Martin Scorsese uses art direction, lighting to create ode to magic in cinematography
After decades of directing urban crime thrillers, gritty dramas and a few horror films, the great Martin Scorsese gives us his first mystery/suspense film that is suitable for the entire family.
But “Hugo” is more than a mystery/suspense family film. It’s a (for lack of a better word) magical piece of cinematic historical fiction that presents Scorsese’s shameless love for the early days within the film industry.
Using every tool at his disposal — rich cinematography, astounding art direction and adequate lighting — Scorsese directs a beautiful, heartfelt experience that takes viewers back to the golden days of cinema.
The story follows the title character (Asa Butterfield), an orphan who lives in hidden places and behind the walls of Paris’s Monparnasse train station. Having learned clockwork from his deceased father (Jude Law), Hugo spends his days keeping the clocks wound and still in repair, because he believes that as long as the clocks keep running, he has a place to stay.
Hugo also spends his days trying to repair an automaton he worked on with his father before he died. To accomplish this, he steals machine parts from an old toymaker, who turns out to be the legendary filmmaker Georges Méliès (Ben Kingsley) who has fallen into hard times. After learning how downhearted Méliès is after the downfall of his career, Hugo strives to restore Méliès’ love for cinema.
Hugo finds a friend in the bookish, adventure-seeking Isabelle (Chloe Grace Moretz), who has never seen a movie before. Hugo takes Isabelle to her first movie screening. They watch the silent film “Safety Last!” which is famous for its scene where Harold Lloyd is dangling from a giant clock. After the movie, Isabelle thanks Hugo for the movie, calling it a gift.
This is the kind of movie that “Hugo” is — one that expresses Scorsese’s view of cinema as a magical procession. Scorsese pays homage to the classical silent films that paved the way for the film industry, from the Lumière brothers’ “Arrival of a Train at La Ciotat” (1896) to Méliès’s “A Trip to the Moon” (1902).
“Hugo” also seems to be Scorsese’s most personal project since Hugo’s adventures relate to Scorsese’s childhood. Scorsese had asthma as a child and couldn’t play outside very often, just as Hugo strays from the outside world by hiding in the clock tower. Also, just as Hugo uncovers a treasure trove of forgotten works, Scorsese helped to revive the careers of forgotten filmmakers.
Even though it’s based off a children’s book, “Hugo” doesn’t really have the feel of a children’s film. With its deliberate pace, as well as its constant homage to classical films, this movie will no doubt make the smallest child uneasy. This is more of a film for older kids — say 12, 35, or 70-year-old children — who have an enduring love for movies.
Normally, I would advise people to stay away from 3-D; in this case, though, I encourage it. “Hugo” also displays the best use of 3-D since “Avatar” (2009). That’s because it isn’t used as an afterthought or just a gimmick to earn an extra $3 from viewers. Rather, the 3-D is an integral part of the film that greatly adds to the viewing experience by complimenting the devices used throughout the film, such as falling snowflakes, turning gears and even the beautiful, dreamlike helicopter view of Paris itself.
The cast is filled with many memorable faces that give life to these charming, colorful characters. There’s Christopher Lee (from “The Lord of the Rings” saga and the “Stars Wars” prequel trilogy) as the kindly, somber-faced bookkeeper; Sasha Baron Cohen (“Borat,” Talladega Nights”) as the foolishly wicked inspector obsessed with rounding up orphan children; and Emily Mortimer (“Lars and the Real Girl,” “Shutter Island”) as the shy, lovely flower girl and the inspector’s love interest.
But the show stealer here is Ben Kingsley with a sure-to-be Oscar-nominated performance as the fractured Méliès who cannot cope with how far he has fallen from his glory days, and this performance gives “Hugo” depth. The radiant Moretz and Butterfield make a great, mature young couple that seeks friendship and adventure.
“Hugo” is a richly illustrated reminder of why we love movies. It is a celebration of classic film and storytelling — one of the best films of the year — and anyone who has even the slightest love for movies should see it.