Clockwork
A bright and beautiful picture for family viewing is well suited for viewing both children and adults, it is imbued with an atmosphere of discovery and a real cinematic charm. Filmed with picturesque landscapes, expressive special effects and charismatic heroes, such a movie leaves a strong mark on the memory, carrying something eternal and good into the world, while without banal moralizing loads. Although at the very combination of “The Tale from Martin Scorsese” the imagination paints not the most rosy prospects and very weak hopes for a happy ending, this experience was successful in all the splendor of the genre, thanks to which one of the most vivid and touching film fairy tales was obtained.
The action slowly plunges into the worlds of children’s fantasies and discoveries, starting with fantastic books and ending with amazing and bizarre cinema. The main idea of the project is just in the world of revived fantasies and in creativity, in the self-expression of the amazing and incredible world of fantasies, in which you want to plunge again and again.
The clock mechanism is used here not only by the entourage of the existence of the main character - the clever mechanic Hugo, fixing the mechanical man found by his deceased father, but acts as an allegory of urban life and bustle itself, associated with the bustle at the station, then with the life of the city as a whole. It is not for nothing that the visual series actively focuses the transitions of landscapes into cogs and gears of large station clocks and other mechanisms. Lifestyle, interaction between people, relationships in which some converge, others break with the past, all in the endless interaction and almost honed movement of the unified mechanism of surrounding life. And it is not for nothing that thanks to the technical innovations of those years, all book (and not only) fantasies begin to come to life on the screen.
And after all the numerous plot sketches such as the meeting of an unfamiliar girl with the key to the very mechanical man, running from the insistent caretaker, secretly in love with a flower seller, relations with an angry and angry toy master and the entire line with the repair of the “artist”, in the end we get a movie about the movie. The unexpected final turn suddenly turns not only the plot of the film and the attitude to some characters, but in general puts the plot and semantic core in a different way, switching to a completely different level and another form of narrative.
Perhaps this change of rhythm, goals and plot in the final act of the film will be remembered in the first place. An unexpected plot move puts everything in its place, albeit in the expected order, but with completely different accents and frames of the action, and the closer to the end, the more intense the action becomes. Moreover, this saturation concerns both a note of tension (a poster scene with hanging on the hands of the clock at least, or a reception with a dream, as the most terrible scene of the film), and the happy resolution of the whole variety of character conflicts.
The characters themselves, adequately played and effectively presented on the screen, remain in memory for a long time after such a beautiful plot and a wonderfully told story. Sir Ben Kingsley and (in which time it is not disgusting-nasty) Sacha Baron Cohen embodied the contradictory "villains" of history, very to the place came the bright figures of Christopher Lee and Jude Law (as key mentors for the main characters), noted in the role of alcoholic Ray Winston, chicly played the side and fun plot "Garrypotterian" Francis de la Tour and Richard Griffiths, and the most attentive will see the cameo director, and at the same time cameo author of the original book “Invention of Hugo Cabre” Brian Sleznik. Well, of course, the main characters - perfectly coped with the role of Asa Butterfield and the main diamond of the picture - stunning Chloe Grace Moretz, overshadowing many others with a brilliant performance and the bright sincerity of her heroine.
Avid film fans, in addition to a kind and colorful fairy tale, will help to remember the beginning of cinema, the famous fantastic paintings and the work of Georges Méliès, perhaps even spurring someone with interest in his work. The bulk of the audience should just believe in miracles, enjoy watching the new work of Martin Scorsese, and immerse yourself in the atmosphere of Paris of the thirties in this unforgettable and stunning fairy tale!
10 out of 10
Original
