By Gareth Owen
I very rarely rave about new films. Some
puzzle me, others annoy me and many are plain incoherent when it comes to
dialogue vs special effects soundtracks. But more than anything, jerky camera
work does nothing to excite nor, in my opinion, does it "add"
anything to a movie.
How refreshing therefore it is for a misery
guts like me to see a film that bowls me over and one which flies in the face
of expected convention.
I first saw THE ARTIST in Cannes back in
May - at I think its fourth screening, as the other three were totally
over-subscribed. It is a black and white, silent movie shot in a 4:3 ratio.
Yes, that's correct: not widescreen, not 3D, not cluttered with sound effects
and not in colour. Furthermore its star is a Frenchman - Jean Dujardin. His
name might not mean much, but he is already one of France's highest paid actors
and is set for huge glory in Hollywood.
THE ARTIST is a beautifully crafted film,
exquisitely shot and brilliantly cast. It centres on silent movie star George
Valentin (Dujardin) and his fall from favour when 'talkies' come in.
Valentin is a hugely charismatic, charming
and likeable character. With his four legged Jack Russell, Uggy (who almost
steals the film), he stars in a vast number of silent movies from action-adventures
to romance and spy thrillers. However, his aversion to talking on film results
in a sudden fall from stardom, and coupled with the 1931 stock market crash, he
finds himself loveless, penniless and homeless.
A young extra, Peppy Miller (Berenice
Bejo), who was given a leg up in the industry by Valentin meanwhile captures the hearts of audiences,
and soon becomes the doyen of the talkies. As Valentin's star fades, Peppy's
rises.
The sizzling chemistry between the two
characters leads Peppy to help her now suicidal friend and bring him back to
movies. "No one wants to pay to hear my speak" argues Valentin, in
one of the frequent subtitle cards. Instead they choreograph an amazing dance
routine, which reignites Valentin's star.
With guest turns from John Goodman,
Penelope Ann Miller, James Cromwell and Malcolm McDowell it is a film which
will capture your heart, and demonstrates that just because something is in
B&W and silent, it doesn't mean the power of storytelling is null and void
in this multiplex world.
(Gareth Owen writes the Pinewood Past column, covering the history of Pinewood Studios, in every issue of Cinema Retro)