like Cameron seem to think, the future of film and a valuable aesthetic tool, or if it’s simply a faddy gimmick that’s cycled back into popularity before people get tired of it again. These films provide an interesting case study for these questions. One curiosity is that the brasher, louder Tintin arguably uses 3D effects much more subtly and minimally than the comparatively low-key Hugo, which suggests that 3D can easily be separated from the other elements of a film’s style and tone. I wonder if that disconnect between 3D and the rest of a film’s elements provides some proof for the viewpoint that 3D is an unnecessary gimmick rather than a truly vital means of expression.