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70.46.49.122
...an utterly magical movie. See it NOW! In 3D! Scorsese has invented a new visual language, half digital FX but you don't mind because everything is so fresh. The sainted director moves us through a series of filmic tropes, and at each stage you will think you know where it's going based on regular expectations. For instance, the opening is tres Disneyesque -- around 1930, a movie-wise seven-year-old orphan boy who lives in the clockworks of a Paris train station meets a book-wise eleven y.o. girl, whose stepfather... and then... a mean policeman... and then... a detective story discovery... old forgotten footage... But the cinematic landscape refuses to focus for long and slowly we are swept up into a meta-narrative that transcends every earlier story element and plot point. Holy...!!
Scorsese has orchestrated a virtual cinema autobiography. And the 3D usage is masterful. Just wait till you get Max in your face!
I'll never, ever forget the night I first saw it. Folks, this one goes onto my list of Five Best Movies Ever Made.
P.A.
Follow Ups:
...love of films.It just takes a while to get there.
The movie is well done, 3D put to good use to create expansive depth of stage and a pretty interesting plot but too slow and too long by about half.
Interesting actors in cameos in some of the parts - Sacha Baron Cohen (Borat), for example.
I'd give it a B-.
Edits: 12/11/11
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...as a cameraman.
But it was Borat I knew was familiar but couldn't place until the credits.
and probably a tax write off for half the production. I nearly cringed halfway through when this "lost films" thing came up. Then at the end about searching and searching and finding copies and prints, etc. "Hugo" was a shill for the AFI film restoration movement.
I though it an average kid's movie but not so special as to attract any extra attention. I was just about to walk out when I picked up on the ending coming soon.
This thing might be fine for kids or big kids who don't go to the movies very often but it certainly doesn't carry much weight outside that.
The bits about Georges Melies' lost work was totally in keeping with the themes of fixing what's broken and finding one's purpose. The fact that it's a deeply personal film for Scorsese only helped as viewers around the world find much to relate with in the story. It's an extraordinary film in every way. No more "kids" than Truffout's 400 Blows.
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We must be the change we wish to see in the world. -Gandhi
Edits: 12/11/11
and I've seen him and Eastwood a hundred times in an advert asking for donations before the main feature. I was looking on tomato and noticed a critic said the same thing as if this work was a triumph for film preservation!
Okay, it's not to the point of being shameless but let's just say "mission accomplished".
I actually got bored with it half way through. I've seen too much Jeunet magic to think anybody can do a subject in Paris but him.
sdf
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