The Artist

I go to a lot of screenings and it is rare that once the credits roll I feel satisfied. One or more of the elements of most films just don't work together to create a feeling that you have been thoroughly entertained.

I am happy to say that this film DELIVERS! The acting is superb, the chemistry between all of the actors is sizzling, the comedy is absolutely hilarious, the storyline grips you and never lets go, the music is superb, and you feel emotionally connected with the characters and story.

If you check my previous reviews, you will see that I am most often moved to write a review when a film was really bad, but this film caught me completely off guard and I just had to express my overwhelming satisfaction with this filmmaking experience.

I can't imagine how difficult it must have been to try and finance a period film with two stars who were not well known outside of their own country. I am just overjoyed that it all came together. This is how film should make you feel when you leave the theater - entertained! To the entire production team - BRAVO!!

Jean Dujardin deserved his Palme D'or for his captivating and wonderful performance. Where to start...this film is so clever, so beautifully crafted, so mesmerising. The lost art of the silent film is once again brought to life and that era is impressively recreated, whether it be the acting style, the sets, the locations (shot in Hollywood), the shimmering black and white photography. It is obvious to see that the people behind L'artiste respected that era of film making and wanted to recreate the magic with some modern touches ( I won't spoil them) and totally succeeded. I saw this in Cannes at an 8.30 am press screening and was totally entranced. I cannot wait to see it again!

This is a treat. Charismatic leads with chemistry and talent, in a love story that plays as a pitch perfect homage to vintage Hollywood features, whilst never tipping over into parody, and that's no mean feat. The period detail is outstanding: film stocks, tints, (heck even the frame weave), captions and montage are all on the money.

There's an evocative score, an imaginative use of silence, wonderful locations and costume. All rounded off by a top notch cast which includes a brilliant dog. Dujardin is every inch the charming 20's star and Bejo is sassy, surefooted and gorgeous. Go see this people. They do make 'em like they used to!

... and I have to say that because I am familiar with that period of time, I think this is very well done. It has its own unique path, but if I had to pin it down I'd say it was A Star Is Born meets Singin In the Rain, although it avoids the depths of drama of the former as well as the comic highs of the latter. It is a very good mix of drama and comedy. Throw in Eddie from Frasier and you pretty much have it. And now on to the story.

George Valentin is a huge silent star in 1927. One night at a premiere of one of his movies a fan of his, Peppy Miller, has a chance encounter with him and in front of the crowd and the cameras she snatches a kiss from him with the headlines reading "Who's that girl?". George's wife is not amused but Peppy manages to get into George's Kinograph Studios and get work as an extra on the strength of it.

Even in the silent era, Peppy slowly works her way up the credits from just a girl in the chorus to strong supporting roles. Then sound comes in and she is put under contract as one of the "fresh new faces" of Kinograph when that studio converts completely to sound, where she stars in one hit film after another. Meanwhile, George no longer has a studio home as his producer (John Goodman) tells him that audiences will want new stars to match the new technology.

As George's fortunes decline everybody abandons him including his wife who has been showing signs (she blackens his teeth out when he is on the cover of Variety) of being unhappy since we first meet her. Only his loyal dog and butler/chauffeur stand by him. What will become of him? Watch and find out.

Visually this film gets everything right. The hairstyles, the fashions, the car models, and the architecture are correct for the 1920s and early 1930s. Everything about it reminds me of a film from the early 1930s - it's not meant to make you think too hard. It has some dramatic moments, but it is meant to make you leave feeling good, as the Great Depression was serious enough without adding to it.

The Artist arrived at the Toronto International Film Festival preceded by the accolades it received at Cannes, so expectations were high, but those expectations have been more than amply fulfilled. This film is an absolute marvel - charming, witty, surprising, moving, clever and beautiful. Filmmaking is about decisions, thousands and thousands of them, and everyone involved in The Artist makes every decision to perfection. The cinematography is ravishing in luminous black and white. The musical score, on which the film, being silent, is so dependant, is subtle when it needs to be subtle, dramatic when the occasion calls for it, and never overbearing or overwrought. The screenplay (yes, silent films do have screenplays) toys with the conventions of the silent era, paying homage to some of the greatest films of the first two or three decades of cinema history. The acting is flawless, extracting emotion and humour from a simple but classic storyline. The direction displays such self-assurance, and treats the audience with such respect, that it is almost like having a dialogue with the director.

The Artist is one of the most enjoyable movie experiences I have ever had. It deserves a wide audience and all sorts of awards. I can hardly wait to see it again.

And oh yes, if there is ever an Oscar for best animal performance, the dog in The Artist should receive a lifetime achievement award for this role alone.