It doesn’t seem possible that in today’s world, a silent movie filmed in black and white could be nominated for Best Picture of the Year – and just might win. It is a cinematic experiment gone terribly right. This masterpiece is so truly innovative, the term modern classic doesn’t seem oxymoronic. In fact, it just might leave you speechless.
The film is compelling in spite of being silent, but also because of it. This crowd-pleaser captures the classic movie magic right from the opening credits. Within minutes, the audience is smiling and leaves euphoric. French writer/director Michel Hazanavicius applies meticulous attention to detail with costumes, cars and an old-fashioned storyline.
With an international cast, the film reaches out and transports the sophisticated movie goers back to the innocence of the good old days with a thoroughly original, yet almost forgotten viewing experience. This delightful period piece is profound on so many levels; but no matter how realistically presented, we never really believe it is an 80-year-old film. This retro novelty is merely a magnificent tribute deserving of numerous awards.
French actor Jean Dujardin is convincing as charming silent film star George Valentin, who is even more arrogantly dashing than George Clooney. He can dance and mug his way through his career, but when attractive young ingénue Peppy Miller (Argentinean Berenice Bejo), happens into his life, George could eventually respond, “with pleasure.”
This is 1927 – the year “The Jazz Singer” becomes film’s first talkie. Established stars do not easily adapt. If George believes, “nobody wants to see me speak,” he could soon become merely a shadow of himself. For authenticity, Dujardin stayed in a 1930’s Hollywood home during production, and scenes were filmed in Mary Pickford’s house.
“The Artist” is 100 minutes and rated PG-13 for disturbing images. Given the theme, the actors act broadly, but do not over-act. They are brilliant, even when upstaged by Uggie, the Jack Russell terrier. George could be a combination of Rudolf Valentino and Douglas Fairbanks. Without generating a sound, they each understood, “We had faces then.”