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!!

... 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.

The Artist is a well-made if not particularly involving homage to the silent films of the 1920s. The film itself looks beautiful, and makes interesting use of its lack of sound. However, the story lacks interest, and is as clichéd as the silent films it pays tribute to.

The artist of the title is George Valentin, a silent film star caught in a loveless marriage to a petulant starlet. He gives a jump start to the career of actress Peppy Miller after kissing her at a premiere. However, he soon finds his stardom dwarfed by hers after the debut of talkies and losing his fortune in the stock market collapse.

The film is at its best when it plays with the whole concept of silent movies. The most impressive example is a dream sequence conveying the transition from silent to sound movies. Valentin dreams that his word, previously filled with a silent movie soundtrack, now consumed by overly loud background sounds. This may be the first time in cinematic history in which a dog's bark has conveyed the shift of an entire world.

Unfortunately, the film also suffers from one of the major flaws of silent films in general. Because of the lack of dialogue, The Artist ultimately has a simplistic story with largely one dimensional characters. To a large extent, the plot mimics that of A Star Is Born, focusing on a famous performer ultimately surpassed by his protégé. As a result, the film is boring and predictable.

Furthermore, the film emulates the least interesting of the silent movies. Rather than focusing on the more experimental films that characterized the early years of silent movies, such as The Cabinet of Dr. Caligari and D. W. Griffith's work, it looks at the making of genre films. Given that The Artist, by its very nature, is aimed at film buffs with an extensive set of references, one would think they would give attention to more interesting films.

Still, the film's cast does a lot, particularly given the lack of dialogue. Penelope Ann Miller gives Valentin's harpy wife as much dimension as one can to such a one note character. John Goodman is also good as a dictatorial producer.

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!