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Sr. Rose Pacatte, F.S.P.

“Hugo” is based on the remarkable Caldecott Medal winning novel for young people by Brian Selznick, “The Invention of Hugo Carbet” (2007). The book itself is a joy to read, a celebration of the power of the imagination and the magic of the movies.

The film adaptation is director Martin Scorsese’s passionate “hommage” to storytelling through cinema. It was written by John Logan, who is not a consistently good writer (he was nominated for Oscars for “Gladiator” and “The Aviator” but he also wrote “The Last Samurai” and “Rango”, that while entertaining, were lacking in plot development) but he has done a wonderful job here.

“Hugo” is the story of Hugo Carbet, a young orphan boy who lives in a Paris train station in 1930. Hugo’s father (Jude Law), a curator at a museum who is fascinated by an automaton, has died. Hugo’s Uncle Claude (Ray Winstone) comes to fetch him and the boy manages to grab his father’s notebook and the robot as he leaves.

When Uncle Claude disappears, Hugo keeps the clocks on time, helps himself to food around the station and comes to the attention of a station inspector (Sasha Baron Cohen). The owner of a stand that repairs and sells mechanical toys, an older man (Ben Kingsley) also notices Hugo trying to lift a toy and takes his notebook. He then hires Hugo to repair toys.

The stand owner turns out to be Georges Méliès, (1861-1938),  a former magician, and the first filmmaker to make fantasy science fiction films. His  “La Voyage Dans la Lune” can be seen in various lengths on YouTube and is included in “Hugo”.   This information may seem like a “spoiler” but I think knowing it before seeing the film, especially if you are not familiar with film history, will add to your experience.

Méliès, made hundreds of films between 1897 and 1914 when he stopped because people preferred the ”realism” of the films of the Lumiere Brothers, who are credited with  inventing cinema, though now they are referred to  as being among the first  inventors., including Thomas Edison. Their  “Arrival of a Train”   is included in “Hugo” and can be seen on YouTube as well This short film revolutionized society, that is, the way people came together in a shared experience of a story in ways never before experienced. Going to movies became an industry (Georges tells the story of his studio and how the studio workers, mostly women, made color film by paining each frame one by one. This is an amazing feat of creativity and intense, painstaking labor when you consider that film moves at 24 frames per second.)

Méliès wife, Mama Jeanne is played well by Helen McCrory and their ward, Isabelle (Chloë Grace Moretz), is the courageous girl who befriends Hugo, who brings everyone together.

What makes “Hugo” so special to me is that Martin Scorsese made it and it is filled with the afterimage of his Catholicism and imbued with his passion for cinema. This is evident in the visuals as well as the attitude toward the arts, storytelling, family, and the honor he gives to the imagination. In an era when literal interpretation is the driving method for understanding stories, news, and often scripture, a method that dries up dreams and ignores the imagination, “Hugo” is a gift to all of us.

I found myself profoundly moved by the film and at one point, I just started crying for the sheer joy of seeing the creative imagination validated.  If we  approach the film intentionally, willing to wait for the story to unfold, to savor the blend of sight and sound, to become a curious child again, to become seekers again, we, too, will be rewarded, just like Hugo.

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Marie-Rose Durocher: Canada was one diocese from coast to coast during the first eight years of Marie-Rose Durocher’s life. Its half-million Catholics had received civil and religious liberty from the English only 44 years before. When Marie-Rose was 29, Bishop Ignace Bourget became bishop of Montreal. He would be a decisive influence in her life. 
<p>He faced a shortage of priests and sisters and a rural population that had been largely deprived of education. Like his counterparts in the United States, he scoured Europe for help and himself founded four communities, one of which was the Sisters of the Holy Names of Jesus and Mary. Its first sister and reluctant co-foundress was Marie-Rose. </p><p>She was born in a little village near Montreal in 1811, the 10th of 11 children. She had a good education, was something of a tomboy, rode a horse named Caesar and could have married well. At 16, she felt the desire to become a religious but was forced to abandon the idea because of her weak constitution. At 18, when her mother died, her priest brother invited her and her father to come to his parish in Beloeil, not far from Montreal. For 13 years she served as housekeeper, hostess and parish worker. She became well known for her graciousness, courtesy, leadership and tact; she was, in fact, called “the saint of Beloeil.” Perhaps she was too tactful during two years when her brother treated her coldly. </p><p>As a young woman she had hoped there would someday be a community of teaching sisters in every parish, never thinking she would found one. But her spiritual director, Father Pierre Telmon, O.M.I., after thoroughly (and severely) leading her in the spiritual life, urged her to found a community herself. Bishop Bourget concurred, but Marie-Rose shrank from the prospect. She was in poor health and her father and her brother needed her. </p><p>She finally agreed and, with two friends, Melodie Dufresne and Henriette Cere, entered a little home in Longueuil, across the Saint Lawrence River from Montreal. With them were 13 young girls already assembled for boarding school. Longueuil became successively her Bethlehem, Nazareth and Gethsemani. She was 32 and would live only six more years—years filled with poverty, trials, sickness and slander. The qualities she had nurtured in her “hidden” life came forward—a strong will, intelligence and common sense, great inner courage and yet a great deference to directors. Thus was born an international congregation of women religious dedicated to education in the faith. </p><p>She was severe with herself and by today’s standards quite strict with her sisters. Beneath it all, of course, was an unshakable love of her crucified Savior. </p><p>On her deathbed the prayers most frequently on her lips were “Jesus, Mary, Joseph! Sweet Jesus, I love you. Jesus, be to me Jesus!” Before she died, she smiled and said to the sister with her, “Your prayers are keeping me here—let me go.” </p><p>She was beatified in 1982.</p> American Catholic Blog It is in them [the saints] that Christian love becomes credible; they are the poor sinners’ guiding stars. But every one of them wishes to point completely away from himself and toward love…. The genuine saints desired nothing but the greater glory of God’s love… <br />—Hans Urs von Balthasar


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