This review is
based on the 3D version of the film. As this is only the second film I’ve seen
in the contemporary 3D style I don’t feel I’m familiar enough with its uses and
implementations to 100% accurately judge whether it’s any good or not. However,
I have taken the liberty of commenting on my reaction to the 3D as I believe it
is the critic’s duty to report his response to a film as completely as
possible.
When I read that Martin Scorsese was going to make his
next film in 3D and it was also going to be an adaptation of Brian Selznick’s
children’s picture novel The Invention of
Hugo Cabret, my first reaction was to be simply dumbfounded. Why would the
director of so many dark and violent films that deeply explore the human
condition venture into such new territory? And why would the man who still
insists on using film stock, a man who supremely values film history, shoot in
3D? Surely this must have been some kind of total commercial sellout. Well, the
final judgment is yet to be determined as it often takes years for the critical
and audience response to render a final verdict on a piece of pop culture’s
place in the canon, but after seeing it I can say it makes a lot more sense now
that Scorsese was drawn to this particular story and this particular use of 3D
technology to make Hugo.
What I didn’t know about the story is that it’s a veritable
love letter to the pioneering days of cinematic storytelling in early twentieth
century France when the Lumiere brothers and Georges Melies were laying the
foundations for what would later become not only narrative cinema, but also for
filming techniques and special effects. Effectively Hugo is a love letter from a man who is in love with cinema to
those old short films that paved the way for what we see today.
Set in early 1930s Paris, predominantly in the Gare
Montparnasse, Hugo is about an orphan
boy who lives in the train station keeping the clocks ticking after the
disappearance of his alcoholic uncle (Ray Winstone) who was only looking after
Hugo following the death of his father (played in several flashbacks by Jude
Law) in a museum fire. Hugo steals his food and scrounges for metal gears,
cranks and shafts to rebuild an old automaton that his father found in the
museum one day. This metal figure with piercing black eyes is the object of
Hugo’s ambition. He and his father were attempting to get it working again like
an old and complex clock before the fire. Now it is Hugo’s mission to complete
the job. Standing in his way are an officious station inspector (a
scenery-chewing Sacha Baron-Cohen) who is a one man army trying to rid the
world of orphans and an older gentleman who runs a small toy shop in the
station.
This man, played by Ben Kingsley, finds a sketch book of
the automaton and takes it from the boy for reasons which should seem fairly
obvious straight away. I’m probably not revealing too much by saying that the
man turns out to be Georges Melies and the film becomes a story of redemption
for both the boy and the older man. In essence then, Hugo is a work of historical fiction. But this is also a tale of
childhood adventure. And what adventure would be complete without a partner, an
accomplice. So the story supplies Isabelle (Chloe Grace Moretz), whose
Godparents are Georges and Jeanne Melies. Isabelle, a well-read girl who
references works like Treasure Island
and Wuthering Heights, is all too
happy to have an adventure such as she’s only read about. She’s a precocious
girl, throwing words like ‘enigma’ and ‘clandestine’ around, which gives her
character a sense of being studious and eager. Without her, Hugo would be lost.
She holds the key to his success, both literally and figuratively.
Asa Butterfield, with his big and beautiful blue eyes,
plays Hugo. As child actors go, he holds his part down and he’s cute and all,
but he lacks a certain spark of charisma. The eye is too often drawn to his
surroundings, perhaps a result of the distraction of the 3D effect and Dante
Ferretti’s busy production design more than Butterfield’s occasional lack of
presence. In the spirit of classic Hollywood, the film is filled out by a
colorful cast of supporting characters who often provide a little uplift including
Richard Griffiths and Frances de la Tour as a will-they-or-won’t-they pairing,
Emily Mortimer as a possible love interest for Baron Cohen’s station inspector,
and Christopher Lee as the librarian who keeps Isabelle up-to-date with the
latest adventure stories.
Most of the details presented as the history of Melies
are fairly accurate and adapted rather faithfully by screenwriter John Logan.
Kingsley’s Melies is a bitter and sad old man whose time has passed while the
public has forgotten him. Even the fictional film historian and self-described
Melies expert Rene Tabard (Michael Stuhlbarg) believes him to have died in The
War. Hugo is not only Hugo’s story of
unlocking the secret of a mechanical man, but also of Melies’ second chance at
revisiting the films that he made that defined and shape motion picture
production in its infancy. This is a character who believes deeply in the
magical power of cinema. Melies, a magician and conjurer before he first saw
the Lumiere brothers’ motion picture exhibit in an amusement park, was the
first to utilize tricks of the stage and magician’s illusions to develop early
special effects. He built the world’s first movie studio to stage his films
while envisioning cinema’s possibilities for transporting an audience to
another world, to fantasy worlds that can’t exist on earth, and most famously
to the moon in A Trip to the Moon,
inspired by the writings of Jules Verne and H.G. Wells.
Scorsese the cinephile does his level best to evoke the
sense of wonder imparted by those early films, shooting in 3D in such a way as
to augment that experience. Of course Scorsese must be aware of his role in the
series of technological developments since early cinema that has enhanced the
viewing experience. From the Lumieres and Melies to the advent of synchronized
sound, then Technicolor and Cinemascope and on to CGI and now finally with 3D,
filmmakers are constantly setting the bar higher when it comes to approximating
real life on the movie screen. However, as good as the 3D is in Hugo, (and I will admit there were at
least a couple of shots that were stunning in 3D), I still found it to be a
pointless distraction. Apart from those minor moments there was little about
the film that I feel was improved by the presence of 3D. At the very least
Scorsese demonstrates that, despite my insistence to the contrary, 3D may have
useful applications outside of animation.
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