83 Years ago, a silent film, Wings, won the Oscar for Best Picture. And then, came the era of sound films. And now, The Artist, a French silent film wins the coveted Oscar, proving that there is more to silent films than just Charlie Chaplin. One definitely wonders why a black and white and Silent movie deserves so much. Is it because of the so called "timeless" appeal of the black and white format, or because it is crowd pleasing or is it simply because it is a piece of art in itself? Well, it is a bit of all of the above. As it hits the Indian screens, let's see why it is so special. Directed and written by Michel Hazanavicius and starring Jean Dujardin, Berenice Bejo and Uggie the dog, The Artist is a film connoisseur's delight.
The plot line is a clever paradox. It shows the decline of the silent cinema era, in the form of a silent film. Silent movie star George Valentin is at the peak of his career and in a marriage on the rocks. Right at this time, Peppy Miller enters his life. A prancing young wannabe actress, she is given the role of an extra in one of his films. They are attracted to each other from the beginning of their acquaintance. Meanwhile, the silent film era is waning and Valentin's studio decides to stop making silent films. Valentin, adamant that sound films have no scope, experiences the rapid downfall of his career. Peppy Miller rises to become the nation's darling actress. Then on, the movie depicts the course of their relationship marred by their different statuses and Valentin's unsettling pride. Will they succeed in coming together? Will George Valentin ever be the same star again? These are the main questions answered through the movie's course.
Michel Hazanavicius has written a bold screenplay, not in terms of content, but in terms of the time in which he has written it. Making a silent film in the age of motion capture and VFX is commendable indeed. The plot moves at a tempered pace, allowing the viewer to take in the beauty of the whole piece. The scenes are well written and mesh together as a wholesome whole. It is difficult to direct a film in which all the viewer has, to comprehend the plot, is the expressions on the face of the actors and the whole mood created by the director. Hazanavicius succeeds at every level as a director. He has created a masterpiece. The brilliance of his direction resonates in so many scenes (particularly the ones witg Peppy Miller hugging herself and Valentin's dream sequence). He has brought out the charm of the 20s Hollywood and has poignantly portrayed various situations in the most lighthearted manner possible.
The performance by the two leads is commendable indeed. Jean Dujardin who has won most of the best actor awards (in The Oscars, The Baftas and the Cannes to name a few) brings out the pride, joy, despair and hopelessness of George Valentin with panache. His expressions seem so natural that the viewer reads the dialogue cards on his face before they appear. The scenes with him and Uggie the dog are utterly delightful. Berenice Bejo's performance is a perfect foil for Dujardin's performance. Without speaking a line, she prances through every scene with the enthusiasm of the wannabe actress she plays. An able support indeed. The others in the cast like John Goodman, James Cromwell and Malcolm McDowell to name a few, are adequate.
The Artist boasts of robust black and white camerawork by Guillaume Schiffman. He has aptly used the camera to bring out the charm of the 20s. The Oscar winning score of Ludovic Bource is suitable to the film's requirements. It is totally reminiscent of the era portrayed in the movie. The costumes are tasteful and the art direction is perfect. Where Michel Hazanavicius has again succeeded is in the editing. Assisted ably by Anne-Sophie Bion, he has given his own vision, a crisp running time of 100 minutes without making any scene seem forced, hurried or unnecessary.
The Artist proves not that one can make a loud proclamation of victory with the use of silence, but that the silent film still has life and can have a large heart too, if it has the right elements. It is a crowd pleasing charm which can be watched by all and liked by all, silently or not so silently.
Rating : 4 on 5
The plot line is a clever paradox. It shows the decline of the silent cinema era, in the form of a silent film. Silent movie star George Valentin is at the peak of his career and in a marriage on the rocks. Right at this time, Peppy Miller enters his life. A prancing young wannabe actress, she is given the role of an extra in one of his films. They are attracted to each other from the beginning of their acquaintance. Meanwhile, the silent film era is waning and Valentin's studio decides to stop making silent films. Valentin, adamant that sound films have no scope, experiences the rapid downfall of his career. Peppy Miller rises to become the nation's darling actress. Then on, the movie depicts the course of their relationship marred by their different statuses and Valentin's unsettling pride. Will they succeed in coming together? Will George Valentin ever be the same star again? These are the main questions answered through the movie's course.
Michel Hazanavicius has written a bold screenplay, not in terms of content, but in terms of the time in which he has written it. Making a silent film in the age of motion capture and VFX is commendable indeed. The plot moves at a tempered pace, allowing the viewer to take in the beauty of the whole piece. The scenes are well written and mesh together as a wholesome whole. It is difficult to direct a film in which all the viewer has, to comprehend the plot, is the expressions on the face of the actors and the whole mood created by the director. Hazanavicius succeeds at every level as a director. He has created a masterpiece. The brilliance of his direction resonates in so many scenes (particularly the ones witg Peppy Miller hugging herself and Valentin's dream sequence). He has brought out the charm of the 20s Hollywood and has poignantly portrayed various situations in the most lighthearted manner possible.
The performance by the two leads is commendable indeed. Jean Dujardin who has won most of the best actor awards (in The Oscars, The Baftas and the Cannes to name a few) brings out the pride, joy, despair and hopelessness of George Valentin with panache. His expressions seem so natural that the viewer reads the dialogue cards on his face before they appear. The scenes with him and Uggie the dog are utterly delightful. Berenice Bejo's performance is a perfect foil for Dujardin's performance. Without speaking a line, she prances through every scene with the enthusiasm of the wannabe actress she plays. An able support indeed. The others in the cast like John Goodman, James Cromwell and Malcolm McDowell to name a few, are adequate.
The Artist boasts of robust black and white camerawork by Guillaume Schiffman. He has aptly used the camera to bring out the charm of the 20s. The Oscar winning score of Ludovic Bource is suitable to the film's requirements. It is totally reminiscent of the era portrayed in the movie. The costumes are tasteful and the art direction is perfect. Where Michel Hazanavicius has again succeeded is in the editing. Assisted ably by Anne-Sophie Bion, he has given his own vision, a crisp running time of 100 minutes without making any scene seem forced, hurried or unnecessary.
The Artist proves not that one can make a loud proclamation of victory with the use of silence, but that the silent film still has life and can have a large heart too, if it has the right elements. It is a crowd pleasing charm which can be watched by all and liked by all, silently or not so silently.
Rating : 4 on 5
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