I think it would be impossible for anyone attending a showing of "The Artist" not to know that they are seeing a silent movie. ThatÕs the nature of the over-hyped world of moviegoing today. The fact that I have to tell you that itÕs silent proves my point. As you sit watching "The Artist," you are participating in the transformative nature of motion pictures. This is absolutely a must-see movie, a genuine work of art, a profound achievement.
If youÕve never seen a silent film, this is as good an introduction as you might want. It captures the past in a way that is usually done only in literature. Its look is so perfect, its rhythm so precise, its acting so accomplished, that after seeing "The Artist," you would be forgiven for thinking youÕve just sat through a classic from the silent movie era.
Set in 1927, the movie is so lovingly crafted that it doesn't merely present itself to you as a silent film, but feels like a refreshing soak from that specific year.
"The Artist" is a true cinematic achievement. Yes, it has a beautiful silence delivered with majestic music, but the movie also has a few surprising blips of sound.
The picture draws in the audience and never lets up. ThereÕs great comedy, beautiful emotion, and the best dog actor in years -- Uggie.
The movie is both daring and traditional. I've seen it twice, once at the Toronto International Film Festival with 900 enthralled people in the audience, cheering and laughing, and once at a Buffalo press screening with three people in a quiet theater. On both occasions, the movie worked its magic.
The musical score is wonderful, including a tribute to Bernard Herrmann's orchestral melodies from "Vertigo." The gleaming cinematography is in the true aspect ratio of silent pictures. The editing is razor-sharp. Not only has black-and-white never seemed so alluring, but telling a story without words may become fashionable again.
Why does this film succeed so well? Because it is clearly a work born of a serious knowledge of the history of motion pictures. It appreciates the past.
And thereÕs no denying that itÕs made with love. In addition to its technical mastery, the movie captures the essence of the great silent romantic comedies. Its sequences are filled with moments that are evocative of the age it depicts. Silent movies rely on the audience believing what it sees without giggling at the movements of the actors or groaning at the innocence of the story.
During the silent era, moviegoers followed the action without succumbing to a mockery of what they saw on screen. They loved their movie stars and dreamed along with the dreams they saw on screen.
TodayÕs audiences are not used to the ever-smiling hero, the coy flapper girl, or the impossibly loyal dog -- three elements "The Artist" delivers in abundance. The films of the era have a visual poetry that could turn off todayÕs moviegoer. "The Artist" has that exact same poetry.
ItÕs important that director Michel Hazanavicius (from France) and his superb cast believed in what they were doing. They donÕt get cute and they donÕt turn their story into a spoof. What theyÕve accomplished is something truly extraordinary.
French actor Jean Dujardin plays George Valentin, the most popular silent film idol of the day. Dujardin doesn't just copy how actors acted in the 1920s. YouÕre watching not only how those actors performed, but also how they lived.
DujardinÕs character blends a little bit of Rudolph Valentino, Douglas Fairbanks and John Gilbert. He is always smiling, and why not? HeÕs a superstar, loved by all. The world follows every move made by this action-adventure hero and screen lover. His fans are even devoted to GeorgeÕs wonderful little dog, with whom he goes everywhere.
Director HazanaviciusÕ screenplay is simple and, because of its understanding of Hollywood and silent films, itÕs also complex.
At a movie premiere of one of his silent hits, George encounters an aspiring young actress named Peppy Miller (Berenice Bejo, also French). She wants to be in the movies. George finds her charming, but heÕs married to a drudge of a woman (Penelope Ann Miller), and heÕs dedicated to her happiness.
Then talking pictures arrive, and George rejects the notion of sound. As his star sinks, PeppyÕs star rises. Soon he is down and out. His wife leaves him. He sells his possessions. He has to fire his devoted chauffeur (James Cromwell). HeÕs left with only his devoted dog and his collection of his own movies for companionship.
"The Artist" contains flawless suggestions of "A Star is Born," "Singing In The Rain," even "Citizen Kane." Hazanavicius isnÕt copying them, heÕs paying tribute. He really loves movies, and he knows the importance of past films.
"The Artist" is filled with emotion, but it also delivers honest laughs. It was made by a team of French filmmakers in Los Angeles and uses studio sets and actual locations throughout L.A. The look of life during the silent era is perfect. In addition to the cast members mentioned, youÕll also see John Goodman as a studio chief, as well as Ed Lauter, Ken Davitian and Malcolm MacDowell in brief cameos.
The entire cast is exceptional, but itÕs Dujardin who really helps you believe. This is a movie about the end of a medium that spoke to the entire world. When anyone entered a theater showing a silent film, they never were a foreigner. Silence was the universal language. Dujardin does something amazing. He captures the essence of the actors of the era, and he does it twice: once as the man in the movies, and again as the star on the street. ItÕs a breathtaking performance.
"The Artist" is one of the best movies of the year just ended. YouÕll be denying yourself real joy and outstanding moviegoing pleasure if you donÕt see it.
Because "The Iron Lady" is rooted in reality -- the rise to power of Margaret Thatcher, Great BritainÕs only female prime minister -- it falters where it should be rock solid. ItÕs a history lesson, but the filmmakers, director Phyllida Law and screenwriter Abi Morgan, donÕt seem to know what to do with the history they attempt to depict.
A lot of screen time is taken up with showing an elderly Thatcher in the throes of dementia talking to her dead husband Denis, played with cuddly efficiency by Jim Broadbent.
This begs the question: Is Thatcher, who is still alive at age 86, really spending her days walking around her well-guarded home engaging in conversations with a ghost?
That question isnÕt answered, but we do get an overview of how Thatcher became PM, and how she came to be hated by working-class Brits, and then beloved by most of them after she approved the plans to take back the Falkland Islands from Argentine forces that had invaded them. It comes across as a shallow war, but thatÕs whatÕs on the table here.
Ultimately, what you take away from "The Iron Lady" is that not much has changed regarding the ongoing struggle between the haves and the have-nots. Thatcher often seems like a mean old churl battling coal miners and the poor.
Yes, we get the notion that she fought and defeated the old boyÕs network in Britain, but is that all that matters? Law and Morgan donÕt dig deeper. Their movie doesnÕt have much depth. Of course, they would have needed a bigger budget.
However, you should see "The Iron Lady" because of Meryl StreepÕs utterly astonishing characterization of Thatcher. She has the voice, the look, the mannerisms. ItÕs remarkable, riveting acting. Too bad she doesnÕt have a better movie. Oh, itÕs a good film, but hardly a great one.
WeÕve already seen Michelle Williams as Marilyn Monroe, and watching her you think, wow, give her the Oscar. Then you see Streep as Thatcher and you think, wow give HER the Oscar. Not so fast. Williams is terrific and Streep is brilliant. But thereÕs another actress hovering in the wings possibly bound for Oscar glory. Wait until you see Glenn Close in "Albert Nobbs."
"Carnage" is a scathing comic drama from director Roman Polanski, and is written by Polanski and French dramatist Yasmina Reza, from her original play "God Of Carnage."
Although the movie is set among the well-to-do in Brooklyn Heights, it was shot in Paris, because Polanski canÕt come to the United States and Reza is a famous French writer.
The entertaining film is about two married couples who come together at a well-appointed apartment to discuss a fight between their young sons. The sometimes hilarious, sometimes cruel picture stars Jodie Foster and John C. Reilly as one couple, and Kate Winslet and Christoph Waltz as the other married pair.
The movie is short at 79 minutes, but it builds a good head of steam and the entire cast is fun to watch. Winslet and Waltz visit Foster and Reilly for a meeting so that they can all agree on how to address the bullying and what punishment should be meted out to the two boys. Polanski is very adept at examining peopleÕs quirks and getting to what annoys them. ItÕs entertaining to watch how he keeps Winslet and Waltz going back into the apartment after they are repeatedly determined to leave.
The caustic dialogue reaches some high notes that must be kept secret. I will write that Winslet nails her big scene. "Carnage" has its moments, thatÕs for sure.
"Joyful Noise" is unnecessary and dreary. It stars Dolly Parton and Queen Latifah as rivals who want to lead a youth chorus in a small Georgia town.
It has too many subplots -- interracial teen romance, Asperger Syndrome, a gospel chorus contest, smalltown values, smalltown racism, obesity and a weak economy.
Latifah and Parton seem to be in different movies. Dolly is country corn from the get-go and the Queen is street and sassy.
The story never quite comes together because thereÕs just too much of it. Half the time you're thinking of "Sister Act" and the other half you're thinking that Parton has had enough plastic surgery on her face for 10 people.
The failed musical comedy is written and directed by Todd Graff, who may have been overwhelmed by the outsized personas of Parton and Latifah.
"Joyful Noise" has the two women fighting to be the leader of the chorus after PartonÕs husband, Kris Kristofferson, dies during the opening credits. He was the choral boss.
Meanwhile, teens fall in love and Asian men are sex objects. The film is filled with sayings, meant to be folksy and charming. Most of them are spoken by Parton. Try this one on for size: ThereÕs always free cheese in the mousetrap, but trust me, the mice there ainÕt happy.
How could you not love a movie filled with this kind of silliness, you may ask? Believe me, itÕs easy.
| Niagara Falls Reporter | www.niagarafallsreporter.com | Jan. 17 2012 |