It's hard to imagine that anyone was expecting Martin Scorsese to make a family-oriented film prior to the release of 2011's Hugo, but he pulled out all the stops for this heartfelt rendition of Brian Selznick's The Invention of Hugo Cabret. Scorsese has credited his daughter, Francesca, for introducing him to the lavishly-illustrated young adult novel.
The film, which originally screened in 3D, applies Jules Verne aesthetics to Dickensian characterizations by way of actual historical events. Hugo (played with pluckish charm by future Sex Education star Asa Butterfield) is an aquamarine-eyed urchin who ends up in the care of his alcoholic uncle (Ray Winstone) after his movie-mad father (Jude Law), a museum worker and amateur inventor, perishes in a fire. Now Hugo lives in the steampunk living quarters above the Montparnasse train station--beautifully designed by the legendary Dante Ferretti--where Claude tasks him with the care and maintenance of the clocks.
A tinkerer like his father, Hugo has been stealing bits and pieces from the toy shop managed by the surly Georges (a marvelous Ben Kingsley) to repair the automaton, or mechanical man, he inherited. After Claude disappears, Hugo provides for himself through the food he swipes from station vendors, but he must be quick and stealthy or Gustave (Sacha Baron Cohen), a relentless gendarme with a wartime leg injury and an intimidating Doberman companion, will cart him off to the orphanage.
Everything changes when Georges catches him stealing, requisitions his father's notebook, and forces him to work in the shop to pay his debt. Hugo appeals to Georges' ward, Isabelle (Chloë Grace Moretz with a convincing British accent), to retrieve the notebook, and a friendship ensues between two kids who have only ever known adults. Isabelle introduces him to Christopher Lee's kindly bookseller, and he introduces her to the films of Harold Lloyd. From Georges, he also learns magic tricks.
As these three, in addition to Georges' protective wife Jeanne (the late Peaky Blinders actress Helen McCrory) and film historian René Tabard (A Serious Man's Michael Stulbarg), get to know each other better, Hugo comes to recognize the store manager as pioneering silent filmmaker Georges Méliès who made 500 films before shuttering his studio when his work fell out of favor.
Most of the details about Méliès are true, and as he comes to embrace his past, Scorsese recreates the making of his hand-tinted films, notably 1902's A Trip to the Moon, the best known of the 80 that survive, many starring the young Jeanne. Hugo also features dream sequences in which the title character turns into an automaton and another in which a train derails, barrels through the station, and crashes through the façade--a calamity that really occurred in Montparnasse in 1895.
Arrow has done Hugo proud with an endless array of extra features, including detailed looks at Méliès' life and work from several authorities, in addition to extensive interviews with Selznick, cinematographer Robert Richardson, and composer Howard Shore. Though it didn't exactly storm the box office, it's truly one of the finest family films ever made.
What type of library programming could use this title? Can this film be used in a library education program?
Hugo lends itself to multiple types of library programming, particularly for those with a focus on history, cinema, and technology. Given the film’s historical context and its depiction of early filmmaking, it would be a valuable resource in a library program focusing on early film production. The movie highlights the life and work of Georges Méliès, a pioneering filmmaker, so it would work perfectly in programs dedicated to the history of cinema or silent film era. Additionally, libraries with film appreciation or cinema studies programs could use Hugo to engage participants in discussions on how films are made and the importance of film preservation.
The film also works as an educational tool to explore the French film industry, especially since Hugo takes inspiration from the historical figure of Georges Méliès, a French filmmaker. Although the film is in English, it touches on significant aspects of French cinema history, making it ideal for French film enthusiasts or students studying film history. Furthermore, the story of Méliès' transition from a filmmaker to a magician and inventor could be incorporated into educational programs on innovative filmmaking techniques or magic as performance art, which would appeal to both aspiring filmmakers and those interested in early cinematic techniques.
The movie's focus on historical events such as the 1895 Montparnasse train crash also makes it suitable for historical programming in libraries. Educators could use the film to engage students in discussions about history, technology, and cultural milestones, making it a compelling addition to history-focused library programs.
What ages would this film be suitable for?
Hugo is a family-friendly film but does contain certain elements that require some consideration for younger audiences. The scary dream sequences—including surreal and intense scenes where Hugo turns into an automaton or a train crashes through the station—may be unsettling for younger children. Additionally, the film's portrayal of a child in peril—as Hugo faces struggles such as being chased by a police officer or dealing with a difficult guardian—could be distressing for more sensitive viewers.
That said, the film is primarily designed for children aged eight and above, as it balances adventure, historical lessons, and a sense of wonder. The themes of friendship, self-discovery, and overcoming adversity are universal, making it suitable for a broad age range. Parents or guardians may want to provide guidance for younger viewers, particularly around the more intense sequences, but overall, it’s a story that resonates with families.
What kind of film series would this film fit in?
Hugo would be an excellent fit for a post-millennial Martin Scorsese film series, as it represents a distinct departure from Scorsese's more traditional, adult-focused works, showcasing his versatility as a filmmaker. This could complement a broader series that explores his evolution from classic gangster dramas to family-friendly fare, providing insight into how he expands his range as a director.
It could also be included in a series on pioneering filmmakers, particularly Georges Méliès, who is a central figure in the film. A program focused on early cinema or silent film pioneers could use Hugo to highlight the importance of Méliès and the ways in which his innovations shaped the future of film. By focusing on Méliès' groundbreaking contributions to special effects, fantasy, and storytelling, libraries can provide historical context alongside a modern retelling of his story. This would offer viewers both a historical perspective and an artistic one.
Additionally, Hugo could be part of a film preservation series, highlighting how the movie celebrates the importance of safeguarding early films and their legacy. The film’s narrative also emphasizes the art of cinema as a form of magic and wonder, making it a perfect choice for a series exploring film magic, storytelling, and creativity in cinema.
Lastly, Hugo could be included in a family film series that highlights works by directors known for their varied filmography, such as Scorsese, who often incorporates both adult and child-friendly themes in his diverse body of work. It offers a great way to introduce children and families to classic cinematic storytelling while fostering a love for film history and the craft behind filmmaking.