by Brian Kesler
'The Artist,' reminded me of another French film called 'The Illusionist.' Both are about extremely talented men who have mastered their craft and must struggle and watch as their profession fades and dies, and so do they. They are also both incredibly silent films. 'The Illusionist' has muddled dialogue that isn't meant to be understood and is incredibly thoughtful and ponderous. 'The Artist' is actually a silent movie. Yes, a black-and-white silent movie with subtitles in between shots. It also happens to be funny, charming, and magical. It fills you with the same giddy feeling that, say, most Pixar movies do. It is not to be missed, and will most likely sweep the Academy Awards.
The film centers around silent film star George Valentin as he propels a young girl into stardom. She goes on to do talkies and makes it big. He desperately tries to save his career and uphold his reputation as a silent star, but becomes impoverished and forgotten.
'The Artist,' like 'Avatar,' is less concerned with the originality of its story and more concerned with how it conveys that story in new and exciting ways. New and exciting? you say. It's a black-and-white silent movie, how is that new and exciting? First, I'd bet many young people these days - hell, many older people - have never seen a silent movie. It is a joy to see a return to one of the world's great lost arts that will introduce many to the medium. But, that doesn't mean the movie doesn't push the envelope. On the contrary, there are many inspired scenes, including one in which George dreams of his life converting to sound. He takes a drink and sets the glass down. Ping. He looks at the glass. He picks it up and sets it down again. Ping. Suddenly, all around him are noises that drown him, threaten him, he has no voice. Another scene at the premiere of his last attempt of stardom shows very few people in the audience. One person in the audience is the girl he helped to become a star, Peppy Miller. She watches the silent film in which Valentin is being consumed by quicksand, and those around him are powerless to save him. Miller watches and cries as the pitiful expression on Valentin's face disappears beneath the sand. In the theater next door, Miller's newest talkie plays to overwhelming audiences. The scene in which Miller and Valentin first meet and act opposite one another in a dancing sequence is a gift of storytelling. We see them do take after take of the same shot and witness the relationship dynamic that forms between them during each one.
Some argue that the characters in the film are too simple and not developed enough. On the contrary, this film emulates a subtlety of storytelling that existed back in the '20s, when Buster Keaton could move an audience with variations of one stony-faced expression. Every movement, every facial expression, amounted to the character, and it does so here. Jean Dujardin and Berenice Bejo deserve credit for perfectly sculpting these characters with an amalgamation of silent acting craft and modern methodology. She plays the ambitious young girl who catapults into stardom but can't rid an ongoing sympathy and obsession for the man who once danced with her. He plays the once-famous star, consumed with such self-pity and despair, and hopes of making a comeback. As another silent star with the same predicament famously said, "I hate that word. It's a return. A return to the millions of people who've never forgiven me for deserting the screen." She also responded to a man saying, "You used to be big," with "I am big. It's the pictures that got small." Valentin has the same misconceptions, the same denial and, like Norma Desmond, needs to come to terms with reality.
The humor of the film is actually rather biting and modern. Valentin's film has flopped and Miller's 'Beauty Spot' is a box-office smash and he comes home to find a note from his wife, telling him she's left. This would be rather tragic, except that the end of the note reads: "P.S. You should see 'Beauty Spot,' it's incredible." There are certain in-jokes, as well. The cliche of the dog saving the day by getting the police is parodied here, as are several cliches of the silent era.
The film is not without faults. The choice to cast movie stars in supporting roles was a mistake. John Goodman, James Cromwell, and Malcolm McDowell are all known primarily for their voices. To have them not speak was particularly irritating. Also, the majority of the score is original and played to perfection. There is one critical scene, however, that uses Bernard Herrmann's love theme from 'Vertigo' as underscore and, for those that have seen 'Vertigo' and recognize that music, it distracted from the tension. The love theme from 'Vertigo' belongs in only one movie. 'Vertigo.'
The silent movie has, at last, been recognized as one of the great art forms of the 20th century. In the 1950s, people loved to make fun of the medium with films like 'Sunset Boulevard' and 'Singing in the Rain.' This year, there have been two wonderful films made in tribute of the silent movie. 'Hugo' and 'The Artist,' both of which are the top contenders for the Oscar. It was a glorious year for movies. There is a moment at the end of this film when the two lovers avoid tragedy and rid themselves of pride and come together at last. The moment is played with no score, completely and totally silent, and you could have heard a pin drop in the theater. It was an incredibly moving scene.
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