|***included in Brian's Best and Worst of 2011***|
|...and the director's wife, who was also in OSS 117. Nepotism leads to Oscar nominations.|
In 1927, George Valentin (Jean Dujardin) is a huge silent film star. Everything he touches seems to turn to gold, and his skills seem to apply equally to romances, action/adventure flicks, and comedies.
|George Valentin: |
|My personal favorite is the woman by his elbow|
I suppose there's a bit more to the story than the rise of one performer and the fall of another, but that's the plot in a nutshell. If it sounds familiar to you, that's because it should; this basic premise has been used many times over. What separates The Artist from, say, All About Eve is the choice to make this movie about a silent film actor into a silent film. To be fair, it's not entirely silent; there are a handful of words spoken and some interesting sequences where sound was selectively added, but the movie on the whole plays like a classic silent movie (just with superior film stock).
The silent movie schtick may seem like a gimmick at first, but it loses that feel after watching Jean Dujardin on camera for a little while. I don't know if he will ever be able to transform into a Hollywood star (his accent is pretty thick --- not a deal-breaker, but still...), but Dujardin was wonderful in The Artist. I can't pinpoint exactly why I liked him so much without making it sound like a backhanded compliment, though. Dujardin is able to act like the stereotype of a mediocre actor; he has expressive eyebrows and a giant smile, which he utilizes in most of his "on-camera" scenes in this film. He also conveys some very realistic emotions quite subtly in other moments. It was a well thought out performance that was executed nearly perfectly.
|Bonus points for not being stereotypically movie drunk|
|How ugly do you have to be to require this much work?|
Dujardin's excellent acting certainly goes a long way toward making the whole silent-film-thing less of a gimmick and more of an interesting choice, but it is the direction of Michel Hazanavicius that truly makes The Artist and interesting film to watch. There are very few directors currently working who are willing to make interesting choices while making a film. Those choices don't necessarily have to work (Malick, I'm looking at you), but their films are usually made far more enjoyable when they do. Hazanavicius took a high concept and managed to add a solid story and some excellent acting to it. While I like the choice he made, I still think the story is a bit weak and uses the silence to help mask that problem. On the other hand, Hazanavicius also used the silence to convey some not especially subtle, but still easily overlooked character moments. I really liked that Penelope Ann Miller was wearing a different piece of jewelry in each of her scenes; the audience knows she's unhappy because she keeps marking up every picture of George she can find, but I thought that was a nice additional touch. What I truly appreciated in the film was Hazanavicius' frame composition. It pops up periodically throughout the movie, but the symbolism on the movie studio staircase after Valentin was fired was gorgeous. The Artist is a movie that understands film style and uses it to convey ideas with images, instead of through exposition, and that was a bit of a treat for me.
The Artist is a very clever film that deserves accolades for daring to do things differently. Are you going to like it? Well...that's a tough call. On the plus side, it is a huge change of pace from anything else that came out last year. It is also well-acted and well-directed, so if you like examining cinematography or acting subtleties, this should be a good time for you. On the other hand, it is still a silent movie, and that might make the film drag at times for the less snobby film fan. It's certainly a cute movie, but it doesn't have a whole lot of depth; the best trait The Artist has is just how clever it is, but that might not be a strong enough selling point for everyone.