'Hugo' Review

Compared to his contemporaries Martin Scorsese's output has been one of consistent quality. Where his fellow movie brats wavered in their ability to bring true magic to the screen, Scorsese managed to stay fit. It's hard to tell where his inspiration lies.

Through the years he has shown to have a fascination for morally ambiguous characters often dumped in a gritty and violent milieu. This makes his latest film, 'Hugo', all the more peculiar. It might be the most atypical film Scorsese has ever directed.

Hugo Cabret is a twelve-year-old forced to maintain the clocks of the Parisian railway station Gare Montparnasse. Before being stuck at the station he lived with his widowed father, a master clockmaker and loving parent. Tragically, he dies in a fire leaving Hugo with nothing but a broken automaton; a mechanical man with the ability to write.

Fixing the contraption means everything to the poor orphan for he believes it contains a secret message from his late father. Getting the necessary parts and tools, however, proofs dangerous. He continuously steals from an old man's toy store. His name is Georges Méliès; a name which should (but probably doesn't) ring a bell with film fans everywhere. With help from Méliès' goddaughter Isabelle, Hugo discovers the connection between the bitter old man and the mysterious automaton. 

As some may know Georges Méliès was one of the pioneers of early cinema. The greatest joy of 'Hugo' is the way it mixes fiction and reality to create a dream of a story. In the end, we kind of wish was all true, even though we are perfectly aware that there never was a boy called Hugo Cabret. Scorsese takes on the role of your favourite history teacher. The one that didn't just dryly conjure up historical facts but who took the effort to draw you into his story. 

In the latter half 'Hugo' reveals itself to be a love letter to cinema; featuring a romanticized retelling of Méliès' return to his cinematic past. Sprinkled throughout are tiny surprises like a wind-up mouse brought to life with stop-motion. There's much more fun to be had as Scorsese beautifully shows us how Georges Méliès brought his dreamlike visions to life. It's the perfect illustration of how filmmakers are the natural descendants of the illusionists and magicians.

Then there's the incredible cast. Asa Butterfield does a remarkable job as the titular hero; he possesses a natural charm which makes Hugo a character worth watching. Chloë Grace Moretz provides an appropriate amount of innocence and wonder in contrast to Hugo's grim look on life. 

The main attraction, however, is Ben Kingsley who portrays Méliès with grace and a bitter yearning for the past. Filling out the cast are some familiar faces. Sacha Baron Cohen, for instance, as the funny but vulnerable station inspector. Another welcome surprise was the presence of Sir Christopher Lee; who, at 89, has become a living part of film history.

With 'Hugo' Martin Scorsese has shown a side of him which seems deeply personal. So, if you have any love for the medium of film, please, go see this movie. It might run a little long and could do without some of the padding but it's a charming piece of cinema. And if you do take my advice, do mind to see it in merciful 2D. It looks a lot better that way.