55 pages • 1 hour read
Brian SelznickA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Hugo borrows the book from the Film Academy library and returns to his apartment in the train station. Isabelle walks on crutches with a bandaged foot and visits Hugo, telling him she is apprehensive about Georges. He has a high fever and is talking to himself, but she doesn’t know how they will pay for his medicine with the toy booth closed. Hugo comforts her and shows her the book, pointing out what it says about her godfather. He also tells her that he saw Etienne when he went to the library and told him about Georges. Etienne and his teacher René Tabard will visit Georges next week. Isabelle is hesitant about this idea, but Hugo believes it is the only way to learn the truth. Hugo then tells Isabelle everything about the automaton, including the death and disappearance of his father and uncle, respectively. Isabelle thanks him for telling her, and Hugo tells her to stop by the toy booth tomorrow after school.
The next morning, Hugo opens and runs Georges’s toy booth, though he is frustrated by the limited use of his right hand. Isabelle arrives and sits with Hugo behind the counter. He asks her to read aloud from her book of Greek myths, so she reads him the story of Prometheus. Hugo feels a connection to Prometheus because they both steal for good reasons. Hugo shows Isabelle the blue mechanical mouse, and they talk about how machines are built for a purpose. He is sad to see a broken machine because it can’t fulfill its purpose; he wonders if people break down in the same way. Isabelle and Hugo ponder their own purposes and wonder if they can fix Georges. In the evening, the children close the toy booth, and Hugo takes Isabelle into the glass clocks at the top of the station. They stand together and watch the silent city. Hugo tells her that he views the world as a machine, which means that both of them must have a reason for existing, as machines do not contain any superfluous parts.
Over the course of a week, Hugo and Isabelle raise enough money to buy Georges’s medicine to help with his fever. Hugo watches the station’s clocks break down, and the Station Inspector leaves a written request for an in-person meeting with Uncle Claude.
Hugo goes to Isabelle’s apartment for the meeting between Georges, Etienne, and Monsieur Tabard. Isabelle explains to Jeanne how they discovered who Georges is and introduces Monsieur Tabard and Etienne to her. Monsieur Tabard tells the group about how he met Georges when he was little, and the experience profoundly affected Monsieur Tabard. He wants to repay Georges, but Jeanne doesn’t think bringing up the past is a good idea. Monsieur Tabard then shows them one of Georges’s movies, which he brought from the Film Academy archive. He also brought a projector, and Isabelle and Hugo beg Jeanne to watch it. The group watches the film, and Hugo recognizes the fabric with the moons and the stars: It was a costume from A Trip to the Moon.
When the movie ends, everyone sees Georges standing in his bedroom doorway. Isabelle introduces her godfather to Etienne and Monsieur Tabard. She then tells Georges about Hugo’s automaton, the key, and the machine’s drawing, which Hugo hands to him. Georges takes the projector into his room and locks the door.
Everyone waits outside Georges’s door, hearing loud crashes and furniture being dragged across the floor. Hugo tells Isabelle to pick the lock. She opens the door to reveal Georges sitting at a desk in the middle of the room with his drawings scattered across the floor. He tells them his parents were shoemakers, but he hated shoes. He sold his share in the family shoe factory and bought a theatre, where he performed magic tricks with Jeanne as his assistant. He then built the automaton and fell in love with filmmaking. This led him to build his own movie camera from the leftover automaton parts. After World War I, however, he couldn’t compete with the other filmmakers and lost everything. His dearest friends—Isabelle’s parents—died in a car accident shortly after, leaving him to raise Isabelle. This loss hurt Georges so much that he made Jeanne promise never to mention his movies again. He sold his films “to a company that melted them down and turned them into shoe heels” (406) and bought the toy booth with the funds, but he treasured the automaton and donated it to a museum. All he had left was the extra key to the automaton, which he made for Jeanne as a gift. Georges asks Hugo where the mechanical man is now and asks him to bring it to him.
This section of the novel demonstrates significant character development for Hugo and Georges. Both characters have struggled with Overcoming Loss because they have been very closed off to their past and internal conflict, and both can now face that conflict and take the first big steps toward healing. Isabelle has asked Hugo about himself many times, yet it isn’t until Part 2, Chapter 5 that he shares personal information with her. When he does, he’s strong enough to tell her everything and reveal his secrets. Hugo’s openness demonstrates that he finds genuine friendship with Isabelle, rewarding her persistence with the information she’s been seeking. Likewise, Georges finally acknowledges his past by watching his film and pulling his drawings back out of the armoire. Etienne and Monsieur Tabard play A Trip to the Moon, allowing Hugo to finally watch the movie his father loved and celebrating The Power of Family through the beauty of magical cinema. Georges asking Hugo for the automaton is also significant, as it is a unifying object between Hugo and Georges, foreshadowing their coming together as a family of their own.
These chapters also center on the idea of dreams. When Hugo’s father explained movies to Hugo, he described them as seeing dreams while awake. Likewise, Georges Méliès’s work in the film industry shifted the focus away from real life to more fantastical themes and images, such as the man in the moon with a rocket in his eye. Selznick uses Méliès’s films about magic and fantasy as a strong basis for the theme of Invention, Technology, and Magic that has permeated the book.
Dreams also carry negative implications for Hugo. His dreams often reflect the conflict he has experienced since his father’s death and the stress he constantly lives under after being abandoned by his uncle. Images of fire permeate his dreams, reflecting his father’s death and Hugo’s guilt. Hugo’s dreams show that he, like Georges’s, still struggles to overcome his pain.
Finally, this section uncovers all remaining mysteries surrounding Georges. Hugo shares his discovery of Georges’s past with Isabelle and confronts Jeanne about it. Georges’s response to being discovered and visited by Etienne and Monsieur Tabard is unexpected. Previously, any mention of Georges’s past life—even the clicking of shoe heels, which remind him of his parents, as well as the company to which he sold his films—sent him into a rage. However, when his movie plays in his apartment, Georges quietly watches it and humbly acknowledges his past for the first time. While this is not the climax to the novel, it serves as a climax in Georges’s character development. The mystery of Georges’s identity is solved, but tension still surrounds Hugo, who has yet to find the same peace Georges is beginning to find.