A cinematic achievement that embraces the medium and spills intelligence everywhere

Rating: 10/10 (4 December 2011)

I don't think Martin Scorsese really cares if Hugo does well with audiences and at the box office. I think he's pleased with the end product and has successfully made an ode to cinema. Here's a man who has made one amazing film after another, and now he wants to pay tribute to a form of entertainment through the same form of entertainment. To put it simply; Hugo is a movie that loves movies.
I did in fact read the novel, The Many Inventions of Hugo Cabret, by Brian Selznick which is why I was so worried about a film adaptation of the book. I knew it was coming, but how would they erect a film that is made up of mostly stunning pencil illustrations. Thankfully, the film fell into the hands of a director who knows the game of cinema inside and out and because of that he gives Hugo the stunning treatment it deserves. During the course of the film, we begin to see that this is clearly Scorsese's most personal film. Growing up in Little Italy, he was sheltered in his house because of his asthma. His mother would take him to the local movie theater, which lead to Scorsese's increasing fondness for cinema early on and eventually he made movies of all sorts.
Hugo is a landmark for Scorsese for three reasons; the personal qualities, the 3D, and the target audience. This is Scorsese's first family film, and he shows that just like his traditional films, Hugo will appeal to some people, but not all. Reception will be divided amongst youngsters, but parents will be astounded when they see the milestone the film achieves.
Set in 1930's Paris, Hugo (Butterfield) is a young boy who literally lives in the clocks of a hectic train station. On the ground floor are a number of regular people with hefty baggage. Emily Mortimer is the flower girl, Christopher Lee is the bookshop owner, and Frances de la Tour as Madame Emile is the cafe owner. Hugo's father died recently, and since then, his uncle has taken him to live at the train station.
Hugo's uncle teaches him to take care of the clocks all around the station, winding them up, and keeping them in great shape before he disappears. Hugo must now stay out of trouble, and out of Inspector Gustav (Baron Cohen), the station manager's sight.
Meanwhile, since Hugo's father died he has been trying to repair an old automaton which he believes has a message from his father. An automaton is a crafty machine, built to resemble a human being, that is programmed to write down a message if all the parts are in place. Hugo has stolen parts from a toy store in order to rebuild the automaton, but is caught one day by the owner Papa Georges (played exquisitely by Ben Kingsley) who burns his notebook containing instructions on rebuilding the figure. Hugo teams up with Georges' goddaughter Isabelle (Moretz) and the two go through an adventure trying to repair the figure, while Hugo shows Isabelle the beauty of cinema.
That is another place where Scorsese's love for film comes into play and further cements the personal element of the film. Hugo shows Isabelle why cinema is so spellbinding and teaches her to appreciate it, like Scorsese has taught us with many of his films.
This is a visually intelligent piece, and is one of cinema's greatest achievements of, not only the year, but of the new decade. The plot won't concern people who come for the brilliant visuals and the intelligent filmmaking. I will also go as far as to call this the best 3D film I have yet to see. Scorsese doesn't incorporate the medium as a gimmick, but as an enhancement to the world we are submersed in for two hours. Hugo is lit beautifully and astonishingly by glasses that usually drone out vibrant colors.
Another thing to note is the professional camera-work, with Scorsese that shouldn't be a surprise, but it let it be said that when we talk about motions and camera-movement that Hugo handles it in such a way that needs to be seen to be believed. The opening shot glides us along the train station floor where we soon arc upwards, in a smooth as silk manner, to the big clock that occupies Hugo behind it. A similar shot can also be seen in the restaurant scene in Goodfellas.
Performance-wise, again, the film scores big. We have a cast of elders, youngsters, and people of middle age. Everyone gives a performance worthy of recognition, especially young Asa Butterfield who looks like a miniature movie star.
There are many shots of silent films, including a history lesson in very early filmmaking dating back to the early 1890's. This is where Hugo shines; resurrecting the past to give us, not just a rehash, but an unobtrusive look at the art form we're so well acquainted with in modern day society.
Scorsese has yet made another masterpiece, without any conceivable flaws in sight. The camera-work is smooth, the visuals are intelligent, the dialog perfectly executed, the performances beautiful, and the 3D amazing. Hugo is a landmark for every field it sinks it steps on.
Starring: Asa Butterfield, Chloë Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Ray Winstone, Emily Mortimer, and Jude Law. Directed by: Martin Scorsese.