Peppy Miller: Bérénice Bejo
Al Zimmer: John Goodman
Clifton: James Cromwell
Doris: Penelope Ann Miller
Constance: Missi Pyle
The Dog: Uggie
The Weinstein Company presents
a film written and directed by Michel Hazanavicius. Running time: 100 min.
Rated PG-13 (for a disturbing image and a crude gesture).
Here it is 2012. Cinema is
well into its second century as an art form. Filmmakers today can put anything
that comes into their imagination on screen. And yet, the front-runner for the
Best Picture Oscar this year is a black & white, (mostly) silent movie
about the silent movie era in Hollywood. How can this be? Frankly, it’s
possible because Michel Hazanavicius’ “The Artist” is incredibly well-made,
entertaining, heart warming, and even profound.
Don’t take my parenthetical
allusion to the fact that “The Artist” does utilize sound the wrong way either.
The movie is not some cheap gimmick that surprises it’s audience by seeming to
be a silent movie when it really isn’t. Not even silent movies were truly
silent. They had scores to accompany them, and I only wish Ludovic Bource’s
Oscar-nominated score could’ve been performed by a live orchestra today.
Besides the score, there are also two scenes in the movie that cleverly utilize
other sound sources; but this is a “silent” movie in spirit from beginning to
end.
The movie opens with a movie
premiere, hosted by the film’s star George Valentin, the biggest star of
Kinoscope Studios. After a rousing reception from the premiere crowd, George
introduces his dog co-star for some tricks and then his female co-star. His
human co-star is not thrilled by the billing order. Afterwards, in the crowds
outside the theater, George has a very public Meet Cute with Peppy Miller, a
woman who will become known as the mystery lady when the newspapers run a
picture of her kissing George on the cheek for the morning editions. This is a
billing that George’s wife is not thrilled about.
Peppy wants to be in
pictures too. She proves she has the gumption to do it at an extras audition
where she distinguishes herself from the crowd. Is it a surprise that she is
cast in George’s next picture? The two meet again on the set and discover a
chemistry that has long since vanished from George’s marriage. But, George,
despite his ego, is too good a man to foul his marriage with an affair. The two
go their separate ways again, and Peppy finds herself a rising star at
Kinoscope.
Jean Dujardin (“OSS 117: Lost
in Rio”) and Bérénice Bejo (“A Knight’s Tale”) play George and Peppy
respectively. Their spirit and looks are forged by silent filmmaking.
Dujardin’s mugging is a perfect reflection of the acting styles employed in the
silent era, but he’s also able to bring a slight modern element to his delivery
that suggests a deeper character than could usually be found in the types of
movies that George stars in here. Bejo has a smile wider than the screen, which
is also at an early 20th century aspect ratio, rather than today’s
typical wide screen format. Even the wider screen couldn’t have contained her
smile, though. Bejo makes the audience fall for her in the instant we meet her.
As intended, the dog, played by Uggie, steals every scene he’s in.
The direction and screenplay
by Oscar-nominee Hazanavicius (“OSS 117” series) shows an acute knowledge of
the silent film era. The movie as a whole could’ve been made 90 years ago. His
use of title cards to depict dialogue between the characters is used in the
same sparing amount as it was in the silent era. He realizes the audience can
figure out much of what is going on by themselves and that too much to read
would interrupt the rhythm of the scenes. There is a virtuoso set sequence; the
likes haven’t been seen since the silent era. In the scene, the set is a large
scale cross section of several levels of the studio offices. A scene takes
place between George and Peppy as the rest of the office goes about their
business on the huge backdrop. The effect is stunning.
Hazanavicius doesn’t make
the mistake of trapping the action within the style he is replicating, however.
The two scenes involving sound are very carefully rendered in the context of
the film. The first comes after George has learned that he will be replaced by “fresh
meat” at the studio to make way for talkies. Suddenly he begins to hear sounds
from everything. The items on his dressing mirror clank. Uggie barks. An extra
walking on the lot laughs. Only George’s voice is still silent.
Hazanavicius also does a good
job filling in the supporting roles with familiar actors that also have a knack
for the physical expression necessary to pull off silent performances. John
Goodman is just as good as when you can hear him as the studio head. James
Cromwell’s performance as George’s butler and driver reminded me of his
Oscar-nominated minimal dialogue performance from the movie “Babe”.
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