The Artist (Mo***** Jo*****)

Mo said:
As a sucker for old movies and classic filmmaking, I was always interested in seeing the modern-day black-and-white silent film The Artist. I was intrigued by the unique vision and risky filmmaking, but also skeptical that the premise of the film was merely gimmick meant to attract viewers, without substantial story to back it up. I was extremely pleased to find not only that the story was riveting and the characters well-developed, but the old-fashioned method of storytelling was appropriate and added immensely to the film’s overall experience.

The film chronicles a “riches-to-rags” story of famous silent-film actor and “artist” George Valentin. Without giving away too many spoilers, you can imagine what happens to Valentin’s wildly successful career as events such as the onset of talking-voice films and the Great Depression occur. An aspiring actress named Peppy Miller meets Valentin early on and is enamored of him and his success. Thanks to a helping hand from Valentin, Peppy is able to pursue her own career as an actress. The two keep bumping into each other throughout the film in a variety of different dramatic and comical situations, and their relationship evolves and changes beautifully. From the highest of highs to the lowest of lows and everything in between, Valentin’s struggles, triumphs, relationships, and emotions are displayed to wonderful and dramatic effect.

The silent nature of the film makes visual acting of the utmost importance. Relative unknown Jean Dujardin plays Valentin, and is one of the most charismatic and easy to watch actors I have ever seen. After seeing how natural he is in this role, it is hard to believe that he isn’t actually a silent film actor. The talented Bérénice Bejo is the beautiful Peppy Miller; she provides tangible chemistry with Dujardin and perfectly develops the equally compelling character of Peppy.

If anything, the silent-film style added to the story and overall experience; it is hard to imagine it presented in any other way. Throughout the film, there are a few different “camera look”-type moments that happen among the characters where they seem to be aware, if even for a split second, they are in a silent film. For me, this completely removed any element of gimmick from the silent-film media and added yet another level of cleverness and wit.

I literally have almost no complaints whatsoever about The Artist as a film. The acting was insurmountable, the music superb, the filming astounding, and the screenplay magnificent. I laughed, I cried, I hoped, I despaired... right along with Valentin and Peppy. As far as I’m concerned, director Michel Hazanavicius has outdone himself and won the lottery on a risky gamble. It is a possibility that the Academy may see The Artist as too risky or too different, but it seems unlikely based on reviews and buzz about the film. The tried-and-true storyline may also be a limiting factor, but it is presented in such a unique way I can hardly see that happening, either. The best film I have seen this year and I would be thrilled and unsurprised to see it win multiple awards, including Best Picture, at the Academy Awards in 2012.

Jo said:
Opening with an impressive recreation of a silent film and the stars watching from backstage, the sudden eruption of the audience at the film's conclusion in utter silence is perhaps the most memorable cinematic moment I have had all year. The Artist is a movie that is an experiment in time: a test as to whether or not a film could still be told through actions as opposed to words, and whether such a story would still hold up with audiences. The answer seems to be a resounding yes, that movies remain a visual art first and foremost. That it can rise to be one of the best films of the year is a testament to the writing. director, and most of all the actors, whose faces are the sole means of communication.

There seems to be little more to say after Mo's reaction to the film. I began the viewing experience with hesitation - doubting whether or not this film would be faithful to the traditional silent movies as well as bring something new to the table, and I am amazed and delighted to say that this little French film pulls it off almost miraculously. The story, a basic love story a la Singin' In The Rain follows the rise of 'talkies' in Hollywood and the demise of a once-famous star. His adamancy against talking movies is not justified until the final moments of the film in a spectacular and subtle 'ah-ha!' moment. This is not a film that takes itself seriously, but rather celebrates cinema and all the idiosyncrasies that go along with it.

Yes praise should be showered upon the two leads, whose charisma leaks through the screen in an intoxicating bout of charm, but the star of the film has to be Uggie the dog. In perhaps what is the best animal performance I have seen in a movie, the dog steals the show time and again, preciously and heroically accompanying the protagonist through thick and thin, saving the day more than once.

If I had any problems with the film, it would be the simplicity of the narrative, but I catch myself and remember that this is an homage to the 1920's - a time when life is perceived to have been simpler. Movies back then didn't have such a heavy preoccupation on death or disease or war, but of the joyous celebrations of life and music. What more could you possibly want in a film?

(Awards potential: Best Picture, Best Director, Best Actor (Dujardin), Best Supporting Actress (Bejo), Best Original Screenplay, Best Cinematography, Best Costume Design, Best Editing, Best Art Direction, Best Original Score)