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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.
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