War Horse and Hugo - Film Reviews

Stepping in to fill the family film slot left vacant by the completion of the Harry Potter series are two features by Hollywood giants Steven Spielberg and Martin Scorsese: War Horse (released on Christmas Day, interestingly enough) and Hugo, respectively. Both films come as a breath of fresh air to the family epic genre, which was virtually monopolized by Harry and friends over the past decade. For those of us who grew up watching children’s films like E.T., The Neverending Story, and Disney animations, these movies offer the chance to indulge in a little nostalgia, and get lost in the magical (and high budget) tale of idealistic youngsters fighting for what’s right against the disillusioned adults of the world.

Steven Spielberg’s War Horse is a “family war epic” (to quote Wikipedia), and an interesting example of how the definition of a family film has come to change over the past ten or twelve years. Despite its dramatic promotional poster, featuring Jeremy Irvine and his horse against a blood-red sky, War Horse is a children’s film through and through—a children’s film for children who have grown up playing increasingly graphic WW2 video games like Call of Duty and Medal of Honor.

Jeremy Irvine plays Albert, a not-so-well-to-do farmer’s son from Devon, whose family depends on him training a slender thoroughbred to plough a rocky field. Against all odds, Albert succeeds, and he and the horse (Joey) forge a deep bond of friendship. The pair is torn apart when Albert’s depressed, alcoholic father sells Joey to the cavalry. The film follows Joey as he is traded from hand to hand in the chaos of WW1, a brave but ultimately helpless victim of a human conflict. Hope is not lost, however: Albert enlists, vowing to find Joey and bring him home safe.

The film is gorgeously high budget, filled beautiful widescreen shots of the English countryside and haunting images depicting the devastation of war. Moralistic and emotionally manipulative as all good family epics are, War Horse is a sort of Black Beauty meets Saving Private Ryan, an inspirational story about the bond between a boy with gumption and his spirited (and highly humanized) animal companion, a bond so strong that even war, death, and barbed wire cannot sever it. Although predictable and perhaps a bit too graphic for a holiday release, War Horse is definitely a film that will please all audiences, if only for its nostalgic rehashing of children’s epics of the 80’s and 90’s.

Nostalgia is the key to Scorsese’s Hugo as well, but this time it is the nostalgia of the filmmaker himself for the magic of early cinema. Produced using the latest 3D technology, Hugo is an enchanting adventure into the history of cinema itself. The titular character, Hugo, is a young orphan who lives in the attic of a train station, fixing the clocks and collecting screws, gears, and bolts with single-mined determination. Left alone after the death of his father, Hugo spends his time obsessively repairing a child-sized automaton, which he believes may contain a message from his father.

Unlike War Horse, Scorsese’s film is anything but predictable. The entire film is filled with suspense---What message the automaton will bring? Why is the station toymaker so dead-set against Hugo finding out? And, most importantly, what will become of Hugo?

The most interesting thing about Hugo, however, is Scorsese’s innovative use of 3D technology. Hugo is probably just about the first 3D film that can boast a compelling narrative and good composition underneath its special effects—but more than that, it’s the first 3D film to play with the technology rather than exploit it. The film is good in 2D, but 3D completes it. In my opinion, this might be the only film that actually does merit the higher ticket price. Luckily, it looks like Hugo will have a long run in theatres, so if you haven’t already seen it, you still have a chance!