The Artist: Alluring & heartfelt
by Sophie Bonheim
Smart, witty, alluring and heartfelt. The Artist takes us back to the silent era when stars like Louise Brooks and Charlie Chaplin ruled the silver screen. It’s a tribute to the first films that enchanted moviegoers at cinemas inception, and now today’s audiences, who may never have encountered a black and white movie, let alone a silent one, can appreciate the ingenuity and charm of the silent era. It’s the kind of shake-up twenty-first century cinema needs, showing that special effects, violence and nude women are not the only ways to excite audiences. Good, old-fashioned fun can achieve the same result. In fact it can create hype that’s usually reserved for the epics and blockbusters associated with the likes of Spielberg or Cameron.
But director Michel Hazanavicius doesn’t just take us back on a historical journey to cinema’s beginnings. Rather, he builds on the silent genre with amusing smartness and modern rendering in the most delicate and respectful way. It’s a tribute to one of world culture’s most popular mediums that will please film enthusiasts and humble cinema goers alike.
George Valentin (played by Jean Dujardin), is a silent actor who’s at the top of his game. He has the career, the house, the butler and the trophy wife, as well as a faithful Jack Russell, named Uggie. Unfortunately for Valentin, the end is nigh for the silent era as the phenomenon of the late twenties has arrived; the talkies. Reminiscent of several silent actors of the time, Valentin struggles to come to terms with what he understands to be a passing whim for sound.
Meanwhile, Peppy Miller (Bérénice Bejo), who starts out as somewhat of a protégé to Valentin, begins to grow in popularity among film fans who have grown tired of what she calls “mugging” on screen; the dramatic acting style to make up for the lack of sound. As it becomes more and more apparent the silent era is gone, and the talkies are here to stay, Valentin must find his niche in the changing market or risk fading into obscurity forever. Hazanavicius has made a film about film, but no one will care because it works beautifully.
Jean Dujardin is a master of expression, with an appeal and dexterity that would widen a smile on any face. He adapts seamlessly into his role, with brilliantly mastered facial expressions, while Bérénice Bejo is delightful as the talkies budding actress.
But director Michel Hazanavicius doesn’t just take us back on a historical journey to cinema’s beginnings. Rather, he builds on the silent genre with amusing smartness and modern rendering in the most delicate and respectful way. It’s a tribute to one of world culture’s most popular mediums that will please film enthusiasts and humble cinema goers alike.
George Valentin (played by Jean Dujardin), is a silent actor who’s at the top of his game. He has the career, the house, the butler and the trophy wife, as well as a faithful Jack Russell, named Uggie. Unfortunately for Valentin, the end is nigh for the silent era as the phenomenon of the late twenties has arrived; the talkies. Reminiscent of several silent actors of the time, Valentin struggles to come to terms with what he understands to be a passing whim for sound.
Meanwhile, Peppy Miller (Bérénice Bejo), who starts out as somewhat of a protégé to Valentin, begins to grow in popularity among film fans who have grown tired of what she calls “mugging” on screen; the dramatic acting style to make up for the lack of sound. As it becomes more and more apparent the silent era is gone, and the talkies are here to stay, Valentin must find his niche in the changing market or risk fading into obscurity forever. Hazanavicius has made a film about film, but no one will care because it works beautifully.
Jean Dujardin is a master of expression, with an appeal and dexterity that would widen a smile on any face. He adapts seamlessly into his role, with brilliantly mastered facial expressions, while Bérénice Bejo is delightful as the talkies budding actress.
