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Hugo - Quick Movie Review
Grade: A-
Hugo is Martin Scorcesse’s love letter to film as it undoubtedly showcases his adoration and reverence to the enchanting nature of the art. Relative to other acclaimed directors: just as Francois Truffaut encapsulated the essence of filmmaking in La Nuite Americaine, Scorcesse has romanticized the chronicles of film within Hugo, arguably a contemporary accomplishment.
Note that the film’s alluring nature to unravel itself is the film’s key to its charm, thus it is best to be vague in describing the premise. Based on Brian Selznick’s 2007 novel The Invention of Hugo Cabret, the film centers around the title character Hugo (Asa Butterfield) , an orphan who spends his time maintaining the clocks within a Paris railway station. Before his death, his father (Jude Law) - a master clockmaker with a love of classic film- leaves him a mysterious mechanical device called a aumoton - a mechanical man whose yet to be seen task that peaks Hugo’s interest. Dedicating his time to fix his father’s final gift, his ambition leads him to a daunting journey involving the station’s toy store owner (Ben Kingsly) and his goddaughter (Chloe Moretz), that eventually compels him to uncover a lost segment of the history of film.
Not just due to the similar setting, the opening frame echos a similar whimsy seen in Jean-Pierre Jeunet’s Amelie. The film’s quaint fashion to boast its charismatic nature results in stellar cinematography and art nature similar to Jeunet’s cult classic. But as the film progresses, its fanciful art direction is overshadowed by the surprising maturity that Scorcesse expresses in the film. In a way, Hugo is a film that guises itself as a family feature, but in all actuality is a deeply emotional piece of film, as it asserts the concepts of life’s tragic and blithe moments through the innocent eyes of the young protagonist. But be aware, that the film’s childlike surface is questionably false as its slow pace and mature emotional appeal will most likely not interest its “target audience.”
Hugo is simply magical. As well as crafting a film that is genuinely affectionate, Scorcesse as well creates a piece of cinephilia that’s influence on the director is considerably discernible. Hugo’s underlying centerpiece on the history of film is undeniably gratifying, and brings a sense of nostalgia, even with its aged backdrop. Overall and most importantly, Hugo defines film’s roots to a modern generation and does so in an authentically whimsical fashion. Grade: A-
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