I really hate jumping on bandwagons, but after watching “The Artist” I’ve been forced to do so. This heart-warming, mischievous and visually-stunning film tells the story of George Valentin, a famous silent-film actor and the effect that the new and exciting “talkies” has on his career. We also follow the rise to fame of Peppy Miller (only someone in the 1920s could pull off that name) who is thrown into the spotlight unexpectedly when she meets Valentin. Peppy’s rise to fame is mirrored by George’s descent into the realm of the nobody; he tries writing and starring in his own silent film but ultimately is reduced to selling off most of his possessions to afford to live.
Settling into my comfy, reclining chair in the Exeter Picturehouse I became distinctly aware that we were going to be sitting in silence for almost 2 hours and I must admit, I was worried. I wondered how, in the Harry Potter, Superbad, rom-com and action packed film culture of today, a black and white, silent film could compete. I needn’t have worried as 5 minutes in, the entire audience was laughing. This in itself is a wonderful experience as being able to pick out individual laughs throughout the film only added to the hilarity. It seemed as though one man was watching a completely different film as his lone cackle kept surfacing at rather unusual moments, nevertheless – he was enjoying himself.
One outstanding aspect was the film score, composed by Ludovic Bource. It lifted the audience at the film’s high points, penetrated to your core at the heart-wrenching moments and added enormously to the tense action sequences. I was reminded of the incredibly effective soundtracks of Hitchcock’s films, so I was not surprised to see that the director Michel Hazanavicious even borrowed a theme from Hitchcock’s “Vertigo”.
Without dialogue, the actors’ skills are thrown into the foreground in a way that doesn’t usually happen in cinema. We are able to watch their every move – a flicker of an eyelid becomes infinitely more significant. It therefore seems to become more difficult to find a balance between subtle acting and getting across enough meaning to an audience. The two leads, Jean Dujardin and Bérénice Bejo achieve this balance with distinct ease; Dujardin’s smile charms you through the entire film which makes his more serious scenes even more intimate. Bejo was clearly born to act in silent films – her beauty radiates off the screen and her face is full of expression. Missi Pyle has a smaller role in the film and clearly tries to make up for this with a slightly exaggerated and cheesy acting style. In contrast, Jon Goodman pulls of his role effortlessly (perhaps because he seems to be playing a generic, fat American and so for some reason doesn’t find this too difficult). James Cromwell is also worth noting as the ever-faithful chauffeur. Those of us who have seen Babe will already have a place for him in our hearts; his sincerity and warmth are similarly enjoyable in The Artist.
It would be a crime if I didn’t mention Uggie the dog who plays the hero’s unfalteringly loyal Jack Russell, “Jack”. Evidently trained to perfection, this pooch performs many tricks in the film but also manages to warm your heart and demonstrate oodles of personality. A personal favourite scene to watch out for is George at breakfast, attempting to amuse his wife by following the dog’s movements – it’s captivating and just hilarious.
From a technical point of view the film also comes up trumps. The shots were all clearly given great consideration and the attention to detail was fascinating. One scene depicts George Valentin walking alone and downtrodden along the road, with a theatre behind him that has on its billboard the words “Lonely Star”. This was one of the many treats for the eagle-eyed viewer.
With plenty of awards under its belt already and 10 academy award nominations including Best Picture, it’s certain this film will be talked about for years. Its innocent charm, unfailingly engaging characters, visuals and story make this film an absolute must-see for 2012.