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Martin Scorsese’s visually grand and intricate new 3-D movie, Hugo, gives us spirited youthful adventures in 1920s Paris. It’s about vital old mysteries, wonderment, emotional connections, and the influence of machines on the imagination. That’s a lot, to be sure, but I’m pretty certain that Hugo is also about Scorsese’s well-known fascination with movies as an art form whose examples must be protected and, where necessary and possible, patched up. As the movie’s titular young hero pursues his sometimes harrowing adventures, his fate touches the life of a moviemaker from the medium’s dawning years, Georges Méliès.

My Week With Marilyn

All things being equal, if you were going to make a movie about Marilyn Monroe centered around the production of a particular film, I would choose Some Like It Hot, which is as legendary for what Billy Wilder got on the screen as for the difficulties he had getting it there. (You could probably make a whole film just out of Wilder spending 40 takes trying to get Monroe to say, “Where’s the bourbon?”)

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