Character Analysis of Hugo Cabret in Hugo, a Movie by Martin Scorsese

Hugo, directed by Martin Scorsese and released in 2011, is a tale that primarily takes place in a bustling Parisian train station during the 1930s. The orphaned protagonist, Hugo Cabret, is on a mission to mend his precious broken gadgets but must first overcome many hardships in order to eventually find peace despite his challenging life style. Throughout the film, Scorsese makes subtle comments regarding the importance of family through the mise en scene especially the movements of actors and setting as well as specifically placed cameras to allow the audience to connect with Hugo's need for a loving family on a more personal level.

Within the beginning twenty minutes of the film, the viewer is introduced to the relationship between Hugo and his biological father when he slips into a flashback denoted by a screen dissolve and momentary superimposition of the automaton. The camera immediately cuts to a medium close-up of a younger Hugo Cabret looking up and to the right of the screen. This particular angle is significant because he is literally "looking up to" his dad making it quite obvious that Hugo holds a deep admiration and respect for him. Both characters with a curious twinkle in their eyes discuss the automaton; Hugo quickly relates its place of origin in England to that of his mother's. After initially denying Hugo's request to fix the broken automaton, the father changes his mind and embraces him while the camera lingers for several seconds to emphasize the close bond between the two. Even more significant than the hug is the father's inclusive statement designed to make Hugo feel important and like part of the family: "We're clockmakers, aren't we?"

Hugo subsequent father figure is his Uncle Claude. After abruptly delivering the news of Hugo's father's death, Claude demands Hugo to quickly come with him as the camera is trained on a close-up of Hugo's forlorn and disbelieving facial expression. The next segment of the scene is angled from directly behind Hugo as he follows Uncle Claude atop a bleak, dark building. These elements of the mise en scène are important; the camera filming from behind Hugo conveys his reluctance to leave home and the gloomy atmosphere of the roof and surroundings reflect his attitude and feelings. Uncle Claude ushers Hugo to the train station where he resides in a cramped, messy area and teaches him how to operate the clocks; soon enough, Hugo is once again abandoned after the death of Uncle Claude and is forced to live in the station on his own and steal his necessities.

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The audience is first introduced to Isabelle after Hugo's notebook is confiscated by Mélies, and he convinces her to come outside to speak with him. Hugo refers to Méliès as Isabelle's grandfather, but she immediately corrects him to say that he is not but fails to clarify any more at the moment. In this instance it is clear that Scorsese wants to emphasize that the Méliès family already consists of unoriginal additions: Isabelle, who is not immediately related yet seems to be assimilated into the family nevertheless. Despite his callous treatment of Hugo in the train station, there seems to be an underlying family oriented quality to Mélies as well that will have a large impact later in the film.

The epitome of Scorsese's central message regarding the importance of family occurs toward the conclusion of the film during the scene where Mélies seems to rescue Hugo from the station inspector. Because it has become overwhelmingly clear that Hugo is living on his own, the inspector repeatedly threatens to send Hugo to an orphanage. Hugo replies, "No! I don't belong there!" to which the station inspector replies, "Where do you belong then? A child has to belong to somewhere!" With these significant lines, Scorsese suggests that there is in fact a place of belonging for children: in a family. The director's message is further illustrated when Hugo pleads, "I don't understand why my father died.. why I'm alone..." In these painfully uttered words, it is obvious that Hugo himself feels broken especially in the absence of a family.

In the same scene, when all hope seems to be lost, the camera cuts to show Méliès and Isabelle. Their positions juxtapose that of Hugo and the inspector: whereas Isabelle lightly holds Méliès' arm for comfort, the station inspector forcefully grips Hugo's arm to avoid him escaping. This prolongs the somewhat awkward encounter over the custody of Hugo Cabret. Quickly changing from shallow to deep focus, the camera guides the viewer's eyes to the appropriate area and highlights the most important elements in the scene. Also, several shot and reverse shots are exchanged between Hugo and Méliès to show their newfound connection. Méliès finally says, "Monsieur, this child belongs to me." Before being released, Hugo and the station inspector both stand in a state of disbelief as shown by the unmoving camera that remains on them for several seconds. The camera pans to the left as Hugo meekly walks over to his adoptive family, and as a sign of welcome, Méliès extends his arm to place around Hugo's shoulder. Hugo hands over the automaton apologizing for its brokenness, yet Melies replies, "No...he worked perfectly!" This ambiguous statement is important in the moment because it suggests that by welcoming Hugo into the family the automaton-something Mélies cares dearly for has served its ultimate purpose. As the family of three turns to exit, the camera pans to the right to follow their movements. Mélies has his arms around both Hugo and Isabelle giving the scene a loving and happy tone, and as they walk away together the music begins playing again to convey to the audience that everything is as it should be.

In the end of Scorsese's film, Hugo, seemingly broken individuals are mended when they are united with one another in the form of a family. Through emotion evoking character gestures and placement, crowded yet simultaneously lonely settings, and well-positioned cameras Scorsese communicates an underlying message of the importance a family, and by doing so, he makes the characters emotionally available to the audience.

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