Page 24 THE VILLADOM TIMES I, II, III & IV • December 14, 2011 ‘Hugo’ (continued from Entertainment page) by showing, in montage, his career from illusionist to creator of the first special effects, including dissolves, time lapse, and multiple exposures. One of his most-used illusions is the stop trick, in which the actors freeze, the camera stops, other actors step into the scene, and the camera restarts, creating the impression that people have “magically” appeared out of thin air. Melies built a fully functioning studio made entirely of glass to capture sunlight, making it possible to turn out scores of short films. Yet by 1913 Melies was forced into bankruptcy, the victim of changing times and tastes. The 3D in “Hugo” is truly breathtaking, the best by far since “Avatar” revived the technique two years ago. Since then, there has been a veritable glut of 3D pictures foisted on viewers, most of which are blatant attempts to wring an extra few bucks in ticket prices. But “Hugo” uses the technique in exhilarating fashion, from long, sweeping shots of the bustling Parisian train station to tracking shots that follow Hugo through the twists and turns of its hidden passageways and tunnels. This is Hugo’s private domain, and the 3D allows the audience to experience Hugo’s daily routine in a visually exciting manner. The cinematography is exceptional. From the outset, when Scorsese is setting the scene with his always-moving camera, viewers are captivated. This is accomplished without a single word of dialogue. Butterfield and Chloe Grace Moretz (as Isabelle, a girl who turns out to lead Hugo on the greatest adventure of his life) are both excellent actors and capture the awe and excitement of early movies in a scene in which they watch, gasping, as Harold Lloyd dangles from a building many floors from the ground. Their dialogue is conversational and believable, and has no inkling of “child actor.” Cohen is a perfect comic villain. Far more restrained than in his Borat or Bruno characters, he conveys the unswerving diligence of his station inspector while giving him a softer side, illustrated by his attraction to and awkwardness with flower seller Lisette (Emily Mortimer) in a scene that just might be a nod to Chaplin’s “City Lights.” Cohen handles the slapstick proficiently, and often reminds one of Warner Brothers cartoons when he is taking sharp turns or getting into people pileups. There are supporting performances by Richard Griffiths, Christopher Lee, and Frances de la Tour as various shopkeepers in the station. Michael Stuhlbarg appears as Rene Tabard, a film historian who knows of Melies’ achievements in the medium and longs to meet him. Rated PG, “Hugo” is a rewarding experience on all levels. First of all, it is highly entertaining. The story is interesting, with much of it based on how the movie industry was born. There is a love of movies that includes the techniques used and the final product. Scorsese has used all the resources of 2011 filmmaking to celebrate a primitive era in the art form. He makes viewers marvel at how much was achieved with basic camera trickery, imagination, and enthusiasm. By interweaving the story of an orphan on a quest to fulfill his father’s dream with the tale of a forgotten filmmaker, Scorsese has created a movie that older kids will enjoy and adults will find unique.