Director: Martin Scorsese
Cast: Sir Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, Chloë Grace Moretz, Ray Winstone, Emily Mortimer, Christopher Lee, Helen McCrory, Richard Griffiths, Jude Law, Kevin Eldon
Running Time: 122 mins approx.
Certificate: PG
Synopsis: Hugo Cabret (Butterfield) is a resourceful orphan who lives and works within the walls of a Parisian train station in the 1930s. His main objectives are to remain cloaked in anonymity in order to avoid the unsympathetic Station Inspector (Cohen), and to solve a mystery left to him by his father before he died. However, his actions lead to encounters with many wicked and wonderful characters who work in, or frequent, the station, and after meeting Isabelle (Moretz) and Georges (Kingsley), Hugo’s life is complicated further still. As the pressure mounts, Hugo must overcome many problems and unlock his full potential in order to finally find a place he can call home.
Scorsese is perhaps best known for his ability to cut to the core of the darker side of humanity with great insight and innovation. His long list of directing credits include TAXI DRIVER, GOODFELLAS and SHUTTER ISLAND; all of which delve into the minds of the broken and wretched beasts of the world. Therefore, initially, a 3D film falling into the family-adventure genre did forge some doubts about the potential of this new direction. However, all of this was needless worrying, because, not only is HUGO thoroughly enjoyable and educational, it is not afraid to show children a wide range of what life has to offer; from the downright grim to the inherently magical.
The opening of the film, which is based on Brian Selznick’s novel ‘The Invention of Hugo Cabret’, sees Hugo in one of the worst situations imaginable when his father (Law) dies and he is left to fend for himself; his mother having already passed on. His sinister and cold-hearted uncle, Claude (Winstone), takes him to live in the station, before manipulating him into taking on his maintenance duties. Claude then leaves Hugo to fend for himself again, primarily against the Station Inspector and his Doberman Pinscher, Maximillion, both of whom see him as a worthless, troublemaking vagrant. The conflict between the physically limited Station Inspector (who has got a heart, deep deep down) and Hugo, provides comic relief at times, making it is easy to forget the serious undertones of the plot.
Even if the mistreated-orphan theme does borrow slightly from tried and tested formulae – OLIVER TWIST and the HARRY POTTER saga springs to mind – the characters’ other attributes and quirks, as well as the nuanced performances, renders the effort worthy of note. Sir Ben Kingsley is captivating as Papa Georges (Georges Méliès), whose vastly complex character and immense personal journey is compellingly portrayed with expert subtlety. Furthermore, Butterfield and Moretz, though comparatively inexperienced, have an onscreen chemistry that lulls the viewer into surrendering their disbelief. The elite of British acting pull together to create a wonderful and enthralling world inside the station, which is frequently buzzing with activity. These characters and relationships are only improved by the all-seeing eye of the director.
Scorsese – whether this new direction was desired by his fans or not – at least proves he is avoiding the comfort zone that hinders so many directors. He experiments with themes and the imagination of children, as well as the 3D film medium, which, after such a long and illustrious career, is a commendable attribute. Although the 3D aspect of the story is not crucial to the narrative or the nature of the film, it does make for several visually exciting moments, and in no way subtracts from the end product. The 3D discipline also helps to bring the humble beginnings of the moving image to a new generation, via the Méliès character. Extracts of Méliès’ films, as well as the work of the Lumière brothers, are shown in 3D within the context of the story; a unique and enlightening look at the full circle of the evolution of cinema.
HUGO is an affectionate celebration of the medium of film, and it has the potential to entertain, educate and nurture the minds of children who may be fostering a love for the art form. At times the plot points are easily foreseen by adult viewers who are familiar with the basic structure of a typical narrative, but the characters, the actors who portray them, and the passionate sentiments of the director ensure an experience that is definitely recommended for people of all ages.
HUGO opens today in cinemas across the UK and Ireland.
