December 13, 2011 § 1 Comment
When people talk about “the magic of the movies,” they always talk about film’s ability to take you away from your life and transport you somewhere else for a few hours. To live in another world, to see it through someone else’s eyes. This is always the go-to argument for why movies’ popularity peaked during World War II–people just needed to be distracted from their problems, preferably with a cheesy Technicolor musical starring Betty Grable. And although I love the movies, that’s something I’ve rarely ever experienced. Even with movies I like, I almost never feel swept away, transported somewhere else, not wanting the experience to end. Even with movies I like, I still check my watch.
But Hugo did it for me. I bookmarked the movie this summer, when I saw a preview for it and was immediately enchanted. You know how I feel about Cute Kids in movies? The way I feel about Anguished Kids is just about the exact opposite. So take one Anguished Child, put him in a romantic historical setting, have him create a new family from scratch (one of my favorite plotlines, especially when it involves previously Anguished children) . . . throw in some beautiful clocks, shots of a snow-encrusted Paris, and a puppy or two, and I’m yours. And when you take into account that Hugo revolves around the art of storytelling–mostly in the form of movies, but also with a book or two–of course I was going to fall in love. I had to.
Hugo, based on a novel called The Invention of Hugo Cabret, follows a young orphan who’s in charge of winding the clocks at a 1930s Paris train station. The one reminder he has of his father is a broken-down automaton rescued from a museum. Hugo makes friends with a girl named Isabelle, the two of them sneaking into the movies and tricking the train’s boorish inspector. But when they realize that she holds the key that unlocks his automaton, the two of them are entangled in a curious mystery that involves a toymaker, Hugo’s father, and the early history of cinema . . .
Unfortunately, the film’s marketing is pretty much killing it. While its previews depicted a high-energy children’s film, this isn’t really a film that caters to children’s tastes. It takes a while to get going, and even once it does, it’s still never particularly zippy. The slow pacing, combined with a historical focus and a lack of one-liners, means that some children will have trouble sitting through this one. Hell, so will some adults. The fact that a film has a child protagonist and no swear words does not necessarily mean it’s a children’s film, and that’s true of Hugo.
As of now, Hugo has only made $33 million at the box office, about a fifth of its very generous budget. Of course, the critics are loving it. They have a tendency to adore anything that celebrates the magic of film, as Hugo does in spades. And if it can pick up some steam through awards season, enough buzz may build to keep it going into January. The chances of it recouping its costs, though, look slim, and that’s unfortunate, because this is a wonderful movie–one during which I didn’t check my watch even once.