Martin Scorsese's Hugo
Martin Scorsese’s Hugo
No director loves movies more than Martin Scorsese. Knowing that he has spent the past four decades declaring his affection for the movies, you won’t be considered foolish to presume that good ‘ol Marty has finally started to calm down. But you would presume wrong. His voice has never been louder and clearer. Founded on Scorsese’s lifelong love affair with the movies, “Hugo” is a dazzling and magical gem that embraces the very essence of film itself. You can sense an irony in how it uses the latest 3-D technology to remember the earliest existence of filmmaking, but there is a more profound explanation behind this technique:
As a majestic tribute to silent films and a landmark in 3-D filmmaking, “Hugo” acknowledges the eternal significance of the past while simultaneously providing needed hope for the future.
A great portion of Hugo is set in the Montparnasse station of 1931 France.
Hidden within the station’s giant clock is Hugo Cabret (Asa Butterfield), an orphaned 12-year-old with a talent for fixing things. When Hugo’s not tightening the screws and adjusting the levers of the clock, he’s sneaking his way through the crowded spaces of Montparnasse, stealing food from bakeries and fruit carts. The boy has no choice. The only thing that his father (Jude Law) left him was the broken automaton that they were determined to rebuild. Holding on to the belief that the machine contains a valuable message from his departed father, Hugo intends to finish the work that he and his dad had started.
With zero resources, Hugo is forced to steal machine parts from an old, cranky toymaker named George Melies, played by Ben Kingsley. His delinquencies are inevitably discovered by the old man. But that’s okay, cause this leads Hugo into forming a friendship with the affable Isabelle (Chloe Moretz), George’s goddaughter. Eventually, the two youngsters work together in an attempt to uncover the secrets of the toymaker’s past, which
No director loves movies more than Martin Scorsese. Knowing that he has spent the past four decades declaring his affection for the movies, you won’t be considered foolish to presume that good ‘ol Marty has finally started to calm down. But you would presume wrong. His voice has never been louder and clearer. Founded on Scorsese’s lifelong love affair with the movies, “Hugo” is a dazzling and magical gem that embraces the very essence of film itself. You can sense an irony in how it uses the latest 3-D technology to remember the earliest existence of filmmaking, but there is a more profound explanation behind this technique:
As a majestic tribute to silent films and a landmark in 3-D filmmaking, “Hugo” acknowledges the eternal significance of the past while simultaneously providing needed hope for the future.
A great portion of Hugo is set in the Montparnasse station of 1931 France.
Hidden within the station’s giant clock is Hugo Cabret (Asa Butterfield), an orphaned 12-year-old with a talent for fixing things. When Hugo’s not tightening the screws and adjusting the levers of the clock, he’s sneaking his way through the crowded spaces of Montparnasse, stealing food from bakeries and fruit carts. The boy has no choice. The only thing that his father (Jude Law) left him was the broken automaton that they were determined to rebuild. Holding on to the belief that the machine contains a valuable message from his departed father, Hugo intends to finish the work that he and his dad had started.
With zero resources, Hugo is forced to steal machine parts from an old, cranky toymaker named George Melies, played by Ben Kingsley. His delinquencies are inevitably discovered by the old man. But that’s okay, cause this leads Hugo into forming a friendship with the affable Isabelle (Chloe Moretz), George’s goddaughter. Eventually, the two youngsters work together in an attempt to uncover the secrets of the toymaker’s past, which