In the past, Hugo studied acting mostly by watching movies. The first time he watched a film, he would simply enjoy it. But by the second or third time, he would gradually begin analyzing the plot, cinematography, and so on—naturally, the actors' performances were part of that analysis as well. Hugo was accustomed to mimicking the actors' performances to help him understand the characters, even imagining himself as one of the figures on the big screen, performing the roles from the actor's position.
In the process of imitating acting, Al Pacino was undoubtedly a figure Hugo couldn't ignore. Hugo had not only mimicked Al's performance in The Godfather, but he also wouldn't miss the legendary Scent of a Woman. Al's performance, refined by years of experience, exploded in this film—his powerful acting brought to life Lieutenant Colonel Slade's rage, arrogance, depression, lust, integrity, and compassion in a vivid and dynamic manner, enough to earn a place in the annals of cinematic history.
By comparison, the room left for the character Charlie to shine was much more limited. In fact, many reviews believed Scent of a Woman was a one-man show for Al Pacino. But in truth, the young actor who originally portrayed Charlie—Chris O'Donnell—also received a great deal of praise. At the time he acted in the movie, Chris was still a newcomer, and he delivered a raw yet remarkable performance. Of course, what truly allowed Chris O'Donnell to gain a solid foothold in the entertainment industry was the TV series NCIS: Los Angeles, which aired more than twenty years later.
Therefore, for Hugo, Scent of a Woman represented both an opportunity and a challenge. It wasn't easy to deliver a compelling performance as Charlie in the face of Al Pacino's overwhelming presence, especially since Charlie wasn't a naturally assertive personality, let alone comparable to the headstrong Lieutenant Colonel Slade. But on the flip side, Hugo had the chance to act directly opposite Al, and this close interaction gave Hugo the opportunity to further study acting.
During this period after filming began, nearly every scene required Hugo and Al to appear together. Hugo could clearly see how easily Al could control the rhythm of the performance. It was a feeling that couldn't be described in words. While acting, Hugo would unconsciously follow Al's rhythm, and his emotions would be stirred by Al's lines, gestures, and movements, thus achieving the shot the director envisioned.
This feeling was quite strange. On one hand, it felt like Al was personally guiding Hugo through the performance, but on the other hand, it also felt like Hugo was losing himself in front of Al. This made Hugo feel somewhat conflicted.
However, this inner struggle actually brought out Hugo's best performance, because in the film, the relationship between Charlie and Lieutenant Colonel Slade was just like this. This unintentional mirroring allowed Hugo to quickly get into character, which led to a consistently positive filming progress.
For Hugo, acting was certainly important, but exploring the craft of acting was just as important. At that moment, he was carefully reflecting on Al's performance in the previous scene. The entire crew had just finished filming a scene in the lobby of the Pierre Hotel on Fifth Avenue. This scene was one of the most iconic in Scent of a Woman: Lieutenant Colonel Slade dancing a sensual tango with Donna, a woman he had just met, in the hotel lobby. This scene became one of the most unforgettable moments in film history—not only because it's rare to see a blind man dance the tango, but also because the Colonel expressed both elegance and sensuality so vividly, making it even more remarkable.
The actress who portrayed the stunning beauty in this fleeting yet iconic scene was Gabrielle Anwar, a British actress who had only just entered Hollywood last year. Hugo wasn't very familiar with Gabrielle. Although she was quite visible in the 1990s, Hugo hadn't seen most of her work, and Scent of a Woman remained her most well-known performance. But that didn't stop Hugo from being impressed when he met her—her delicate features, smooth hair, and soft lips all made her breathtaking at first sight.
The scene that had just finished filming included Hugo, Gabrielle, and Al, yet the rhythm of the performance still rested firmly in Al's hands. Hugo tried to find his own rhythm but struggled to do so. This made Hugo mentally replay every detail of Al's performance, trying hard to grasp some clue.
When Al performed, there was a sense of naturalness. There were no signs of deliberate effort, no evidence of carefully designed gestures—everything appeared so organic, as if Lieutenant Colonel Slade was simply meant to be this way. How was this achieved? Even if Hugo tried to imitate him—could even reach eighty percent similarity—he could only capture the surface, not the essence. The core of the performance remained elusive, difficult to grasp.
Hugo's thoughts were interrupted by the elegant tango music playing in the hall. He knew it was time to start filming the next scene. At that moment, Hugo realized that he couldn't even imitate the surface well, yet he was already thinking about mastering the essence. It was like trying to imagine running when he hadn't even learned how to walk. Hugo chuckled at himself and temporarily set aside the tangled thoughts in his mind. He lifted his head to watch the filming of this classic scene.
The music chosen for this scene was the tango classic Por Una Cabeza, released in 1935. Its noble and touching melody earned it recognition as one of the most definitive representations of tango. The smooth, graceful tune expressed the joy and passion of tango like a lover's soft whispers.
At this moment, the rehearsal had ended. Al, holding Gabrielle's hand, stood at the edge of the dance floor. At Martin's call of "Action," the Colonel gently drew Donna into his arms, placing his left hand at her waist and his right hand on her shoulder. Then, in the midst of the graceful melody, he began to step forward.
The Colonel's steps were cautious but not at all awkward. His movements were small yet seamless. Donna, who had been tense at first, gradually relaxed and began to move with the music, a smile naturally spreading across her face. As he felt Donna's muscles loosen, the Colonel's expression grew more focused, occasionally flashing a radiant smile, only to immediately return to deep concentration, fully immersed in the music—as if this were the most beautiful moment in the world.
The colonel was secretly keeping time with the tip of his tongue. To those unfamiliar with him, there was no hint that he couldn't see. But a faint sense from his slightly cautious steps began to betray the fact that his world was shrouded in darkness.
Yet, the colonel didn't let this small difficulty hinder his tango. His flowing steps danced freely in the small dance floor, unfolding with the rise and fall of the melody. The perfect fusion of dance and music completely relaxed Donna. Her bell-like laughter wove through the strings of "Por Una Cabeza," causing a hint of gentle affection to flicker across the Colonel's otherwise stiff face.
Seeing this scene, for some reason, Hugo's eyes welled up. He was moved by the happiness shining through the colonel's focused face. Hugo clearly remembered how much the colonel longed for companionship, and his obsession with women had always hinted at an inner loneliness. Yet at this moment, the scent of Ogilvie Sisters Soap on Gabrielle and the purest laughter of an innocent girl brought a smile to the stern face of the colonel. Happiness could be that simple. Hugo felt an inexplicable emotion swell in his chest.
At the same time, a smile curled at the corners of Hugo's mouth. The colonel's graceful yet slightly strained steps were so beautiful. Perhaps he wasn't a technically outstanding tango dancer, but at that very moment, he was the most moving performer. He guided Donna's soft body, enjoying the beauty of music, carefully protecting her in her very first tango experience. This tenderness released the deepest happiness from within Donna. It's said that tango is a secret dance between lovers, filled with the silent understanding between partners. And in this moment, even though the colonel couldn't see, even though he and Donna had just met, this tango was so beautiful it left one intoxicated.
As the dance ended, Martin called "Cut." He walked over to Al and Gabrielle, beginning to explain the strengths and weaknesses of the scene they had just shot. This shoot was far from over. But Hugo still hadn't awakened from the scene. He was completely immersed in Al's brilliant performance.
Al had not only perfectly portrayed the lieutenant colonel's blindness—his tense, cautious, careful steps subtly communicated this to those who watched without making it obvious—but also skillfully led Gabrielle into her role through his dancing. Her smile, her voice, and her movements had all perfectly met the director's expectations and even stunned the entire crew. Moreover, Al's nuanced expressions showed no signs of artificiality. Just watching him, Hugo could feel the mixture of emotions: joy, happiness, worry, focus… the fusion of these emotions brought the character of the lieutenant colonel to life silently and vividly.
It was hard to imagine that such impact could come from a single scene. And even after Martin shouted "Cut," Al still hadn't stepped out of the blind state. His unfocused eyes still saw no one. This was true acting—so real that you couldn't separate the role from the actor, and it even influenced the other actors, drawing them deeper into the drama.
Watching Al's performance up close and witnessing this perfect tango in person, Hugo was overwhelmed with emotion. This was the highest goal of an actor, and also the direction Hugo had been striving for all along.
So, Hugo's eyes welled with tears; so, a smile tugged at the corners of Hugo's lips; so, when Martin's "Cut" rang out, Hugo didn't hesitate at all—he stood up and clapped his hands with all his strength. His applause was a tribute to that stunning tango, and even more so, to Al Pacino, the great actor.
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