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Hugo (film)

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Hugo
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Theatrical release poster
Directed byMartin Scorsese
Screenplay byJohn Logan
Produced byGraham King
Timothy Headington
Martin Scorsese
Johnny Depp
StarringBen Kingsley
Sacha Baron Cohen
Asa Butterfield
Chloë Grace Moretz
Ray Winstone
Emily Mortimer
Christopher Lee
Helen McCrory
Michael Stuhlbarg
Frances de la Tour
Richard Griffiths
Jude Law
CinematographyRobert Richardson
Edited byThelma Schoonmaker
Music byHoward Shore
Production
companies
Distributed byParamount Pictures (Worldwide)
Entertainment Film Distributors (UK)
Release date
  • November 23, 2011 (2011-11-23)
[1]
Running time
125 minutes
CountriesUnited Kingdom
United States
France
LanguageEnglish
Budget$150 to $170 million[2]
Box office$185,770,160[3]

Hugo is a 2011 3D historical adventure drama film based on Brian Selznick's novel The Invention of Hugo Cabret about a boy who lives alone in the Gare Montparnasse railway station in Paris. It is directed and co-produced by Martin Scorsese and adapted for the screen by John Logan. It is a co-production between Graham King's GK Films and Johnny Depp's Infinitum Nihil. The film stars Asa Butterfield, Chloë Grace Moretz, Ben Kingsley, Sacha Baron Cohen, Helen McCrory, Ray Winstone, Emily Mortimer, Jude Law, and Christopher Lee.

Hugo is Scorsese's first film shot in 3D, of which the filmmaker remarked: "I found 3D to be really interesting, because the actors were more upfront emotionally. Their slightest move, their slightest intention is picked up much more precisely."[4] The film was distributed by Paramount Pictures and released in the U.S. on November 23, 2011.[5]

The film was received with critical acclaim, with many critics praising the visuals, acting, and direction. At the 84th Academy Awards, Hugo won five Oscars—for Best Cinematography, Best Art Direction, Best Visual Effects, Best Sound Mixing, and Best Sound Editing—and its eleven total nominations (including Best Picture) was the most for the evening.[6] Hugo also won two BAFTAs and was nominated for three Golden Globe Awards, earning Scorsese his third Golden Globe Award for Best Director.

Plot

In 1931, Hugo Cabret (Asa Butterfield) is a 12-year-old boy living in the walls of the Paris Gare Montparnasse railway station, where he mends the station's clocks. Previously, Hugo was raised by his widowed father, a museum worker (Jude Law). His father had doted on him, teaching him the art of repairing mechanical devices, taking him to movies, and showing him how he was repairing an automaton (mechanical man) that supposedly could write a message. After his father was killed in a museum fire Hugo was taken in by his alcoholic uncle Claude (Ray Winstone) who showed little sentiment for Hugo but taught the boy how to maintain the clocks at the station. When Claude disappears, Hugo continues to maintain the clocks while eking out a living by stealing food and supplies. All the while Hugo lives in fear that if the vigilant Station Inspector (Sacha Baron Cohen) were to discover him, he would be turned over to an orphanage.

Hugo continues the work on the automaton. Relying on his father's notebook for insight, he steals the required parts wherever he can, including from the shop of a toymaker who makes and sells mechanical toys. One day, he is finally caught by the bitter toymaker, Papa Georges (Ben Kingsley), who has long known that Hugo robs him. Georges looks through Hugo's father's notebook, is evidently strongly affected by it, and keeps it despite Hugo's protests. Hugo trails Georges to his home to retrieve it. There, he meets Georges' goddaughter, Isabelle (Chloë Grace Moretz), who promises to help.

At the station on the following day Georges gives some ashes to Hugo, referring to them as the remains of the notebook. Later, Isabelle tells him that the notebook was not burnt, adding that the notebook has somehow deeply disturbed her Papa Georges. Finally, Georges tells Hugo that he may earn his notebook back if he works in the toy store every day to pay for all the items Hugo stole. During his free time, Hugo continues to work on the automaton. When it is finished, however, it is still missing one part: a heart-shaped key that goes into the back of the automaton to make it work.

As the two grow close together, Hugo takes Isabelle to the movies, something that Georges would never let her do, while she introduces him to a bookstore owner (Christopher Lee) who has loaned her books in the past.

A Georges Méliès drawing similar to the one drawn by the automaton in the film

Hugo is surprised to find that Isabelle wears a heart-shaped key as a necklace. He asks to borrow it, but Isabelle refuses to lend the key to him unless he tells her why he needs it. At first he declines, but his desire to see the automaton operate leads him to take Isabelle to see the automaton. They use the key to start the automaton, and watch as it draws out an iconic image from the film Voyage to the Moon by the film pioneer Georges Méliès. When the automaton writes a signature beneath the drawing, Isabelle recognizes the name as her godfather's own. They take the drawing to Georges' home for an explanation. They ask Isabelle's godmother Mama Jeanne (Helen McCrory) but she will not tell them anything. As Georges arrives home, Jeanne forces the children into a back room, where they find a hidden compartment in an armoire. In the compartment is a small chest containing a copy of the automaton's drawing, along with many other drawings. The noise of a collapsing chair draws Georges into the room, and he throws Hugo out, feeling betrayed.

Some time later, Hugo and Isabelle discuss Méliès with the bookstore owner; he directs them to the Film Academy section of the library, telling them just where they may find a book on the history of film. As they read the book, its author, Rene Tabard (Michael Stuhlbarg), appears and describes his love for Méliès's work. The book asserts that Méliès died during World War I, but the children convince Tabard that the filmmaker is still alive. Tabard reveals he has the last known copy of Voyage, and he suggests that they go to the Georges' house to watch it the next evening. That night, Hugo had a dream where he finds a golden heart-shaped key lying on a railbed in the station but is run over by an approaching train and his dream ends with images of the Gare Montparnasse accident of 1895.

The next evening, Jeanne is hesitant about letting them show the film until Tabard recognizes her as Jeanne d'Alcy, a frequent and beautiful actress in many of Méliès' films. When the film finishes, Georges comes out, and emotionally reveals himself to be Méliès, recalling his filmmaking career. He transformed his illusionist skills into the special effects he used for his movies to bring his vivid imagination to life. However, after the horrors of World War I, his films lost popularity with the jaded and disillusioned population, and he became ruined, selling the films to be melted down to chemicals, used to mold shoe heels, and quietly disappeared as a toy maker to sustain himself and Jeanne. Georges is despondent, believing all of his former film materials were otherwise destroyed in a museum fire, leading Hugo to recall the automaton.

Hugo races back to the station to get the automaton (intending to use it as a surprise for Georges), but before he can retrieve it, he is discovered by the Station Inspector who reveals that Claude's body had been discovered in the River Seine. The Inspector now knows Hugo is an orphan. During the ensuing chase, Hugo climbs up the clock tower and is forced to climb onto the clock hands to hide from the Inspector. When he goes away, Hugo quickly climbs back in and gets the automaton but is quickly cornered again by the Inspector and the automaton is thrown onto the railway tracks. Despite the approach of an oncoming train, Hugo jumps onto the tracks to recover the automaton. With no time to climb back up onto the platform to save himself and the automaton, Hugo appears to face certain death from the oncoming train. However, the Inspector saves Hugo at the last moment. As the Inspector decides whether or not to arrest Hugo, Georges arrives and asserts that Hugo is now in his care. Hugo presents the automaton to Georges.

Sometime later, a film festival is held showcasing over eighty recovered and restored Méliès films. Georges tearfully takes the stage, and thanks Hugo for his dedication and to the other attendees for sharing his imagination with him. After the festival, in the Georges' house, Hugo has acclimated as Georges' son, while Isabelle begins writing a book on the recent events. The film ends on a shot of the automaton sitting at a writing desk in a pleasant room, posed as though prepared to resume drawing.

Cast

Michael Pitt, Martin Scorsese and Brian Selznick have cameo roles.

Production

GK Films acquired the screen rights to The Invention of Hugo Cabret shortly after the book was published in 2007. Initially, Chris Wedge was signed in to direct the adaptation and John Logan was contracted to write the screenplay.[7] The film was initially titled Hugo Cabret. Several actors were hired, including Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, Chloë Grace Moretz and Helen McCrory. Jude Law, Ray Winstone, Christopher Lee, Frances de la Tour and Richard Griffiths later joined the project. The venture was officially launched into production in London on June 29, 2010. The first shooting location was at the Shepperton Studios in London along with other places in London and Paris.[8] The Nene Valley Railway near Peterborough, also loaned their original Compagnie Internationale des Wagons-Lits rolling stock to the studio.[9][10] The film's soundtrack includes an Oscar-nominated original score composed by Howard Shore, and also makes prominent use of the Danse macabre by Camille Saint-Saëns and the first Gnossienne by Erik Satie.

Hugo was originally budgeted at $100 million but overran with a final budget of between $156 million and $170 million.[11] In February 2012, Graham King summed up his experience of producing Hugo: "Let's just say that it hasn't been an easy few months for me — there's been a lot of Ambien involved".

Historical references

The Jaquet-Droz automaton "the writer", an inspiration for the design of the automaton in the film

The overall backstory and primary features of Georges Méliès' life as depicted in the film are largely accurate: he became interested in film after seeing a demonstration of the Lumière brothers' camera,[12] he was a magician and toymaker, he experimented with automata, he owned a theatre (Theatre Robert-Houdin), he was forced into bankruptcy, his film stock was reportedly melted down for its cellulose, he became a toy salesman at the Montparnasse station, and he was eventually awarded the Légion d'honneur medal after a period of terrible neglect. Many of the early silent films shown in the movie are Méliès's actual works, such as Le voyage dans la lune (1902). However, the film does not mention Méliès' two children, his brother Gaston (who worked with Méliès during his film making career), or his first wife Eugénie, who was married to Méliès during the time he made films (Eugénie died in 1913). The film shows Méliès as having been married to Jeanne d'Alcy during their film making period, when in reality, they did not marry until 1925.

The design for the automaton was inspired by one made by the Swiss watchmaker Henri Maillardet, which Selznick had seen in the Franklin Institute, Philadelphia,[13] as well as the Jaquet-Droz automaton "the writer".[14]

Several viewings of the film L'Arrivée d'un train en gare de La Ciotat are portrayed, depicting the shocked reaction of the audience - although this view is in doubt.[15]

Emil Lager, Ben Addis, and Robert Gill make cameo appearances as Django Reinhardt, the father of Gypsy jazz guitar, Salvador Dalí, the Spanish surrealist painter, and James Joyce, the Irish writer, respectively. The names of all three characters appear towards the end of the film's cast credit list.[16]

The book that Monsieur Labisse gives Hugo as a gift, Robin Hood le proscrit, was written by Alexandre Dumas in 1864 as a French translation of an 1838 work by Pierce Egan the Younger in England. The book is symbolic, as Hugo must avoid the "righteous" law enforcement (represented by Inspector Gustave) to live in the station and later to restore the automaton both to a functioning status and to its rightful owner.

Box office performance

Hugo earned $73,864,507 domestically and $111,905,653 internationally for a worldwide gross of $185,770,160.[3]

Hugo was cited as one of the year's notable box office flops despite garnering praise from critics. The film gained $15.4 million over the Thanksgiving weekend and almost $74 million domestically, barely half of its $170 million budget, even though it made strength overseas. Hugo's perceived failure was due to competition with Disney's The Muppets and Summit's Breaking Dawn Part 1.[17] The film is set to cost its studio $100 million because of its box office performance.[18]

Producer Graham King expressed that the film's box office results have been painful. "There's no finger pointing — I'm the producer and I take the responsibility," he said glumly. "Budget wise, there just wasn't enough prep time and no one really realized how complicated doing a 3-D film was going to be. I went through three line producers because no one knew exactly what was going on. Do I still think it's a masterpiece that will be talked about in 20 years? Yes. But once the schedule started getting out of whack, things just spiraled and spiraled and that's when the avalanche began."[19]

Critical reception

Hugo received universal critical acclaim. The film holds a 94% "Fresh" rating on aggregate review site Rotten Tomatoes based on 224 reviews, with an average score of 8.4. The site's main consensus reads "Hugo is an extravagant, elegant fantasy with an innocence lacking in many modern kids' movies, and one that emanates an unabashed love for the magic of cinema." Similarly, Metacritic gave[when?] the film an average score of 83 based on 41 reviews, indicating "universal acclaim".[20]

Roger Ebert of the Chicago Sun-Times gave the film four out of four stars saying "Hugo is unlike any other film Martin Scorsese has ever made, and yet possibly the closest to his heart: a big-budget, family epic in 3-D, and in some ways, a mirror of his own life. We feel a great artist has been given command of the tools and resources he needs to make a movie about – movies."[21] Peter Rainer of The Christian Science Monitor gave it a "B+" grade and termed it as an "an odd mixture: a deeply personal impersonal movie" and concluded that "Hugo is a mixed bag but one well worth rummaging through."[22] Christy Lemire said that it had an "abundant love of the power of film; being a hardcore cinephile (like Scorsese) might add a layer of enjoyment, but it certainly isn't a prerequisite for walking in the door" besides being "slightly repetitive and overlong".[23] Michael Phillips of the Chicago Tribune rated it three stars and described it as "rich and stimulating even when it wanders" explaining "every locale in Scorsese's vision of 1931 Paris looks and feels like another planet. The filmmaker embraces storybook artifice as wholeheartedly as he relays the tale's lessons in the importance of film preservation."[24] Joe Morgenstern of The Wall Street Journal gave a negative review, saying "visually Hugo is a marvel, but dramatically it's a clockwork lemon.[25]

Hugo was selected for the Royal Film Performance 2011 with a screening at the Odeon, Leicester Square in London on 28 November 2011 in the presence of TRH The Prince of Wales and The Duchess of Cornwall in support of the Cinema and Television Benevolent Fund.[26]

Richard Corliss of Time named it one of the Top 10 Best Movies of 2011, saying "Scorsese's love poem, rendered gorgeously in 3-D, restores both the reputation of an early pioneer and the glory of movie history – the birth of a popular art form given new life through a master's application of the coolest new techniques".[27]

James Cameron called Hugo "a masterpiece" and that the film had the best use of 3D he had seen, surpassing even his own acclaimed films.[28]

Top ten lists

The film has appeared on the following critics' top ten lists for the best films of 2011:

Critic Publication Rank
David Denby The New Yorker 1st
Harry Knowles Aint It Cool News 1st[29]
Shawn Levy The Oregonian (Portland) 1st[30]
Noel Murray A.V. Club 2nd
Glenn Kenny MSN Movies 2nd
Peter Hartlaub San Francisco Chronicle 2nd
Richard Corliss Time 2nd
Roger Ebert Chicago Sun-Times 4th
Lisa Schwarzbaum Entertainment Weekly 4th
Richard Brody The New Yorker 4th
Peter Paras E! Online 5th
— MTV 5th
Todd McCarthy The Hollywood Reporter 6th
Peter Travers Rolling Stone 6th
— TV Guide 7th
J. Hoberman The Village Voice 8th
Mark Kermode BBC Radio 5 Live 9th
Kim Morgan MSN Movies 9th
Keith Phipps A.V. Club 9th
Sean Axmaker MSN Movies 10th
Glenn Heath Jr. Slant Magazine 10th
Jeff Simon The Buffalo News —
Manohla Dargis The New York Times —
Phillip French The Observer —

Accolades

List of awards and nominations
Award Date of ceremony Category Recipients and nominees Result
Academy Awards[31][32] 26 February 2012 Best Picture Graham King and Martin Scorsese Nominated
Best Director Martin Scorsese Nominated
Best Adapted Screenplay John Logan Nominated
Best Cinematography Robert Richardson Won
Best Original Score Howard Shore Nominated
Best Art Direction Dante Ferretti, Francesca Lo Schiavo Won
Best Costume Design Sandy Powell Nominated
Best Visual Effects Robert Legato, Joss Williams, Ben Grossmann and Alex Henning Won
Best Film Editing Thelma Schoonmaker Nominated
Best Sound Editing Philip Stockton and Eugene Gearty Won
Best Sound Mixing Tom Fleischman and John Midgley Won
Academy of Motion Picture Arts and Sciences of Argentina Awards[33] December 5, 2012 Best Foreign Film Graham King, Timothy Headington, Martin Scorsese, and Johnny Depp Won
Alliance of Women Film Journalists[34][35] 10 January 2012 Best Picture Graham King and Martin Scorsese Nominated
Best Director Martin Scorsese Nominated
Best Adapted Screenplay John Logan Nominated
Best Cinematography Robert Richardson Nominated
Best Editing Thelma Schoonmaker Won
American Society of Cinematographers[36] 12 February 2012 Outstanding Achievement in Cinematography in a Feature Film Robert Richardson Nominated
Art Directors Guild[37] 4 February 2012 Period Film Dante Ferretti Won
Australian Academy of Cinema and Television Arts Awards[38] 27 January 2012 Best Film – International Graham King and Martin Scorsese Nominated
Best Direction – International Martin Scorsese Nominated
Boston Society of Film Critics Award 11 December 2011 Best Director Martin Scorsese Won
Best Film Graham King and Martin Scorsese Nominated
Best Cinematography Robert Richardson Nominated
2nd place
Best Editing Thelma Schoonmaker Nominated
2nd place
BAFTA[39][40] 12 February 2012 Best Director Martin Scorsese Nominated
Best Cinematography Robert Richardson Nominated
Best Original Score Howard Shore Nominated
Best Sound Philip Stockton, Eugene Gearty, Tom Fleischman and John Midgley Won
Best Editing Thelma Schoonmaker Nominated
Best Production Design Dante Ferretti and Francesca Lo Schiavo Won
Best Costume Design Sandy Powell Nominated
Best Makeup and Hair Morag Ross and Jan Archibald Nominated
Broadcast Film Critics Association Best Picture Graham King and Martin Scorsese Nominated
Best Director Martin Scorsese Nominated
Best Young Actor/Actress Asa Butterfield Nominated
Best Adapted Screenplay John Logan Nominated
Best Cinematography Robert Richardson Nominated
Best Editing Thelma Schoonmaker Nominated
Best Production Design/Art Direction Dante Ferretti, Francesca Lo Schiavo Won
Best Score Howard Shore Nominated
Best Costume Design Sandy Powell Nominated
Best Visual Effects Robert Legato Nominated
Best Sound Philip Stockton, Eugene Gearty, Tom Fleischman and John Midgley Nominated
Chicago Film Critics Association[41][42] 7 January 2012 Best Film Graham King and Martin Scorsese Nominated
Best Director Martin Scorsese Nominated
Best Cinematography Robert Richardson Nominated
Best Score Howard Shore Nominated
David di Donatello Awards[43] 4 May 2012 Best Foreign Film Nominated
Detroit Film Critics Society[44] 16 December 2011 Best Film Graham King and Martin Scorsese Nominated
Best Director Martin Scorsese Nominated
Florida Film Critics Circle Awards[45] 19 December 2011 Best Director Martin Scorsese Won
Best Film Graham King and Martin Scorsese Nominated
Best Production Design/Art Direction Dante Ferretti and Francesca Lo Schiavo Won
Golden Globe Awards[46][47] 15 January 2012 Best Director Martin Scorsese Won
Best Motion Picture – Drama Graham King and Martin Scorsese Nominated
Best Original Score Howard Shore Nominated
Golden Trailer Awards[48] 31 May 2012 Best Animation/Family "Imagine" Nominated
Best Animation/Family TV Spot Nominated
Grammy Awards[49] 10 February 2013 Best Score Soundtrack For Visual Media Howard Shore Nominated
Hugo Awards (Science Fiction Achievement Awards) 2 September 2012 Best Dramatic Presentation (Long Form) Martin Scorsese and John Logan Nominated
Indiana Film Critics Association Best Film Graham King and Martin Scorsese Nominated
Best Musical Score Howard Shore Nominated
Las Vegas Film Critics Society 13 December 2011 Best Film Graham King and Martin Scorsese Nominated
Best Family Film Won
Best Film Editing Thelma Schoonmaker Won
Best Youth in Film Asa Butterfield Won
National Board of Review[50] Best Film Graham King and Martin Scorsese Won
Best Director Martin Scorsese Won
New York Film Critics Circle Award 29 November 2011 Best Director Martin Scorsese Nominated
2nd place
Best Film Graham King and Martin Scorsese Nominated
3rd place
Online Film Critics Society Awards 2 January 2012 Best Picture Graham King and Martin Scorsese Nominated
Best Director Martin Scorsese Nominated
Best Cinematography Robert Richardson Nominated
Phoenix Film Critics Society 27 December 2011 Best Picture Graham King and Martin Scorsese Nominated
Best Director Martin Scorsese Nominated
Best Adapted Screenplay John Logan Nominated
Best Cinematography Robert Richardson Nominated
Best Production Design Dante Ferretti Won
Best Costume Design Sandy Powell Nominated
Best Visual Effects Robert Legato Won
Best Live Action Family Film Nominated
Satellite Awards 19 December 2011 Best Picture Graham King and Martin Scorsese Nominated
Best Director Martin Scorsese Nominated
Best Art Direction and Production Design Dante Ferretti and Francesca Lo Schiavo Nominated
Best Cinematography Robert Richardson Nominated
Best Visual Effects Robert Legato Won
San Diego Film Critics Society Awards 14 December 2011 Best Production Design Dante Ferretti Won
Best Film Graham King and Martin Scorsese Nominated
Best Director Martin Scorsese Nominated
Best Adapted Screenplay John Logan Nominated
Best Cinematography Robert Richardson Nominated
Best Editing Thelma Schoonmaker Nominated
Best Score Howard Shore Nominated
Saturn Awards[51] 20 June 2012 Best Fantasy Film Nominated
Best Actor Ben Kingsley Nominated
Best Performance by a Younger Actor Asa Butterfield Nominated
Chloë Grace Moretz Nominated
Best Director Martin Scorsese Nominated
Best Writing John Logan Nominated
Best Music Howard Shore Nominated
Best Costume Sandy Powell Nominated
Best Production Design Dante Ferretti Won
Best Editing Thelma Schoonmaker Nominated
Washington D.C. Area Film Critics Association Awards[52] 5 December 2011 Best Director Martin Scorsese Won
Best Art Direction Dante Derretti Won
Best Film Graham King and Martin Scorsese Nominated
Best Acting Ensemble Nominated
Best Adapted Screenplay John Logan Nominated
Best Cinematography Robert Richardson Nominated
Best Score Howard Shore Nominated
World Soundtrack Academy 20 October 2012 Best Soundtrack Award Howard Shore Nominated
Composer of the Year Nominated
Young Artist Award[53] 6 May 2012 Best Performance in a Feature Film - Leading Young Actor Asa Butterfield Nominated
Best Performance in a Feature Film - Leading Young Actress Chloë Grace Moretz Won

References

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  53. ^ "33rd Annual Young Artist Awards". YoungArtistAwards.org. Retrieved March 31, 2012.
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