I went into Hugo without any prior knowledge. I didn’t see a trailer or read the synopsis and only heard one radio interview. I only knew it was the Martin Scorsese 3D children’s film.
Space in movies can act as a character, it can evoke not only a sense of place, but a looming sense of character and life that can really enrich a story. That’s something that this movie achieves, one example being in the opening long shot where Hugo Cabret is crawling through the inner body of the entire train station, through the pistons all the way to his hideout. If you closed your eyes, you can smell the steam from the train pistons and feel the vibrations of the click clanks of the gears spinning around. The train station in Hugo is characterized as both a fun place at times (when Hugo is crawling through it) and a dangerous place (there are way too many ways for a child to be killed). It’s been a while since I really been moved by a sense of place since I’ve watched Hugo and was truly marveled by it. The 3D did enhance the space.
The setup of the story was problematic. The film is called Hugo, but it’s not really about Hugo Cabret the orphan (played by Asa Butterfield). It’s about Georges Méliès (played by Ben Kingsley), a toy store owner at the train station. It started as a story about an orphan and ended up being about an old man’s legacy.
The beginning of the story used an unnecessarily long time to set up. If you took the film and shook it, 10-15 minutes would have fallen out. I started to feel bad that I wasn’t interested and invested in the Hugo Cabret character. As horrible as it sounds, him being an orphan and missing his father wasn’t enough for me to hang on after 30 minutes. The story must move forward. Honestly, the train station as a space was more of an interesting character than Hugo himself. Even the side characters (besides Inspector Gustave, played by Sacha Baron Cohen) that populate the train station and their little interactions do not add anything to the core story. It would have added to the story if they interacted more with Hugo Cabret and Georges Méliès characters.
It’s really the latter half of the film where Hugo picks up and shows what it really is about – the love of cinema. The film’s latter half is energized by Martin Scorsese’s own personal passion for filmmaking. I like Martin Scorsese films and it’s nice to see him change up his tune. It’s not like anything he’s done before, but yet it feels dear and closer to his heart. The latter half of the film was charming and enchanting. There’s a sequence we see how a group of men are made to disappear on screen through the use of editing. And you watch it with a smile.
This all raises the question of, why wasn’t this film about the passion of film from the get go? Why a meandering storyline instead of a straight one? The path the story took to get to it’s final point seemed laborious. I walked out feeling like I missed something. That I needed to go back and see it again but I didn’t miss anything. There’s nothing wrong with a story being simple but Hugo didn’t enforce the discipline of taking out the unnecessary beats. That or it didn’t create enough intrigue in the initial story between Hugo and Isabelle (played by Chloë Grace Moretz) snooping around to retrieve Hugo’s notebook from her godfather. I can’t be sure if kids would enjoy this movie because of the long drawn out story beats. There weren’t any children in my screening, so I can’t be sure of that.
Nonetheless, there’s a lot to love about this film. I think the technical awards it won were well deserved. It did something interesting with 3D. But I only ended up liking it.