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Despite the French spirit that affectionately saturates Hugo and does approach obnoxious levels at times, the score is floated in all its parts by Shore's strong set of very consistent themes. The main identity is a sensitive and almost carefree waltz for accordion referenced in the middle of "The Thief" and frequently thereafter. Its pretty melody solidifies with its song adaptation, "Coeur Volant," and conclusion, "Winding It Up," to finish the score's album presentation. It's not unusual for a piano or solo woodwind to take up this melody, making it occasionally reminiscent of vintage Rachel Portman innocence of tone. Far more interesting in Hugo, however, are two darker themes of mystery and intrigue in the minor key, beginning with a series of descending octaves on piano and celesta to represent the (literal) clockwork of the automation in the story. This idea is the first heard in "The Thief" and is reprised as quick, fragmentary reminders throughout the rest of the work, often extending into a fluid relative of flowing, descending rambling on ondes martenot and strings that serves as the score's official, other-worldly representation of the boy's father's inventions and the magic associated with the story. This elusive idea first graces "The Clocks" before receiving extensive development in "Hugo's Father" and maturing into fuller ensemble variants on vibrant strings in "The Magician." Shore ensures these combined identities final expressions in "Winding It Up" as well. The score's comedy emanates from the theme for the story's station inspector, who receives a staggered march that adds deep woodwinds and snare drum to the French elements starting in "The Chase." As the score progresses, this theme seemingly mutates into a ascending series of pronounced chords that oddly resembles the "nature reclamation" theme from The Lord of the Rings. Other ideas waft through the score at will, some of them attentive to the early days of cinematic music while the pair of "A Ghost in the Station" and "A Train Arrives in the Station" takes the inspector's music into straight action mode. Ultimately, "The Thief" and "Winding It Up" are good summaries of the score's better thematic constructs, both cues lengthy and effortless in their pleasantly tonal surveys and narrative flow. The aforementioned song, "Coeur Volant," sung in French by Zaz, is lovely in its gypsy performance emphasis and employment of the orchestral ensemble in the background. While the French elements in the score as a whole, especially in the marching comedy portions, will test your patience, the remainder is well enough integrated to appeal to purely fantasy interests. With practically no challenging or disturbing passages, Hugo is a consistently affable listening experience on its lengthy album, and the beauty of the song adaptation completes an easily recommendable package.  ****   @Amazon.com: CD or Download

Bias Check:

For Howard Shore reviews at Filmtracks, the average editorial rating is 3.56 (in 25 reviews) and the average viewer rating is 3.32 (in 101,260 votes). The maximum rating is 5 stars.

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