Instead of pushing the envelope with film, through the addition of massive amounts of computer animation or an attempt at three dimensions, director Michel Hazanavicius decided to take away two of the most familiar elements we have been exposed to over the last 80 years, dialogue and color, in his latest film, The Artist. A black and white film is something of a novelty nowadays, in a film-world over-saturated with 'shock and awe' tactics, and Hazanavicius pulled it off in his latest, Golden Globe and BAFTA award winning film, The Artist.
The Artist opens in 'Hollywoodland' in 1927 with George Valentin (Jean Djuardin), the George Clooney of slient film actors, who can draw moviegoers no matter what. At the premier of his latest action film, A Russian Affair, he is bumped into by lowly Peppy Miller (Bérénice Bejo), who soon becomes and actress herself, in search of meeting George once again. Meanwhile, George, at a special screening with his producing/directing partner Al Zimmer (John Goodman), is disgusted to find that sound will be coming to film, starring actors who actually want to talk to their audiences. Angry and stubborn, George struggles with the possibility of losing all of his fame and fortune unless he conforms to the ugly change in filmmaking.
Hazanavicius' two previous films, OSS 117: Cairo, Nest of Spies and OSS 117: Lost in Rio both starred The Artist's leading man, Jean Djuardin, one of the most animated and talented French actors I've had the pleasure of appreciating on screen. Djuardin built himself this role with his eyebrows, smile, and character ridden face. With the amount of overacting necessary to play a silent role, he nailed it, making every frame he was on screen seem too short. Djuardin is a fantastically talented actor, who will never have a problem finding work in the future.
Just like in both of his OSS films, Hazanavicius used film styles of the past to convince that we were watching a film made decades ago. With his hard lighting dense shadow use, The Artist is a nostalgic trip to the days of City Lights, Gone with the Wind, Casablanca, Citizen Kane, and All Quiet on the Western Front. By taking away elements we take for granted, Hazamavicius went back to the very roots of filmmaking, having to convey emotion through only the most basic means possible.
I'm a man who hates watching films in theaters. Actually, scratch that. I'm a man who hates watching movies with strangers. Yes, I understand the filmmaker designed the movie for theater enjoyment, but they didn't design it with the idea that I'll have to endure a theater full of Reeses Pieces maracas and popcorn mashing monsters. This in mind, I was a little worried about going in to a silent film with the possibility of being surrounded by people who didn't realize they were going to be watching a movie with no words. However, The Artist is equipped with one of the most appropriate and well written soundtracks, done by Ludovic Bource (who also worked on both OSS films). Forced full of emotion, Bource makes you forget the film lacks dialogue, conveying sentiment where cinematography cannot.
The Artist is a film about change; some adapt, and some reject. Hazanavicius decided to change cinema by reminding us of the past, and doing it with the skill and care it deserves.
What Hazanavicius had running through his mind while developing this film was summed up with one mid-film title card: "Go make your talking movies. I’m going to make a great movie!" The Artist reminds us that we don't need color or dialogue to enjoy a film; you just need a bit of well executed emotion. Although it has some stiff competition alongside Hugo, The Descendants, and The Help, I expect The Artist to win most, if not all, of it's 10 Oscar nominations. Born from the foundations of filmmaking (and with personal expectations extremely high), The Artist did not disappoint.
Released: November, 2011
Directed by: Michel Hazanavicius
Written by: Michel Hazanavicius
Cast: Jean Djuardin, Bérénice Bejo, James Cromwell, John Goodman
Rating: PG-13
Length: 1 hr 40 mins
My last review was the immense, controversial, yet strong film, JFK, in February, 2012.
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