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The Artist Review
Posted by Shawn S. Lealos on 12.24.2011



Directed by Michel Hazanavicius
Written by Michel Hazanavicius
Cinematography by Guillaume Schiffman
Music Composed by Ludovic Bource

Cast
Jean Dujardin ... George Valentin
Bérénice Bejo ... Peppy Miller
John Goodman ... Al Zimmer
James Cromwell ... Clifton
Uggie ... The Dog

Runtime: 100 min
MPAA: Rated PG-13 for a disturbing image and a crude gesture
Official Website




I was ten minutes into The Artist when I toggled the options to see how long the movie was. By the time I was 20 minutes into the movie, I couldn’t turn away. When the movie finally ended, I wanted to go back and immediately re-watch it again. It is movies like this that make me happy to be in a professional critic’s organization that send out screeners to view for those movies that have not made it to Middle America locations like Oklahoma yet.

It is also why The Artist shot to the upper echelon of my year-end award’s list and ended up winning the Oklahoma Film Critics Circle award for Best Film of 2011.

The Artist is a movie about silent film but the unique method director Michel Hazanavicius used to tell his story was to create it as a silent film as well. This had good and bad repercussions. First, there are a lot of people who will not watch a black and white, full screen, silent film, no matter how great it is. However, the unique style of filmmaking gives Hazanavicius a distinct advantage when it comes to critical acclaim. Film critics love something different, especially if it is used to tell a compelling story.

The Artist tells the story of a silent film star, an Errol Flynn styled character, who mugs for the camera and uses his distinct facial expressions to tell the story without ever needing to use dialogue to move the plot along. He was the biggest star in Hollywood until sound cinema changed everything.

Jean Dujardin stars as George Valentin, the silent film star, and he turned in a performance that was nothing less than masterful. The idea beneath the story is that George is afraid to take the next step in his career, into sound cinema, and wants to grasp his past as long as possible. His memorabilia collection proves how much he cares about his past achievements and he is too prideful to ask for help when things start to go wrong and he loses his way.

Instead of working within the new system for a producer who has stuck with him for years (John Goodman), George decides to use his own money to make a new silent film, bankrupting himself when audiences flock to the latest talkie instead. The only people who stay by his side when he finally is pushed out of Hollywood are his dog (Uggie) and chauffeur, Clifton (James Cromwell).

Personally, I’d vote for Uggie in the Best Supporting Actor (animal) category of any award’s show.

Meanwhile, the story also shows the rise of a new starlet in the world of sound cinema. Peppy Miller (Bérénice Bejo) gets her lucky break in the business when George puts his career on the line for her. However, when his career falls apart, he refuses to ask for help and shuns all assistance from the young actress.

This is a movie about a man who is not able, or willing, to talk. This metaphor goes from his fear of change to his inability to express his true feelings, beneath the bravado of his on-screen persona.

What is most amazing about The Artist is it takes the silent film and somehow makes it appear new and fresh. Yes, they use the silent form perfectly, with two notable exceptions (a nightmare sequence and the final scene of the movie), but the film itself never feels like a silent relic that drags you reluctantly to the end. As a matter of fact, when the end comes and the payoff occurs for our sad sack hero, you can only smile as the final number plays out, but also miss the silent film that just completed.

A lot of people will not give The Artist a chance because of a bias against both black and white films as well as silent cinema. There are simply too many people in the world who refuse to “read their movies.” Those people are in for a loss because The Artist is one of the best, if not the best, movie of 2011.


The 411The Artist is not for everyone. It is a black and white silent film about the silent film era coming to an end. However, it is important to go into the movie without any preconceived notions. Michel Hazanavicius created a film that will be a heavy favorite for Best Film honors at this year’s Academy Awards and Jean Dujardin will surely be one of the names called as a nominee for Best Actor. It is a throwback film but it also holds up well with most movies made today. The Artist is a huge success and is easily one of the best movies of 2011.
411 Elite Award
Final Score:  10.0   [ Virtually Perfect ]  legend


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Comments (12)

 
Pure Oscar Bait

Posted By: Guest#9837 (Guest)  on December 24, 2011 at 02:29 AM

 
 
Pure Oscar Bait

Posted By: Guest#9837 (Guest) on December 24, 2011 at 02:29 AM

Pure douche.


Posted By: Erik... (Guest)  on December 24, 2011 at 12:52 PM

 
 
Pure Oscar Bait

Posted By: Guest#9837 (Guest) on December 24, 2011 at 02:29 AM

Yeah, because those French black & white silent films win Best Picture every year...


Posted By: JeremyWilson (Registered)  on December 24, 2011 at 01:40 PM

 
 
Pure Oscar Bait

Posted By: Guest#9837 (Guest) on December 24, 2011 at 02:29 AM
------------------------------------------------------

Even worse: Harvey Weinstein Oscar Bait. And for an Academy AT LEAST a generation or two behind the times.

Repeat after me:

The King's Speech (DID NOT DESERVE to beat Inception and Social Network)

The Curious Case of Benjamin Button (luckily that one BOMBED thanks to Slumdog Millionaire, but still STOLE The Dark Knight's Best Picture nomination)

Chicago (God awful Best Picture in a weak year, should have still lost to The Pianist)

Shakespeare in Love (DID NOT DESERVE to beat Saving Private Ryan)

The English Patient (took advantage of a weak year)


Posted By: Oscar Gold (Guest)  on December 24, 2011 at 05:32 PM

 
 
Oscar Gold...

Inception's plot was IMMENSELY contrived and many of its performances were wooden (but that doesn't mean it wasn't fun or popular or even a great film). What everything USUALLY comes down to regarding discerning the overall quality of these films is STORY. Why else didn't Avatar, a film that "revolutionized" 3D and "the blockbuster" or whatever, win Best Picture? The story was a fragile repeat of what's been done over and over before.

Social Network, despite its great writing, was ultimately a fairly heartless film and a very cynical metaphor for modern society - but with a lead who was two-dimensional so as not to too readily confuse the audience with anything more than his "asshole outer shell of self-interest/I'm technically still struggling for human connection" routine. And that sort of cynicism and heartless "shell" is not something the Academy is big on because they're aware that awarding films for artistic merit typically requires at least SOME emotional core to what's potentially getting the award.

So if you want a reason why those films you felt "should have" or "should have had a chance" didn't win Best Picture and yet others did, see the above. Not some "The Academy's at least two generations behind."-mentality.

The truth is that, while yes, immensely pretentious in many of their choices, the Academy generally UNDERSTANDS film better than the 15-35-year-olds (of "pop culture") who, for the most part, made films such as Inception, The Dark Knight, etc. such huge hits.

The Academy's job isn't to reward "the most popular film which also has artistic credibility" of the year - but to discern which they find is the best OVERALL picture. That doesn't mean they'll always "get it right" by many people's views, but I'll note that none of the films you pointed out as "should have won or been considered"-types were immense underdogs that had essentially NO box office earnings or popularity. And, contrary to some misconceptions, artistic merit and popular/commercial viability are not intrinsically linked.

The films you seemed to defend as cheated of nominations or wins were "slices of pop culture perceptions"-films rather than truly the easily-recognized "Best Picture" of their given years.

Additionally, while you may already be aware of this, Weinstein BOUGHT the distribution rights to The Artist in the United States (because he believes in the film's artistic and commercial potential as well as the status it would help afford The Weinstein Company by virtue of its "Oscar bait" nature) - he didn't personally produce it. So, to what extent the film is "his" - although he may well be awarded for it due to allowing people to see it - is in question.


Posted By: Steve (Guest)  on December 26, 2011 at 03:59 PM

 
 
Does the film carry subtitles?

Posted By: Aman (Guest)  on December 27, 2011 at 09:12 AM

 
 
Does the film carry subtitles?

Posted By: Aman (Guest)

Any dialogue is in English as is the title cards


Posted By: Shawn S Lealos (Registered)  on December 28, 2011 at 01:26 PM

 
 
I am in the theater trying to watch The Artist right now. I find the soundtrack to be overwhelming and completely distracting. I cannot follow the plot of the story because the soundtrack hijacks my concentration. I will not stay to finish watching.

Posted By: List lair (Guest)  on January 29, 2012 at 01:38 PM

 
 
List Liar, you are whats' wrong with America.

Posted By: Guest#7456 (Guest)  on February 05, 2012 at 04:37 PM

 
 
Sorry Steve, but I have to side with Oscar Gold. The King's Speech was just another unremarkable British period peace in my opinion, and the Academy always has a hard on for those.

And The Dark Knight should have won best picture and didn't even get a nomination. It was a great film with a great story that transcended the comic genre. Why do you think we have the ridiculous situation of nominating 9 or 10 movies now? Seriously , do you think 10 years from now Slumdog Millionaire will be remembered as one of the all-time great films? It was gimmicky and fashionable.

If you think that the Academy always gets it right , Citizen Kane says hello.


Posted By: Guest#2480 (Guest)  on February 05, 2012 at 04:44 PM

 
 
Take Heath Ledger out of TDK and it is pure mediocrity.

Posted By: DW (Guest)  on February 10, 2012 at 11:50 AM

 
 
Well, I loved the film... and its score! Of course I'm a genuine oldies' watcher... So that might explain it. But I really feel the story is real. The characters emotions are plainly expressed, with some irony sometimes. It might of course disturbed those who are not used to B&W but the photography is perfect. My only regret is the lack of dancing except at the right end- not bad BTW. I warmly recommend it WITH AN OPEN MIND and the will to go for a new experience. Enjoy!

Posted By: Ahonymus (Guest)  on April 14, 2012 at 10:27 PM

 


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