HUGO (Martin Scorsese, Paramount, 2011)

Fads come and go in the movie business and it is often with disdain that I try to avoid such fare as 3D films when choosing a film to view. Such is the case with HUGO (Martin Scorsese, Paramount, 2011). I tried to avoid this film even though Scorsese directed it, primarily because of the 3D aspect of the film. Fortunately the film was nominated for Best Picture and I make a point to see every nominee and after having watched HUGO, I am glad that I did. HUGO is an incredible film, with amazing production values, a brilliant narrative that involves the history of film and one of the best directing jobs Scorsese has ever done, truly.

With any film the quality ultimately revolves around the films narrative. HUGO provides a brilliant narrative. It is not only fun and entertaining it is remarkably inventive as well as charming. The narrative is structured around characters that are fully developed and complete their individual story arcs. The characters are lovable and entertaining, even when they are being their dastardly selves like Gustav, the station inspector (the inimitable Sacha Baron Cohen). But the brilliance of the narrative lies in the self reflexivity the film provides itself on a long forgotten aspect of film history. I couldn't help but wonder how many in the audience knew who George Melies (Ben Kingsley) was as his part of the narrative unfolded. Adding that self reflexivity to the narrative serves to strengthen the narrative immensely and makes the film infinitely more enjoyable for me personally.

Another major aspect for which the film is purely entertaining and enjoyable is the dual spectacle of art direction and production design. The filmmakers achieve extraordinarily in crafting a magnificent world, one simply set in a train station. The world is imaginative always but there are shades of joy, adventure, love and fright involved throughout. And not enough can be said for the dazzling world of clocks, gears and machines in which Hugo (Asa Butterfield) resides.

Ultimately this film is all about it's director, the great Martin Scorsese. Scorsese tackles a new technology and captures its best and truest features readily. He leads a team that creates an amazing world, simple and imaginative. He pays homage to one of the pioneers of film as only Scorsese, a true modern film student, lovingly can. His work with the actors is superlative in the film. He gets good performances from Butterfield and Chloe Grace Moretz (Isabelle), his child actors. He gets a subtle yet great performance from Cohen, one that kinda shines in an unexpected way. Finally, Scorsese provides commentary on the maxim of "film reflecting life, life reflects film". He reveals films to be dreams, reflections of what we want our lives to be. As Hugo's father tells Hugo, "it's as if I could see my dreams in the day".

There are those that will read what I am about to write and call me foolish but I believe this may be Scorsese's best work yet. The man has a library of classic films to his credit, but this one offered unique challenges. Whether it is the new technology or working with child actors, Scorsese tackled the challenges and came out shining brightly. The film is nominated for Best Picture and Best Director amongst eleven nominations. I would not be surprised in the least if the film swept those two majors and then some, it is that good.