The Artist (Michel Hazanavicius 2011): France

Reviewed by Alex Canzano. Viewed at The Santa Barbara International Film Festival.

Nominated for ten Academy Awards including Best Picture, The Artist stands out among the nine nominees for being the only film screened without color and almost entirely devoid of any spoken dialogue or environmental sound. French director, Michel Hazanavicius elegantly revives the craft of silent filmmaking and pays tribute to the golden age of Hollywood’s silent-era in a fashion that appeals to contemporary film audiences while reflecting upon certain qualities of visual storytelling that have been devalued, or long since lost, alongside the progression of technical advancement in the industry.

The story begins in Hollywood (1927), following an iconic silent-film star, George Valentin (Jean Dujrdin), at the peak of his career who gives a young actress named Peppy Miller (Berenice Bejo) her first break as a dancing extra in his latest feature in-production at Kinograph Studios– initiating and facilitating her gradual rise to fame, he offers her a quick minute of guidance before they go their separate ways. Just as George has grown accustomed to soaking in all the praise and attention brought by his acclaimed celebrity status and financial success, the new innovation of sound is introduced to the biz around the same time and not long before talkies become the hottest craze. Refusing to adapt and embrace the transition of which he considers to be a cheap gimmick without lasting value, George soon finds his career in rapid decline and observes in contrast the thriving career of Peppy Miller as she makes her way to the top. The Artist is about the opposite paths two performers choose to take when faced with the demands of an ever-changing industry, which requires them to either adapt or be left behind and forgotten.

Jean Dujardin, recognized for his terrifically expressive facial features and remarkable presence, carries his role as George Valentin to an unprecedented level of performance for the actor, who never before has been seen in a role that requires as much charismatic projection and precision, leaving the viewer to ask themselves- “Why, is sound and dialogue in film necessary, again?” Berenice Bejo is just as, if not more, spectacular and unforgettable as Peppy Miller. Her chic and subtle gestures, along with her dazzling smile, charm the viewer instantaneously upon first glimpse. When in close-up, her alluring gaze speaks volumes on the screen.

Together their chemistry is astounding at times. Hazanavicius plays with the viewer’s expectations by bringing the two into close embrace, face-to-face, but denies the audience’s yearning for a kiss that is never consummated between the characters. Both actors are nominated, in this year’s 84^th annual Academy Awards, for their silent but potent portrayals. Both would be worthy to win if that were the result. Perfectly fitting for their roles, these two tremendous performers revamp the old-Hollywood-style of acting and are both undoubtedly built for silent cinema!

The nature of the film may discourage the average moviegoer that has never experienced a silent flick before, or even offend some of its unsuspecting viewers upon realization that they’ve unknowingly paid and sat down to see one. But the film has its clever ways of engaging the viewer with sound or the lack of, often using plot devices and the image to call attention to itself in a playfully self-referential and romantically evocative manner.

The Artist celebrates the early history and development of Hollywood cinema by working within certain limitations of the era but also transmitting qualities of narrative and technique that give it a modern freshness– furthering its appeal to the contemporary spectator’s sensibility. For instance, the film provides a deeper focus and sharper image unattainable in the silent-era. It also features more cuts, camera movement and close-ups. The speech and dialogue, unheard but sported on the intertitles, is updated to read more naturally.

I can imagine that some may view the lure of hype for this film as being just a cheap stunt to please the Academy without carrying any ongoing value. Maybe they’re right… and maybe the introduction of talkies in early cinema was merely a parlor-trick that has in no way had any long-term affect on Hollywood.

Particular moments of the film, with all the components on screen working together, create a dreamlike atmosphere that is rarely so effective. These moments instill a wistful longing for something nameless that seems to have been lost on our society and modern day culture. Although the film could have benefited from being slightly less complaisant– playing it safe in terms of its story and plot– it remains a spectacle of great achievement worth experiencing more than once, and sure to take home some Oscars.