Martin Scorsese is attempting something bold and unexpected in Hugo. At first blush, the legendary director behind such films as Mean Streets and Goodfellas seems a strange fit for childlike adventure story, in 3D no less! There's little doubt that Scorsese had been dabbling in other genres for awhile now, but would even he stoop to such a simple genre story? Doubters should take heart and trust in Scorsese's judgement, his creative vision, and his boyish love for all things cinema as Hugo turns out to be one of the year's most unforgettable experiences.
From the very beginning, Scorsese makes it clear you're in for a wild ride, and also quiets the critics who scoffed at his use of 3D. In one beautiful sweeping tracking shot, we're introduced to the magical train station that would serve as the dreamlike backdrop for the rest of the story, and the home of our hero. Hugo Cabret(Asa Butterfield) is an orphan hiding in the walls of the station, dutifully managing the clocks to make sure the trains arrive and depart on time. When not racing through the giant gears and squeaking cranks, Hugo watches the world race by in the daily routines of the station's regulars. There's the grim station manager(Sacha Baron Cohen), who takes out his anger by catching other orphans and handing them over to the cops. There's the lovely couple(Richard Griffiths and Frances de la Tour) who can't get a moment alone without her dog getting violent and overprotective. Then there's the sad, angry toymaker, George Melies(Ben Kinsley), who only brightens up in the presence of dear granddaughter, Isabelle(Chloe Moretz).
Hugo's father(Jude Law) was an expert clockmaker, and he taught his son the tricks of the trade. When he died, Hugo was left with only one thing to remember him by, an old broken automaton that he hopes will reveal one final message from his father when activated. All he needs is one particular, heart-shaped key, which he soon discovers hanging from Isabelle's neck. As the automaton springs to life and performs the deed for which it was created, it's then that the true story, the one that drew Scorsese to this film, finally unfolds.
The problem is that we have a tough slog until we reach that point. John Logan's script meanders through Hugo's daily run-ins with the station manager, and while some of those scenes are funny they also feel like a stalling tactic. Literally half the film is spent on introduction, some of which pays off in the end but far too much that proves totally useless. Watching Hugo and Isabelle painstakingly try to unlock every secret is a chore. When does the real journey begin?
Fortunately, this is Scorsese's show, and he crafts this film with the skill of a master. Once he takes control, Hugo does more than just hit it's stride, it becomes a breathtaking example of what the man can do when the only limitation is the scope of his imagination. His use of 3D is spectacular, with deep, lush colors and a fairy tale version of Paris that you want to jump through the screen and be a part of. It's the type of world where nothing is ever truly what it seems: a key isn't really just a key, a robot isn't just a robot, and a mean old toymaker is considerably more than he appears. What he is exactly would spoil the greatest secret lurking within this fantastical fable.
Using the benefit of his name alone, Scorsese has pulled together a wealth of talent to basically pop in for glorified cameos. Jude Law, Ray Winstone, Michael Stuhlbarg and Emily Mortimer in particular are solid in minor roles. Ben Kingsley is fantastic, and may see himself nominated for an Academy Award. It's the type of showy, historical role that the voters tend to love. Chloe Moretz as always stands out above others of her age, standing head and shoulders(literally) over the shaky Asa Butterfield.
Suffice it to say, Hugo is about more than just a pair of kids on some grand scavenger hunt. It's Scorsese the film buff, the historian, the restorer of old classic movies. He unearths a treasure trove of old silent movie gems and archival footage, his energy and excitement to present them to us is palpable. Hugo is a movie about one man's unending love of cinema, and if you're even half the cinephile Scorsese is, this is a film that will light a fire under your soul.
But is Hugo for everybody else? Will kids and less enthusiastic adults be able to relate to Hugo's 1930s setting, old electronics, and silent pictures? That's a tough question, and the simple answer is that Scorsese does his best to make those pioneering films of yesteryear meaningful again. He wants us all to experience the wonder they each possess, the amazing places these movies can take us without the benefit of $100M budgets and creativity stunting CGI. Hugo may not be perfect, but Scorsese's enthusiasm and skillful direction in an entirely new genre make this one of the season's surprise jewels.
