HugoDirector: Martin Scorsese
Martin Scorsese's adaptation of Brian Selznick's award-winning novel The Invention of Hugo Cabret stars Asa Butterfield, as an orphan boy who lives in a Parisian train station. Sent to live with his drunken uncle after his father's death in a fire, Hugo learned how to wind the massive clocks that run throughout the station. When the uncle disappears one day, Hugo decides to maintain the clocks on his own, hoping nobody will catch on to him squatting in the station. His natural aptitude for engineering leads him to steal gears, tools, and other items from a toy-shop owner who maintains a storefront in the station. Hugo needs these purloined pieces in order to rebuild a mechanical man that was left in the father's care at the museum -- the restoration was a project father and son did together. When Georges (Ben Kingsley), the old man who runs the toy stand, catches on to the thievery, he threatens to turn Hugo over to the station's lone police officer (Sacha Baron Cohen, who makes every effort to send any parentless child in the station to the orphanage. But Hugo's run-in with Georges leads to a friendship with the elderly gentleman's goddaughter, Isabelle (Chloe Grace Moretz), who unknowingly possesses the last item Hugo needs to make the mechanical man work again.
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Cast & Crew
|Ben Kingsley||Georges Méliès|
|Sacha Baron Cohen||Station Inspector|
|Asa Butterfield||Hugo Cabret|
|Chloë Grace Moretz||Isabelle|
|Ray Winstone||Uncle Claude|
|Christopher Lee||Monsieur Labisse|
|Helen McCrory||Mama Jeanne|
|Michael Stuhlbarg||Rene Tabard|
|Frances de la Tour||Madame Emilie|
|Richard Griffiths||Monsieur Frick|
|Jude Law||Hugo's Father|
|Gulliver McGrath||Young Tabard|
|Shaun Aylward||Street Kid|
|Emil Lager||Django Reinhardt|
|Angus Barnett||Theatre Manager|
|Edmund Kingsley||Camera Technician|
|Max Wrottesley||Train Engineer|
|Marco Aponte||Train Engineer Assistant|
|Ilona Cheshire||Cafe Waitress|
|Catherine Scorsese||Child at Café|
|Emily Surgent||Child at Café|
|Lily Carlson||Child at Café|
|Frederick Warder||Arabian Knight|
|Chrisos Lawson||Arabian Knight|
|Tomos James||Arabian Knight|
|Ed Sanders||Young Tabard's Brother|
|Terence Frisch||Circus Barker|
|Max Cane||Circus Barker|
|Ben Addis||Salvador Dali|
|Robert Gill||James Joyce|
|David Crockett||Executive Producer|
|Barbara de Fina||Executive Producer|
|Christi Dembrowski||Executive Producer|
|Dante Ferretti||Production Designer|
|Martin Foley||Art Director|
|Christian Huband||Art Director|
|Georgia Kacandes||Executive Producer|
|Emma Tillinger Koskoff||Executive Producer|
|Rod McLean||Art Director|
|Randall Poster||Musical Direction/Supervision|
|Sandy Powell||Costumes/Costume Designer|
|Stuart Rose||Art Director|
|Howard Shore||Score Composer|
|Luca Tranchino||Art Director|
|Joss Williams||Special Effects Supervisor|
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The film seriously touched both of us. I'd expected a beautiful looking movie; I'd seen the trailers and oohed and aahed over Robert Richardson's stellar cinematography. What I hadn't expected was to be so moved by it; and on so many levels. What really got me was how Brian Selznick's book The Invention of Hugo Cabret and Martin Scorsese's passion for both early cinema and film preservation, melded into such an homage to the magic of the movies. How they are the stuff dreams are made of. How they transport us. How they help us define our purpose. When the film curator says of George Melies "he changed my life", you know that's Martin Scoresese saying it too. Watching some of the old and recreated old footage, I couldn't help but feel it. The actual story of the two orphaned children doing all they can to evade the station inspector, Sacha Baron Cohen who is at once hilarious, monstrous, pathetic and all too human, Hugo's determination to fix the automaton to discover a message from his dead father, his evolving relationship with Isabelle's Papa George, that's the story the children will appreciate. I would think the appropriate age is anywhere from about eight and up as it is a bit long. But the George Melies' tribute, sitting in an audience watching a medium use new technology to lovingly look at its cinematic roots, that is the stuff any film buff will be enchanted with. As to the 3D, while I mostly love the depth and richness it provides, wrapping you up completely in the environment, there are still those occasional blurs in the very close foreground that take me out of the story. A tad disconcerting but otherwise the film was filled with so many sweet moments, I was utterly swept away. So you haven't read this book, neither have I. Maybe your kid did, or maybe not - it's a Caldecutt medal winner by the way. It doesn't matter. If you love movies - and you must or you wouldn't be reading this - please go see Hugo. Asa Butterfeild, Chloe Moretz, Ben Kingsley, Sacha Baron Cohen, Sir Christopher Lee and Martin Scorsese will make your heart swell and your eyes fill. That's okay. Theatres are dark. No one can see you. I've been posting pretty prolifically about HUGO. You may want to check out Five things I learned about Martin Scoresese, Howard Shore scores for Scorese again ,Robert Richardson shines a light on Hugo about the cinematographer, or Hugo: It isn't just for children which features a video discussion between 3D auteurs James Cameron and Martin Scorsese as well as Mike Fleming's 25 reasons why you should see Hugo.
Never read the book but heard good things about the film. High quality permeates the whole film. The storyline is easy to follow and is cohesive. I'd have loved to give it 5 stars, but for this reviewer the story didn't quite have that emotional impact. I can respect the impact that it did have on other reviewers. I very much recommend it.
This is very well done with great acting and Paris landscapes. Martin Sorcese is one of the best directors working today. The young man that played Hugo did a fabulous job!
The themes that Martin Scorsese addresses in this film—the thin line between self-recrimination and nostalgia, the effects of advancing technology on thriving art forms, and the lasting effects of a father’s love—would seem misguided in a typical children’s film. “Hugo,” however, a children’s film directed by Scorsese—one of the greatest American film directors of all time (“Taxi Driver,” “Goodfellas,” “The Aviator,” “Raging Bull,” “The Departed”)—is no typical children’s film. Scorsese has made a children’s film for adults who still experience the joys, wonders, mysteries, and painful epiphanies of childhood. First of all, the “exotic” setting of a 1930s Parisian train station establishes the wistful tone. The film is beautiful to behold—the colors, the cinematography, the set design, and the art direction are all stunningly beautiful. The plot itself focuses on the titular hero, a young boy who lives in the rafters and bowels of the station and spends his time adjusting the station’s numerous clocks, evading the menacing pursuit of the Station Inspector (played by an appropriately surly Sacha Baron Cohen), and searching for parts that animate the automaton left to him by his dead father (played by Jude Law in an unfortunately brief appearance). Through the course of his quest, Hugo encounters an elderly shopkeeper (Ben Kingsley in another masterful performance), the shopkeeper’s god-daughter, and a film historian. Through these connections, Hugo begins to piece together not only the mystery of the automaton but also the impact of the beginnings of cinema as an art form. The film is sumptuous, the plot is charming, the actors are magnificent—yet somehow the film amounts to far less than the sum of its parts. I found myself bored at many points during the film—the story seems to linger a bit too much, allowing the viewer to appreciate (almost excessively so) the aesthetic and nostalgic beauty of the film. Overall, I’m glad I’ve seen it, but “Hugo” is not a film that I plan on ever watching again.
HUGO the movie, is a good adaptation of the novel. Scorcese had a flair for details and with excellent production design,it makes the movie cinematically magical. The Paris metro train station is full of life with people and stores. The movement of people is likened to the parts movement of the clocks in the station. An orphan boys who has an aptitude for repairing things mechanical, including a steel man from the museum, makes the movie plot a cohesive whole that is unique and entertaining. An old man who owns a toy store in the Paris metro station was once a silent movie maker in years gone by, with his wife, and he owns the steel mechanical man that can make a drawing of the sun with a telescope who happens to be used in the credits in one of his silent movies. This drawing was the item of bewilderment to Hugo who wants to know what it means. There maybe some omissions or additions in the movie as compared to the original book story, but as a whole the movie is entertaining and a must see. It's a movie for all ages definitely!!!
I loved this movie. I took my 6 yr old nephew who lives in France to see this over Thanksgiving while he was visiting Atlanta. I enjoyed it so much that I then took my husband to see the 3D version. I'm buying a copy for my 3 yr old Granddaughter, and one for myself. The story is exciting, sad, sweet, and told from the perspective of an orphan boy who is determined to repair his father's automaton. He lives in a Paris Train station where he maintains all the clocks. He befriends a young girl and discovers a whole new life that is enhanced by her grandfather who keeps his past a secret. Anyone with a love of the movies, especially very old movies, will thoroughly enjoy this enchanting story.
This movie is the best book to movie film ever. The film is so much like the movie, as far as I noticed, they only got rid of one character, the man with the eyepatch. Even with this character gone, the plot stayed very simmilar to the book. They also added things to this movie to make it more entertaining, a love scenario between the station guard and the flower shop lady. This movie is a movie that kids, adults, and people of all ages will love.