One of the most talked-about films of 2011 is French director Michel Hazanavicius’ THE ARTIST, which stars Jean Dujardin and Bérénice Bejo. The trio are no strangers to one another. Hazanavicius previously directed the two popular OSS-117 outings, in which Dujardin plays a ‘young’ Sean Connery-like French answer to James Bond, complete with 1960’s look and feel, set dressing, and costuming – if you’ve never seen those films, they’re absolutely worth a look. Bejo co-starred as the love interest in the first OSS-117 movie, so in a sense THE ARTIST is a re-teaming for these three. But unlike those films, this project takes it a bit easier on the humor, and though it goes out of its way to pay homage to the early days of cinema, it never comes across as anything close to slapstick. Perhaps the two most unusual qualities of the movie are that it’s shot in black and white, and is predominantly silent save for a brilliant musical score by Ludovic Bource. Unconventional to be certain, THE ARTIST may also be one of the best motion pictures of the year.

Opening in 1927, we’re introduced to silent film star George Valentin (Dujardin), who is attending the premiere of his newest action adventure called ‘The Russian Affair.’ The first words to come out of his character on the screen (in a fitting bit of foreshadowing to what lies ahead) are “I won’t talk! I won’t say a word!” Following the exciting finale, a packed house erupts with applause (which we see but don’t hear) and Valentin takes the stage with his two co-stars, the female lead Constance (Missi Pyle) and his on-screen and off-screen canine companion Eddie (the cutest and most-likable film dog you’ll see this year next to BEGINNERS). Backstage, George’s producer Al Zimmer (John Goodman) can’t help but applaud the charming showman, regardless of how much mugging Valentin does for the crowd. Outside the theater, George literally bumps into a female fan (Bejo) who quickly becomes fodder for the paparazzi. After being prompted, she kisses Valentin on the cheek, and makes the front page of Variety the following day. George’s wife Doris (Penelope Ann Miller) doesn’t find it funny, pouring emotional salt into the would of an already dissipating marriage. The front page girl, who we find out is named Peppy Miller, gets tapped to be an extra in a movie, kicking off her career which builds rapidly. Soon after, Valentin is told by Zimmer that movies are about to move into the realm of sound and talking – an idea George laughs off. When things start changing, the studio pushes the once A-list star out, and hires a new crop of talent for their “talkies”, including Miss Miller. Valentin finances a new starring vehicle for himself out of his own pocket, but as the silent film becomes passe he quickly finds no return on his investment. Now the former leading man is down and out, while Peppy Miller is turning into the hottest name in town.

It’s easy to try and label a movie like THE ARTIST with words like “gimmick” or “pretentious”, though to do so would be a false judgement. In many ways, just as Hazanavicius and Dujardin’s OSS-117 films were silly but loving tributes to spy movies of the old days, this is a more mature and even more sincere nod to a very important era in cinema. The story is one of second chances and new beginnings, and how pride can destroy you if you let it. Dujardin captures the image of Hollywood’s Silver Screen legends with his George Valentin, sporting a thin mustache, slicked-back hair and rugged good looks. The competent French actor mixes the right blend of comedy and tragedy in his layered performance, a portrayal that requires him to convey extreme emotions without the audience ever hearing him speak. Though he’s already a prominent star in his homeland, this is a role that will surely solidify him in the hearts of American audiences. Bérénice Bejo shines as well, playing the innocent wannabe actress propelled into almost instant stardom. The Argentinian-born thespian exudes the essence of old Hollywood youth and success, incorporating a naivete that serves the arc of her character. Bejo is in fact the real life companion of director Michel Hazanavicius, and he lovingly captures his mate’s best qualities, making us fall in love with her as well. One scene early on involving Bejo and George Valentin’s coat is perhaps one of the most honest and entertaining bits of the film. American’s unfamiliar with either actor will see a few familiar faces throughout the movie, including of course John Goodman, who has a blast emoting exuberance and anger as the stressed-out studio producer – Goodman has a face and body language perfectly suited for silent films, and makes full use of his abilities here. Penelope Ann Miller gets the thankless but important role of being the disenchanted wife of the lead, tasked with showing a waning interest in their love life, and eventual breakdown in contentment. It’s nice to see her back on the big screen, if even in a small role. Missi Pyle gets some of the best laughs as the frustrated actress under Al Zimmer’s wing, craving the spotlight but forced to stay in Valentin’s shadow. Most of her scenes are at the film’s beginning, but she effectively captures the presence of a more-spoiled actress from the era, and makes excellent use of her impressive facial acting, showing a wide range of emotions and volatile temperament. I love seeing Missi in movies, and while I wouldn’t have expected to see her in something like this, I’m very glad she’s there. James Cromwell also shows up frequently as George’s driver and butler, playing a loving and dedicated man who wants the best for his employer. Again, not a role I would have expected to see him in, but he nails it all the same. Also look for the great Malcolm McDowell in a brief but memorable cameo, and recognizable faces like Ed Lauter, Beth Grant, Basil Hoffman, Ken Davitian, Joel Murray and Bill Fagerbakke. The actors utilized here all have great faces, and were undoubtedly chosen for that reason, since hearing them act wasn’t in the cards.

The word cards that come up on the screen periodically, just as they would in traditional silent movies, are never distracting or overdone. If anything there are multiple moments where Hazanavicius opted not to use them, and simply let the audience figure out what was transpiring between the actors on screen just by soaking in the moment. The music complements the film the way a fine narrator would, letting us know the right emotional beats and guiding us through this compelling journey. THE ARTIST isn’t a film for everyone, and there will undoubtedly be people out there who don’t “get it” or find it too off-putting in its presentation. That’s fine, and understandable, but if you’re a fan of classic motion pictures and can appreciate the importance of the silent film era, this will almost certainly warm your heart. You’ll laugh, you may cry (I did), and chances are you’ll want to adopt the dog. But most importantly, in this age of sequels and remakes filled with explosions and CGI, just remember that movies like this may be a thing of the past, but should never be forgotten. No words can describe how good this silent film is.

I also want to note, my two absolute favorite films of the year are HUGO and THE ARTIST, oddly enough two motion pictures about the early age of theatrical entertainment… both done with a sincere love of the medium.

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