This scene has a particular glow, and we share Isabelle's vintage amazement at what she's watching.
2011 CLOCKMAKER MOVIE MOVIE
Hugo is surprised to learn that she has never seen a movie before, either, so he sneaks her into a theatre that's showing Georges Méliès' watershed science-fiction classic, A Trip to the Moon. He tells Isabelle about his quest, and she's instantly intrigued. Isabelle is an orphan herself, and she happens to be wearing, on a ribbon around her neck, exactly the sort of key Hugo has been seeking for his automaton. There he encounters Georges' goddaughter, Isabelle (Chloë Grace Moretz). When he spots Hugo as a thief, and seizes the boy's notebook of intricate mechanical designs, Hugo follows him home. Hugo's most rewarding source of clockwork parts is a station toy shop run by a cranky old man named Georges (Ben Kingsley). In search of parts for the automaton, Hugo descends into the crowds of the station below-carefully eluding the notice of the station inspector (Sacha Baron Cohen), an officious prig with a mechanical leg, whose pleasure it is to collar unattached children and ship them off to a dismal orphanage. To bring this complex oddity to "life," however, Hugo must eventually find a special key that fits into its locked mechanical heart. Doubly orphaned after the uncle disappears, Hugo spends his days winding the clocks himself and assiduously repairing a rusty automaton-a child-size mechanical figure-that his late father had rescued from oblivion in a museum. Living in a loft at the top of the clock tower is 13-year-old Hugo (Asa Butterfield), a clockmaker's son orphaned after the death of his father (Jude Law in flashbacks), and resentfully taken in by his alcoholic uncle (Ray Winstone), who's employed as winder of the station's clocks. (It's a sequence that inevitably recalls the famous Copacabana entry in Scorsese's Goodfellas, much as a later runaway-train episode is reminiscent of the bravura plane-downing sequence in The Aviator.) The camera plunges down from the sky into a grand train station (presumably the Gare Montparnasse), skitters along a crowded boarding platform and then through the station's bustling main hall and into its imposing clock tower, pulling us upward through a mechanical wonderland of ornate gears, levers, and elaborate whatnot. As the movie begins-in Paris, in 1931, in meticulous 3D-we realize immediately that we're not about to sit through any run-of-the-mill PG kiddie flick.
The picture is based on The Invention of Hugo Cabret, a 2007 illustrated novel by Brian Selznick, to which Scorsese secured the film rights early on. But the child at the center of the story, looking back more than a hundred years to the wellspring of his art, is Scorsese himself. There's a pair of inquisitive children, a hazardous quest, and a wondrous treasure. It's a movie about movies, and the ways in which they came to occupy people's hearts and minds. Hugo is the ultimate kid's movie, in a sense, because its director, Martin Scorsese, turns out to be the ultimate kid.
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