Adapted from Brian Selznick‘s children’s book, The Invention of Hugo Cabret, Martin Scorsese takes his first dip into children’s cinema with the 3D film Hugo. Known for films about masculinity and violence such as Taxi Driver, Raging Bull and The Departed, Scorsese’s protagonists in the past have been disturbed and/or criminal men, and as a director he has become associated with tales of gangsters and stories of NYC’s underbelly. The hype surround Hugo has built on what seems like a complete change up by such a successful director. However put in context with Scorsese’s great passion for film restoration and preservation and this change of pace isn’t really all that surprising. Hugo is a story which exalts the magic and innovation of early cinema, and calls for the recognition of its pioneers.
Set in 1931, Hugo Cabret (Asa Butterfield) is a 12-year-old orphan who lives in the walls of a Paris train station, taking care of the station’s clockwork. Hugo runs foul of the station’s toy shop owner, Georges (Sir Ben Kingsley, Sexy Beast, Shutter Island) whilst he is searching for parts to help him fix the automaton (a self-operating machine) left to him by his father (Jude Law, Contagion). As Hugo tries to unlock the secrets of the automaton, Georges’ ward Isabelle (Chloë Grace Moretz, Kick-Ass) becomes his partner in crime, and soon they discover there is much more to the mystery of this mechanical device than it would first appear.
With an excellent supporting cast including Helen McCrory (The Queen, A Special Relationship), Frances de la Tours (Harry Potter and the Goblet of Fire), Richard Griffiths (Withnail & I) and Michael Stuhlbarg (A Serious Man, TV’s Boardwalk Empire), Hugo is a charming and magical tale. One of the film’s most successful aspects is its 3D. Far from being the normal headache-inducing-mess that Hollywood is churning out, Hugo exaggerated settings suits this format. Watching the film feels like stepping into a children’s pop-up book. The detail on the sets is glorious and the 3D enhances this without detracting from the viewing pleasure. Much of the film’s detailing is thanks to Selznick’s book, whose beautiful illustrations Scorsese has been able to lift straight from page to screen.
This is a film about cinema, specifically an early proponent, magician-turned-filmmaker, Georges Méliès, who made films such as A Trip to the Moon/Le Voyage dans la Lune (1902), and The Impossible Voyage/Voyage à travers l’impossible (1904). Scorsese lovingly recreates scenes from Méliès’ films showing the techniques that early filmmakers used and how truly groundbreaking the art form was. During this time in cinema, the late 19th Century and early 20th Century, the film points out directors felt as if they were putting their dreams on film, such was the expansion of the craft and its ability to capture one’s imagination.
While there is more than enough to love about Hugo, responses have been mixed to Sasha Baron Cohen (Borat, Bruno) performance as the nasty (or perhaps not that mean) Station Inspector, who keeps the station clear of waifs and troublemakers. A role much expanded from the book, Cohen plays the part very broadly and at times this feels jarring. But given that the film is meant to appeal to a range of ages, perhaps his performance is more pitched to younger viewers, or perhaps a nod to the more slapstick comedy of Charlie Chaplin and Buster Keaton.
Hugo shows Scorsese’s reverence for filmmaking, but far from just being a history lesson, he uses the latest techniques to delight in the magic of early cinema. This film celebrates in the joy and wonder of creation, with a story that can be appreciated by the young and old alike.
Hugo was released in Australia on January 12th
Director: Martin Scorsese
Cast: Asa Butterfield, Chloë Grace Moretz, Ben Kingsley, Helen McCrory, Sasha Baron Cohen
