> REVIEW
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The Artist (2011)
Who needs words…
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By Helen Adkins | January 2012
DIRECTOR: Michel Hazanavicius
WRITER: Michel Hazanavicius
Reports that people were walking out halfway through The Artist and demanding their money back have been trickling out of the press since the release of Michel Hazanavicius’s silent film. Even the ‘artsy’ Brixton Ritzy in London displays a notice outside the film’s screen stating; “The Artist is in black and white and has no dialogue!” as a terrible forewarning to what lies ahead.
The sad fact is that many of today’s cinema goers may decide they can’t hack this glorious throwback on the basis of format alone, which is a tragedy as The Artist is one of the most entertaining, articulate and joyous films of the year.
Yet, writer and director Hazanavicius did not take the brave step to drop sound in order to resurrect an old format. In interviews, he states he’s not a particular fan of silent movies; he just felt a film without words would suit the tale he wanted to tell.
The Artist is proof that few words are needed in order to convey a resonant, moving story. That said, it’s a familiar one, borrowing heavily from A Star is Born, about silent movie star George Valentin (Jean Dujardin), whose career comes to an end when the new-fangled ‘talkies’ flood the market.
At first, George, confident of his standing, brushes off sound as a fad and refuses to speak for his studios. It’s not long, however, before his contract is cancelled, leaving him without work and the requisite fame and fortune.
On the cusp of his decline, he meets the young, enchanting dancer Peppy Miller (Bérénice Bejo), a wannabe on her way up the film ladder. They fall in love, although numerous obstacles stand in their way, namely George’s wife Doris (Penelope Ann Miller) and his own pride.
While he struggles to keep his career together, ploughing all his money into his own silent and doomed project, he witnesses the rise in fortunes of the young Peppy. Yet their love remains unconsummated as he spirals down into bankruptcy and divorce, finding solace in drink and re-runs of his films.
It’s a simple tale, but what works so beautifully is that, aside from the silent element, it’s incredibly accomplished and thoroughly riveting, examining themes such as lost youth, unrequited love and hope which hooks its audience honestly and without guile. The silent movie format is often all but forgotten as the narrative unfolds. The sequence where George and Peppy fall in love while endlessly retaking their one and only scene together is magical and requires no words.
There are strong performances from John Goodman as Al Zimmer the bombastic Hollywood producer and James Cromwell as George’s loyal chauffeur, but it’s Dujardin and Bejo who are the real stars, utterly believable as George and Peppy. They’re also witty and immensely likable (even without dialogue) with a tender and sizzling chemistry between the two.
There are only a few points in the film where sound is heard, used cleverly as a tragic reminder of reality for George, and so poignantly that it’s almost a relief to return to the continuous orchestral score by Ludovic Bource.
Tipped for Oscars and already the recipient of several Golden Globes, The Artist is no more than a simple story turned to gold by the inspired touch of its director. Silent or not, it’s a wonderful example of what cinema at its best can do, which is to make its audiences extremely happy. If they stick around.
Script…………………………………………………………………………………………….
Hazanavicius lays out each scene with meticulous perfection, balancing wit,
comedy and pathos. 4
Direction………………………………………………………………………………………..
Beautiful performances from Dujardin and Bejo as the star-crossed lovers, with a lightness of touch in direction throughout which stops short of cynical emotional
tugs. 5
Verdict…………………………………………………………………………………………..
A piece of pure cinematic perfection. Not to be missed. 5
