Hugo

Probably the most interesting thing about 3D family film “Hugo” is that it is directed by Martin Scorsese, a filmmaker famed for his viciously violent and prodigiously potty-mouthed 18-rated flicks suitable only for mummy and daddy. Look down his filmography before the release of “Hugo” (ignoring 1993’s U-rated romance “The Age of Innocence,” which, to be frank, no one really remembers), you’ll notice that the most kid-friendly flick Mr Scorsese has ever released is a three-hour-long Howard Hughes biopic which features a butt-naked Leonardo DiCaprio getting his willy out and pissing into milk bottles – oh, and there’s that rather disgusting scene in which a bloody and broken Leo has the palms of his hands horribly burnt before he is engulfed in flames following a nasty plane crash. Point is: Scorsese has never been known as a filmmaker who caters to young audiences.

And yet “Hugo” is entirely innocent, with nary a swearword uttered or a hand violently beaten to bits with a hammer. The film’s most child-unsuitable scene is probably a train derailment in which we witness a fair amount of wreckage but no violence. All insults in the film are worded playfully and innocently, with words like “urchin” and “buffoon” replacing Scorsese’s usual assortment of F words and C words. There is no sex and there is no violence, these instead replaced with an overwhelming sense of wonderment and magic. If anything, the sheer brilliance of “Hugo” – and it is very brilliant - shows that Scorsese is not only one of the most gifted filmmakers working today but also one of the most versatile.

As is with most family films, “Hugo” is based on a book. The book here is Brian Selznick’s award-winning children’s novel “The Invention of Hugo Cabret” of 2007. Portraying young hero Hugo Cabret in this big-budget film adaptation is 14-year-old Asa Butterfield, who you may remember from the 2008 Holocaust tear-jerker “The Boy in the Striped Pyjamas” (he was not the boy in the striped pyjamas; he was the other boy).

Hugo Cabret is an orphan living between the walls of a Paris railway station in the early 1930s. There, he secretly operates the clocks his alcoholic uncle (Ray Winstone, “The Departed”) showed him how to work before his disappearance. Hugo has been living in this station since his father (Jude Law, “Contagion”), a gifted clockmaker, tragically died in a mysterious fire, following which he has been living with his uncle.

When not managing the clocks, Hugo spends his days watching the people of the railway station (there’s an interesting romance that goes on between a newspaper seller and a café owner), sneakily stealing food from the station shops and getting chased by Inspector Gustav (Sacha Baron Cohen, “Borat”) and his patrol dog. He also steals gears and cogs and the such from grumpy toy shop owner Papa Georges (Ben Kingsley, “Shutter Island”) to use on his automaton.

Yes, Hugo has an automaton. It’s a rusty, broken metallic man his father had purchased when nobody else wanted it. Hugo and his father had intended on fixing the automaton together before the father’s unfortunate death. Hugo is determined to fix the bot, which has the ability to write when given a pen in its hand. The literal key to fixing the mechanical man may lie in a heart-shaped key that’s meant to fit in the back, but where would Hugo find such a thing?

“Hugo” is a technical wonder; this should be of little surprise, given that Martin Scorsese is the main man behind the camera. There’s not a single film Scorsese has made that is not a technical wonder, but there is also not a single film Scorsese made before “Hugo” that was in 3D. The 3D here is magnificent; unlike many of the 3D releases that Hollywood churns out time and time again, the 3D in “Hugo” is crisp, clean and sharp, as opposed to blurry and nauseating. It is not a distraction, instead seeming to enhance the visual beauty of the film. It looks gorgeous and breathes new life into what is, on most occasions, a money-grubbing gimmick; I trust Hollywood shall watch and learn.

The film is also a wonder in terms of its inescapable charm. Right from the opening scene, in which we swoop through the snowy streets of Paris until we come to the watchful eyes of Hugo peering out from behind a clock face, the film enchants and beguiles. We are captivated by the intriguing story, which becomes particularly beautiful in the film’s second half. We are charmed by the character of Hugo, of Papa Georges, of Papa Georges' spirited goddaughter Isabelle (Chloë Grace Moretz, “Let Me In”) and even of comic relief Inspector Gustav. We are curious about where the story will go, on what magical journey it will take us on, but magical we trust it will be.

“Hugo” also works, rather unexpectedly, as an astonishing tribute to the magic of cinema. I shall not give away anything plot-wise relating to this (to do so could be considered a spoiler), but what I will tell you is that there is a flashback sequence to the early days of silent cinema that perfectly sums up why I, among other film buffs, adore cinema, its power and all its wonderful wonders – in the more-than-capable hands of a cinematic genius such as Scorsese, this is of course a marvellous sequence filled with passion.

Part steampunk adventure and part love letter to cinema, “Hugo” is an absolute triumph of a family film that will charm and fascinate audiences of all ages. It is a film that will make you smile, giggle and maybe even shed a tear or two. It is a pleasure for the eyes, the ears and even the heart to behold; it is one of the best and most inspired examples of kid-friendly entertainment I have seen in recent years. Take your kids to see “Hugo;” go yourself to see “Hugo;” either way, I implore you to go and see “Hugo;” this is also one of those rare occasions where I shall recommend that you see a movie in eye-popping 3D.

10/10