Hugo

I must begin my review by referencing my esteemed colleague's insightful comments earlier on this site:

There is something to be said for knowing next to nothing about a film prior to seeing it. One sits in a dark theater and just allows a story to unfold. Son, Greg and I went on a magical mystery tour watching Hugo. Set in early 20th c. Paris, (Hear that, David? Hear that, Jenna?) this latest by Martin Scorsese focuses on a young orphan who lives in, and operates, the clock tower of Paris's train station. With themes and references to Deism, post-Industrial Revolution obsession with automatrons, and class injustice, the film, while immediately captivating starts slowly in plot, causing this viewer to briefly wonder, where is this going? And then, the magic gathers steam. Suddenly we have a multi-layered tale stitched together with great care and love. For, in the end, this is a love story of sorts, Scorsese's Valentine to film.

Yes, Valerie, so true. The film does have moments of magic, as it unfolds like a flower. Check out the key above. The viewer needs to remember throughout the flick that the plot is all about finding the key...

That said, I must protest some of the themes in the movie. If this is a kid's movie, which it purports to be (after all, we took our grandkids), then I feel like the adult world is all too present.

I was put off by Ben Kingsley's role as the abusive grump, who steals a poor waif's notebook and verbally decimates the young protagonist. OK, in many fairy tales, adults are mean to kids, as in Hansel and Gretel, Cinderella, and more. But in 2012, with so much child abuse around, is this really necessary?

I think I must re-read the classic work on kids and fairy tales: The Uses of Enchantment, by Bruno Bettleheim. In that tome, the famous psychologist argues that kids need to view cruelty to manage their own fears and work through them. NOT sure I agree!

Next point: Sasha Baron Cohen as the mean, child-hunting inspector of the train station. OK, he's a comic like none other. Yeah, I laughed a bit when he tried to practice his smiles. One light moment, however, could not help me enjoy his very negative role as the policemen who rounds up waifs trying to survive, puts them in cages, and threatens them with mean foster parents.

Onward: The young waif meets a girl he likes. Fine. Kids make friends. But before long, they're holding hands, and she's sort of an early adolescent, so again, discomfort sets in. Sorry, but I like my kiddie films nice and kiddie oriented. I can't stand it when adult themes invade the pure world of kids. Get me back to Mickey Mouse!

My other great concern? A meandering mess of a film. Right, Valerie, the film sort of finally arrives at Scorsese's tribute to the old silents. But why such a strange, circuitous vehicle to get there?

The boy in the tower? Why? What for? What deep symbolism evades me? A voyage through time? And all the automaton idolatry: very strange!

I must confess I feel very out of place. I was not at all impressed with a film that recently garnered no less than 11 Oscar nominations!

Go ahead, readers, tell me I'm wrong!

My grade for the Scorsese mish-mash: C

Sure, moments of charm. Mostly moments of dour feelings and negative views of life.

PS: Yeah, loved the shots of Paris, Valerie!

PS2: Fantastic cinematography...I admit it.