Hugo (film)/WMG: Difference between revisions

** The Station Inspector assists him (because the thought of a comically officious but mostly endearing character like that collaborating with the Nazis isn't terribly fun) and in this universe, Hugo's presence, as well as that of Isabelle (who has matured somewhat beyond her need for sheer adventure, and understands the gravity of what she is doing) changes the course of the war.

Note: You're not going to get this WMG if you haven't seen ''Inception''.

The entirety of ''Hugo'' takes place in Cobb's subconscious. Hence in ''Hugo'' the constant talk about movies as dreams, the fixation on trains, the dream-within-a-dream scene, and Hugo's nocturnal anxiety attack over his own realness. Also, the surreal way that events from Hugo's favorite movies then actually happened, like dangling from a clock face or nearly being hit by a train, suggests a dream state.

After Mal's death, Cobb [[wikipedia:Regression chr(28)psychologychr(29psychology)|regressed]] to a childlike persona, fleeing into a fantastical dreamscape based on the city, Paris, where he first met his wife. Cobb's talent with dream architecture and meticulous timekeeping is visually represented by his clockwork world. Like himself, his dream persona, Hugo, is incredibly lonely, emotionally damaged, and feels desperately lost. Hugo's grief for his father is a reflection of Cobb's grief ''as'' a father.

Cobb creates a younger, idealized Mal as a projection in the form of Isabelle, who, like her counterpart in ''Inception'', is a thoughtful French girl who escapes into fiction from the banality of real life. This Mal projection serves as a companion, assuaging his loneliness. A younger projection of Miles shows up as Tabard, and like his ''Inception'' counterpart, is a Parisian professor who makes the visualization of dreams his life's study. Precise names and faces differ because Cobb instinctively know the danger of recreating real people exactly.

After he stopped making silent films, Georges Méliès wanted a more simple life like in his movies so he made a ''[[BioBioShock Shock(series)]]'' meets ''[[Professor Layton and Thethe Curious Village]]'' type city with his wife. The trains only go around the city. Nobody noticed because few are sentient and the ones that aren't like Hugo and the Station Inspector are programmed not to notice. That's why the book said Georges was not alive. He went into hiding, using the idea of the window stage to create a steampunk dome like in ''[[The Truman Show (Film)|The Truman Show]]'' using the profits he made from the movies. Isabelle was the daughter he never had. The Robot Hugo found was a prototype that Georges made.

The clock tower was an electricity generator that ran the town. Like in ''[[Dark City]]''. Hugo was picked by Georges because he was made sentient with implanted memories. That's why his father's fire memories looked so odd and had the film sound. It also explains why the uncle disappeared for many months without anyone questioning or finding him. That first morning we see him is the first day he was activated. Georges kept watch at the the toy shop, making sure that Hugo was doing his job. When Georges was talking about movies being dreams, he was right.

And at end he either took Hugo to the real world or he watched the movie with the other robots inside the dome.

So basically the movie is a mixture of ''[[Kingdom Hearts]]'', ''[[The Big O (Anime)|The Big O]]'', ''[[Dark City]]'', ''[[Blade Runner]]'', and ''Inception'' based on trans-humanism for kids. Awesome.