Hugo is an orphan boy living in the walls of a train station in 1930s Paris. He learned to fix clocks and other gadgets from his father and uncle which he puts to use keeping the train station clocks running. The only thing that he has left that connects him to his dead father is an automaton (mechanical man) that doesn't work without a special key. Hugo needs to find the key to unlock the secret he believes it contains. On his adventures, he meets George Melies, a shopkeeper, who works in the train station, and his adventure-seeking god-daughter. Hugo finds that they have a surprising connection to his father and the automaton, and he discovers it unlocks some memories the old man has buried inside regarding his past. Written by
This Martin Scorsese movie won the same number of Academy Awards as Scorsese's The Aviator (2004) totalling five. Both were nominated for Best Picture and Best Director Oscars but lost out. The film also won the same number of Oscars in the same year as The Artist (2011). Both films examined silent cinema. See more »
When Hugo says the automaton 'Is this your card?' (at around 33 mins), the card is in his right hand but in the next shot it's in his left hand. See more »
[wonders if she dares to ask the question]
Where do you live?
[Hugo looks at her for a minute, then turns and points to the giant clock at the train station across the bridge]
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There is only one opening credit, the film's title, which does not appear until nearly 15 minutes into the film. See more »
A film adventure in every sense of the word. I was propelled into Martin Scorsese's cinematic mind in a film he made for his 12 year old daughter. Everything about it speaks of love of cinema. I wept, I must confess it right here and now. I really wept. Not just for the humanity of the story but by the heart and mind of the man behind the camera. This is the same man who gave us "Taxi Driver", "Raging Bull", "Goodfellas" Every detail enriches our experience. Dante Ferreti's production design is, monumental, costumes, photography and Howard Shore's score are, quite simply, breath taking. I'm running out of superlatives and I haven't yet mentioned Sacha Baron Cohen, priceless. There is moment in which our young protagonists sneak into a movie theater and sit in amazement watching Harold Lloyd hanging from the clock. For me, to see Lloyd in the big screen as part of Martin Scorsese's latest dream, is the highest and most moving point of my movie going year.
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