I attended the screening of "The Procession" which had its world premier at Tribeca this year in the short film block. I personally have a fondness for short films and believe them very underrated so am happy to say Festinger's was a delightful, dark comedy. Ironically its plot is simple
yet original. Basic human nature sprinkled with happenstance and irony. While attending a funeral a bickering son & mother, played brilliantly by "Modern Family's" Jesse Tyler-Ferguson and comedy legend Lily Tomlin, accidentally get caught in the procession to the cemetery and thanks to a few ill timed red lights, begin leading it. Unfortunately
they don't know their destination. What makes the film work is how the circumstances are so relatable to the viewer. For instance
who doesn't hate attending funerals, who doesn't get caught at red lights, what son & mother don't bicker
and so on. This sets up the basic comedic elements quickly and easily which is essential for a short film. Kudos for both Festinger's writing of the premise and the back & fourth rat-tat-tat dialogue between Ferguson and Tomlin that keeps the action moving at an even pace with the film's actual procession. Special credit should also be given to this NYU grad for taking on the herculean task of directing dozens of slow moving cars in traffic on actual city streets. The precision and timing needed for continuity of this type probably required as much patience as directing a feature. Festinger's previous work includes an Oscar nomination for adapting the script for "In the Bedroom" and more recently for writing the 2011 film Trust. As these films were full lengths dealing with more serious subjects Festinger shows great versatility and range in both art and genre.
Reviews
8 Reviews
Future Weather
(2012)
Future Weather Has Bright & Sunny Future
30 April 2012
The old adage "save the best for last" certainly applies to this year's Tribeca Film Festival as the last screening I attended was the thought provoking emotional journey Future Weather. I met its writer, director and producer Jenny Deller at the Tribeca Press Reception where she gave me the film's background and I'm happy to say it lived up to my expectations. In fact, after watching it, it's hard to assess what this triple threat filmmaker does best.
Obviously this is not the kind of story that utilizes car chases and explosions. Although, despite the fact that its main cast is all female, it's far from a chick flick. The basic plot deals with how a very bright and mature thirteen year old, recently abandoned by her not so bright and immature mother, uses her love of science to fill the gap of a normal family life. Lead actress Perla Haney-Jardine's "Laduree" carries the film with just the right amount of security for her age without seeming too much like a Juno-esque smart-aleck. Lili Taylor's portrayal of understanding teacher "Ms. Markovi" is quite different than many of her other roles and Amy Madigan's beer guzzling grandma "Greta" adds great comic relief.
What helps the characters drives the film is a great balance of dramatic emotion and knowledge. Environmental metaphors not only explain the premise but thanks to Deller's brilliant script they subtly bring together the duel storyline thereby giving it an intelligent, yet relatable perspective. In fact, trying to guess where and how the scientific symbolism will relate to our protagonist is part of the fun and makes watching both interesting and entertaining. In addition, once Deller lays out her characters nothing seems forced. Case in point, we know "Laduree" loves the environment so it seems natural that she would stop in the middle of the street and recycle a plastic bag.
Visually, Denner's direction certainly shows how the actual art of film can say plenty without too much or in some cases any dialogue. Consciously (or sub-consciously) her quick cuts in the right places accentuate humor, her wide singular shots signify loneliness and of course various close-ups show intensity. This versatility may seem like filmmaking 101 except for one thing as she indicated to me in a previous interview Deller never took filmmaking 101! Her self taught style is therefore all the more impressive.
Bottom line, if there's one filmmaker that should feel satisfaction from Tribeca 2012 it's Deller. Not only was this "never attended film school" female writer/director/producer's first outing in an A-List festival a feature length...but she combined a story very personal to her by utilizing a political issue very passionate to her. No doubt her creative vision could one day make her the next Nora Ephron, Penny Marshall or Kathryn Bigelow.
Obviously this is not the kind of story that utilizes car chases and explosions. Although, despite the fact that its main cast is all female, it's far from a chick flick. The basic plot deals with how a very bright and mature thirteen year old, recently abandoned by her not so bright and immature mother, uses her love of science to fill the gap of a normal family life. Lead actress Perla Haney-Jardine's "Laduree" carries the film with just the right amount of security for her age without seeming too much like a Juno-esque smart-aleck. Lili Taylor's portrayal of understanding teacher "Ms. Markovi" is quite different than many of her other roles and Amy Madigan's beer guzzling grandma "Greta" adds great comic relief.
What helps the characters drives the film is a great balance of dramatic emotion and knowledge. Environmental metaphors not only explain the premise but thanks to Deller's brilliant script they subtly bring together the duel storyline thereby giving it an intelligent, yet relatable perspective. In fact, trying to guess where and how the scientific symbolism will relate to our protagonist is part of the fun and makes watching both interesting and entertaining. In addition, once Deller lays out her characters nothing seems forced. Case in point, we know "Laduree" loves the environment so it seems natural that she would stop in the middle of the street and recycle a plastic bag.
Visually, Denner's direction certainly shows how the actual art of film can say plenty without too much or in some cases any dialogue. Consciously (or sub-consciously) her quick cuts in the right places accentuate humor, her wide singular shots signify loneliness and of course various close-ups show intensity. This versatility may seem like filmmaking 101 except for one thing as she indicated to me in a previous interview Deller never took filmmaking 101! Her self taught style is therefore all the more impressive.
Bottom line, if there's one filmmaker that should feel satisfaction from Tribeca 2012 it's Deller. Not only was this "never attended film school" female writer/director/producer's first outing in an A-List festival a feature length...but she combined a story very personal to her by utilizing a political issue very passionate to her. No doubt her creative vision could one day make her the next Nora Ephron, Penny Marshall or Kathryn Bigelow.
Hugo
(2011)
Hugo is Boss!
1 January 2012
Warning: Spoilers
If there is one filmmaker that should have a feeling of accomplishment this year it's Martin Scorcese. With Hugo he's killed three birds with one stone. Firstly, he's entered the realm of 3-D filmmaking, secondly, he's indulged his lifelong passion of silent film and silent filmmakers and thirdly
he's made a GREAT MOVIE! There's not one wasted piece of footage in this masterpiece that combines a great & classic story with new and cutting edge technology.
The story of a young orphaned boy who lives in the walls of a Paris train station is taken from the book "The Invention of Hugo Cabret" by Brian Selznick. Via flashback we learn that Asa Butterfield's Hugo finds himself in this situation after his tinkering father (Jude Law in a very nice cameo) dies in a fire. He is then taken to the train station by his Uncle, who dies not soon after from alcohol consumption, but not before instilling upon Hugo the importance of setting the station's clocks. Through vents and peep holes Hugo observes the station regulars such as cute flower girl played by Emily Mortimer, an elderly bookseller played by Christopher Lee, a bitter station inspector played by Sasha Baron Cohen and an elderly toy shop owner played by Ben Kingsley. To obtain parts for a robotic invention left by his father Hugo steals various little toys from Kingsley's shop until he is finally caught. The two work out a deal allowing Hugo to work at the shop to pay off the items he's pilfered. Along the way he is soon befriended by Kingsley's goddaughter Isabelle played by Chloe Grace Moretz. Through Hugo's invention the two learn that Kingsley is actually the acclaimed filmmaker Georges Melies who directed the 1902 classic A Trip To The Moon. Thanks to Hugo, Melies, who believed himself a has-been after World War I, is now given a new legion of fans and Hugo is given a home.
The fact that such a story can be told, let alone in 3-D, by the same director that gave us Goodfellas and Casino is proof that Martin Scorcese may be the most versatile filmmaker of his time. In fact, you would never know this was first attempt at 3-D as he knows exactly which shots work best for the process. In addition to interesting looking people dogs, clock parts, luggage, snowflakes, ashes and even dust enter the viewer's frame with realistic results.
Kingsley's performance is class all the way and he is supported nicely by Mortimer, Lee and Cohen. While Butterfield's performance as "Hugo" could garner the first child star Oscar since Anna Paquin won for The Piano. Of course the real star of the movie is the person who extracted those great performances Scorcese. What's ingenious about how he unfolds his tale is the combination of his love for the actual process of movie making. For instance, in a 3-D film where images come at the audience we see a shot of the first film where a train enters a train station which scares the audience who, not being use to movie magic, believes the train is coming at them. We see a shot of Hugo and Isabelle watching the classic Harold Lloyd film Safety Last where he dangles above the city from a clock, than we later see Hugo himself in the same position trying to escape Cohen and his dog. The call backs to classic and silent film as well as the subliminal messages here and there toward film preservation (a topic very near and dear to Scorcese) flow easily. Instead of obvious exposition or a hidden agenda Scorcese uses these devices to help tell the story. In my opinion, he could soon have a matching bookend to match the one he received for The Departed. Of course unlike the latter, this film has no blood, violence or offensive language just fun for anyone who wants to do what Kingsley's Melies character suggests "Watch the magic".
The story of a young orphaned boy who lives in the walls of a Paris train station is taken from the book "The Invention of Hugo Cabret" by Brian Selznick. Via flashback we learn that Asa Butterfield's Hugo finds himself in this situation after his tinkering father (Jude Law in a very nice cameo) dies in a fire. He is then taken to the train station by his Uncle, who dies not soon after from alcohol consumption, but not before instilling upon Hugo the importance of setting the station's clocks. Through vents and peep holes Hugo observes the station regulars such as cute flower girl played by Emily Mortimer, an elderly bookseller played by Christopher Lee, a bitter station inspector played by Sasha Baron Cohen and an elderly toy shop owner played by Ben Kingsley. To obtain parts for a robotic invention left by his father Hugo steals various little toys from Kingsley's shop until he is finally caught. The two work out a deal allowing Hugo to work at the shop to pay off the items he's pilfered. Along the way he is soon befriended by Kingsley's goddaughter Isabelle played by Chloe Grace Moretz. Through Hugo's invention the two learn that Kingsley is actually the acclaimed filmmaker Georges Melies who directed the 1902 classic A Trip To The Moon. Thanks to Hugo, Melies, who believed himself a has-been after World War I, is now given a new legion of fans and Hugo is given a home.
The fact that such a story can be told, let alone in 3-D, by the same director that gave us Goodfellas and Casino is proof that Martin Scorcese may be the most versatile filmmaker of his time. In fact, you would never know this was first attempt at 3-D as he knows exactly which shots work best for the process. In addition to interesting looking people dogs, clock parts, luggage, snowflakes, ashes and even dust enter the viewer's frame with realistic results.
Kingsley's performance is class all the way and he is supported nicely by Mortimer, Lee and Cohen. While Butterfield's performance as "Hugo" could garner the first child star Oscar since Anna Paquin won for The Piano. Of course the real star of the movie is the person who extracted those great performances Scorcese. What's ingenious about how he unfolds his tale is the combination of his love for the actual process of movie making. For instance, in a 3-D film where images come at the audience we see a shot of the first film where a train enters a train station which scares the audience who, not being use to movie magic, believes the train is coming at them. We see a shot of Hugo and Isabelle watching the classic Harold Lloyd film Safety Last where he dangles above the city from a clock, than we later see Hugo himself in the same position trying to escape Cohen and his dog. The call backs to classic and silent film as well as the subliminal messages here and there toward film preservation (a topic very near and dear to Scorcese) flow easily. Instead of obvious exposition or a hidden agenda Scorcese uses these devices to help tell the story. In my opinion, he could soon have a matching bookend to match the one he received for The Departed. Of course unlike the latter, this film has no blood, violence or offensive language just fun for anyone who wants to do what Kingsley's Melies character suggests "Watch the magic".
Long...but entertaining
29 December 2011
A film of this magnitude always runs the risk of over-hype. Fortunately, TGWTDT lives somewhat up to it. I can't say that all its 158 running time is worth it, but enough of it is. Of course films based on books always come to the screen with pre-conceived notions. In this case there's not only a book written by Stieg Larsson
but a previous film to follow. This is never an easy challenge but director David Fincher seems to have welcomed it with open arms.
The film's basic plot centers on the forty year old disappearance of the niece of rich and eccentric industrialist Henrik Vanger played handsomely by Christopher Plummer. After hiring recently humiliated journalist and amateur sleuth Mikael Blomkvist, played by Daniel Craig, we learn little by little about Plummer's family tree filled of course with weird and rotten apples. Intercutting nicely with the detective portion of the film is the parallel story line of the title character Lisbeth Salander played by an unrecognizable Rooney Mara. After finding out Salander was initially hired to do a background check on Blomkvist before being hired by Vanger, we follow her life which includes computer hacking, beating up street punks and reporting to her new court appointed guardian. This of course leads to the films most graphic and talked about scenes which include forced sexually favors and rape. While this is going on Blomkvist soon discovers that the missing niece may in fact be the victim of a serial killer and requests a research assistant. Naturally who better then the girl who researched him and the meeting of the two main characters finally comes full circle. Once together Blomkvist and Salander work well as a modern day and unconventional Nick and Nora Charles to both find the serial killer and discover the mystery of the missing niece. Along the way they also find some sexually affection and even have time to give another industrialist his comeuppance. Craig's performance shows intelligence coupled with a vulnerability that makes us forget that he's James Bond. Equally good is Rooney's Salander who obviously makes us forget she's the beautiful girl who unwittingly launched Facebook in Fincher's The Social Network. Speaking of Fincher, his style here is evident throughout with realistic violence balanced with beautifully shot flashbacks. The ending of the film is satisfying and naturally leaves itself open for a sequel I just hope it will be a little shorter.
The film's basic plot centers on the forty year old disappearance of the niece of rich and eccentric industrialist Henrik Vanger played handsomely by Christopher Plummer. After hiring recently humiliated journalist and amateur sleuth Mikael Blomkvist, played by Daniel Craig, we learn little by little about Plummer's family tree filled of course with weird and rotten apples. Intercutting nicely with the detective portion of the film is the parallel story line of the title character Lisbeth Salander played by an unrecognizable Rooney Mara. After finding out Salander was initially hired to do a background check on Blomkvist before being hired by Vanger, we follow her life which includes computer hacking, beating up street punks and reporting to her new court appointed guardian. This of course leads to the films most graphic and talked about scenes which include forced sexually favors and rape. While this is going on Blomkvist soon discovers that the missing niece may in fact be the victim of a serial killer and requests a research assistant. Naturally who better then the girl who researched him and the meeting of the two main characters finally comes full circle. Once together Blomkvist and Salander work well as a modern day and unconventional Nick and Nora Charles to both find the serial killer and discover the mystery of the missing niece. Along the way they also find some sexually affection and even have time to give another industrialist his comeuppance. Craig's performance shows intelligence coupled with a vulnerability that makes us forget that he's James Bond. Equally good is Rooney's Salander who obviously makes us forget she's the beautiful girl who unwittingly launched Facebook in Fincher's The Social Network. Speaking of Fincher, his style here is evident throughout with realistic violence balanced with beautifully shot flashbacks. The ending of the film is satisfying and naturally leaves itself open for a sequel I just hope it will be a little shorter.
Midnight in Paris
(2011)
The mentality of the city that never sleeps meets the beauty of city of lights.
29 December 2011
Woody Allen's first screenplay What's New Pussycat was produced in 1965 and I'm happy to say after forty six years and forty something films later...he's still "gettin it done". Midnight in Paris is the most recent Allen opus and like previous works Match Point, Scoop and Vicky Cristina Barcelona he utilizes a European back drop with the same visual charm he used on Manhattan for the first three quarters of his career. Ironically, the city of lights seems a natural fit for Allen's love of the artistic side of any large metropolis.
The film stars Owen Wilson in a role that Allen himself could have played thirty years ago (a trend in many of Allen's newest works). As a Hollywood screenwriter longing for the art and romance of a bygone time, Wilson surprisingly inhabits the nebbish qualities of a typical Allen leading man. Rachel McAdams is his frustrated fiancé' and Oscar winner Marion Cotillard plays his "muse" or as Allen aficionados may call it his Parisian "Annie Hall".
The premise and characters are obviously similar to many Allen films, which of course is not a bad thing (if it's not broke, Woody doesn't fix it). However where it excels is its combination of a classic Allen theme with an exquisite period piece. In addition to the beautiful costumes, sets and production value the really fun aspect of the film is guessing just who may show up in 1920's Paris. Whether it's Kathy Bates' Gertrude Stein, Adrian Brody's Salvador Dali (and if you're keeping count that's two more Oscar winners) or Corey Stoll's Ernest Hemingway, the parade of colorful and historic people inhabiting the social scene of France is a literal who's who of artists, writers and dancers. Needless to say there is also a fair amount of verbal dry wit and humorous dialogue to balance out the beautiful setting and story.
What this film demonstrates more than anything is Allen's durability in still putting out good films after over four decades as a filmmaker a feat not easily accomplished, especially for comedies. He averages a film a year and even his contemporaries Mel Brooks and Mike Nichols, comic geniuses in their own right, have not had as much consistent success. Keep them coming Woody.
The film stars Owen Wilson in a role that Allen himself could have played thirty years ago (a trend in many of Allen's newest works). As a Hollywood screenwriter longing for the art and romance of a bygone time, Wilson surprisingly inhabits the nebbish qualities of a typical Allen leading man. Rachel McAdams is his frustrated fiancé' and Oscar winner Marion Cotillard plays his "muse" or as Allen aficionados may call it his Parisian "Annie Hall".
The premise and characters are obviously similar to many Allen films, which of course is not a bad thing (if it's not broke, Woody doesn't fix it). However where it excels is its combination of a classic Allen theme with an exquisite period piece. In addition to the beautiful costumes, sets and production value the really fun aspect of the film is guessing just who may show up in 1920's Paris. Whether it's Kathy Bates' Gertrude Stein, Adrian Brody's Salvador Dali (and if you're keeping count that's two more Oscar winners) or Corey Stoll's Ernest Hemingway, the parade of colorful and historic people inhabiting the social scene of France is a literal who's who of artists, writers and dancers. Needless to say there is also a fair amount of verbal dry wit and humorous dialogue to balance out the beautiful setting and story.
What this film demonstrates more than anything is Allen's durability in still putting out good films after over four decades as a filmmaker a feat not easily accomplished, especially for comedies. He averages a film a year and even his contemporaries Mel Brooks and Mike Nichols, comic geniuses in their own right, have not had as much consistent success. Keep them coming Woody.
The Town
(2010)
My Kind of Town
29 December 2011
Synopsis: After pulling his last heist, bank robber Doug MacRay (Ben Affleck) seeks out hostage and potential witness Claire Keesey (Rebecca Hall). In finding out what she knows he unwittingly begins to fall for her which angers his partners in crime, specifically hothead James Coughlin (Jeremy Renner) who thanks to Doug's former relationship with his sister Krista (Blake Lively), feels betrayed. Doug's problems begin to escalate as he attempts keep his identity a secret from Claire while dodging FBI Agent Adam Frawley (Jon Hamm) and local mob boss "Fergie" (Pete Postlethwaile) who forces him to pull one last heist. Buzz: The "Superman" persona that Ben Affleck usually exudes in every role he plays is actually believable in the Boston setting he's obviously accustomed and comfortable with. Although Jon Hamm's FBI agent comes off as a pompous version of his "Mad Men" counterpart and Blake Lively is obviously miscast as former lover who judging from her age would have put Affleck in the can long ago for statutory rape. It is however Jeremy Renner that steals more than bank money as he walks away with every scene he's in. Unfortunately Rebecca Hall manages to get as lost in the shuffle as she did in Woody Allen's Vicky Christina Barcelona. Adding great support are Chris Cooper as Affleck's interred father and of course the very visual Postlethwaile, whose face can be found in the dictionary under "Character Actor". Verdict: Although Affleck and Renner's performances are enough to carry the day, it is the story that sells the movie. The twists, turns, double-crosses and downright action are all interwoven into a tight script also penned by Affleck. In addition, Affleck's direction behind the camera has some nice touches of creative expression and style that he obviously picked up after years of performing in front of it. In addition, the film's production values, which include car chases, explosions and various shots of Fenway Park during an actual Red Sox game will leave even non "bean town" fans impressed. The ending is somewhat predictable, yet satisfying and all in all, worth the wait. Did you know? Jeremy Renner decided to surround himself with actual convicted bank robbers in Charlestown for research reasons and to help him nail the accent.
My Week with Marilyn
(2011)
Marilyn would be proud
28 December 2011
Making a bio-pic is hard enough, but one about the most famous woman not only in show business but in the twentieth century may seem impossible. Thankfully, thanks to director Simon Curtis, writer Adrian Hedges and of course actress Michelle Williams
it seemed easy.
Unlike other bio-pics on Marilyn Monroe, My Week With Marilyn doesn't fall into the obvious trap of trying to over explain her life. It would be easy and tempting to want to show the early days of Norma Jean to the later years of drug addiction but as so much of that has already been told in books, documentaries and other films, it hardly seems necessary to re-hash facts (some gruesome) that anyone and everyone knows all too well. Instead, the film does what is probably best for a person so well known it isolates one section of her life. I would say "interesting" section but in Marilyn's case, they're probably all interesting. In this case, the filming of The Prince and the Showgirl which encompasses her interaction with acting legend Sir Laurence Olivier, husband and playwright Arthur Miller, acting coach Paula Strasberg and a young aspiring writer named Colin Clark whose memories provide us with the eyes in which to see the story set in a quaint English location.
With the characters and setting in place the film proceeds with a beautiful balance and pace that somehow blends everyone and everything together without any forced exposition or long drawn out dialogue. With some minor narrative and a few establishing shots of our title character the film moves right into the pre-production of Prince, then smoothly and quickly into the actual production and the behind the scenes anarchy supposedly caused by Marilyn. This leads to her personal relationship with Colin Clark played wonderfully by Eddie Redmayne whose wide-eyed excitement at being in the presence of such acting legends seems genuine. Kenneth Branagh's performance as Sir Laurence is filled with both admiration and humor. Julia Ormond's performance as his wife Vivien Leigh blends the insecurities of an over-the-hill actress not to mention a bystander while her husband is forced to court the sexiest woman in the world. Last and certainly not least is Michelle Williams. For my money out of all the actresses who have ever portrayed Marilyn (which include some heavy hitters as Mira Sorvino, Ashley Judd and Poppy Montgomery) she wins hands down and not because she most resembles her. In fact, it is the ingenuous way she wasn't made up to be her look-alike that adds to her performance. Yes, she has the blond hair, the ample assets and even the mole but she's not a dead ringer, nor does she have to be. SUBTLE is the key to her performance and she conveys with just a wink and smile all that is needed. She internalized Marilyn, captured her essence, wit and charm. It wouldn't surprise me if Williams can do with her performance what Marilyn never did win an Oscar.
Unlike other bio-pics on Marilyn Monroe, My Week With Marilyn doesn't fall into the obvious trap of trying to over explain her life. It would be easy and tempting to want to show the early days of Norma Jean to the later years of drug addiction but as so much of that has already been told in books, documentaries and other films, it hardly seems necessary to re-hash facts (some gruesome) that anyone and everyone knows all too well. Instead, the film does what is probably best for a person so well known it isolates one section of her life. I would say "interesting" section but in Marilyn's case, they're probably all interesting. In this case, the filming of The Prince and the Showgirl which encompasses her interaction with acting legend Sir Laurence Olivier, husband and playwright Arthur Miller, acting coach Paula Strasberg and a young aspiring writer named Colin Clark whose memories provide us with the eyes in which to see the story set in a quaint English location.
With the characters and setting in place the film proceeds with a beautiful balance and pace that somehow blends everyone and everything together without any forced exposition or long drawn out dialogue. With some minor narrative and a few establishing shots of our title character the film moves right into the pre-production of Prince, then smoothly and quickly into the actual production and the behind the scenes anarchy supposedly caused by Marilyn. This leads to her personal relationship with Colin Clark played wonderfully by Eddie Redmayne whose wide-eyed excitement at being in the presence of such acting legends seems genuine. Kenneth Branagh's performance as Sir Laurence is filled with both admiration and humor. Julia Ormond's performance as his wife Vivien Leigh blends the insecurities of an over-the-hill actress not to mention a bystander while her husband is forced to court the sexiest woman in the world. Last and certainly not least is Michelle Williams. For my money out of all the actresses who have ever portrayed Marilyn (which include some heavy hitters as Mira Sorvino, Ashley Judd and Poppy Montgomery) she wins hands down and not because she most resembles her. In fact, it is the ingenuous way she wasn't made up to be her look-alike that adds to her performance. Yes, she has the blond hair, the ample assets and even the mole but she's not a dead ringer, nor does she have to be. SUBTLE is the key to her performance and she conveys with just a wink and smile all that is needed. She internalized Marilyn, captured her essence, wit and charm. It wouldn't surprise me if Williams can do with her performance what Marilyn never did win an Oscar.
The Artist
(I) (2011)
The Artist is Pure Art!
11 December 2011
I doubt as a reviewer I can say anything about this movie that hasn't already been said
but as a filmmaker who has written and produced a film on the silent film era (Madcap Mabel) I can say plenty, starting with the sub-title to The Artist should be "Is Great". For starters, what the film does best is not overplay its concept. It is a silent film but it doesn't hit us over the head by playing to the public's general perception of what those films entailed. For instance, title cards and music are used sparingly and not as cliché devices catering to what people not familiar with the genre (in other words
the majority of the movie going audience) would expect to see. This not only gives one an appreciation for not being catered or dumbed down to, but allows the actors to truly earn their keep by "acting".
The story is simple but classic after helping young starlet "Peppy Miller" (the name fits the character), movie idol "George Valentin" (the last name perhaps an homage to silent great Rudolph) falls on hard times and when the now famous actress he's helped tries to return the favor, his pride becomes his biggest demon. OK, we've seen this when James Mason's alcoholic binges destroyed him after making Judy Garland the title character in the classic A Star is Born. However, setting this theme in the silent movie era, using the advent of sound as the impetus which led to the title character's downfall (fueled of course by a drug more dangerous to an actor than alcohol "ego") was both ingenious and historically accurate as many a silent film star's career disappeared when sound first emerged from their mouths (as another classic, Singin' in The Rain, could attest).
The film's structure moves everything at a great pace. We see actor Valentin's subtle downfall from fame equally balanced with starlet Miller's rise and again without the usual clichés. The cinematography is as sharp as any classic black & white film and the few lines we do read from title cards are witty and clever. Finally, the ending which I will not give away, brings everything full circle.
Director Michel Hazanavicius should be applauded for not only attempting the risk of making a silent film about silent films in this day and age, but for writing a screenplay which not only brings together such classic themes, but doing it in ways that cleverly highlight the film's genre by using its silent limitations. I not only smell Oscar nomination here but maybe Oscar itself.
Speaking of Oscar lead Actor Jean Dujardin should also be getting an early phone call on nomination day for his portrayal of the egotistical yet always classy fading star. As for lead Actress Berenice Bejo she does the impossible by letting her natural beauty come second to her natural acting. Her performance combines comedy, tragedy and genuine emotion and one can't help wonder how great she would have been as an actual actress from that era. Her large expressive eyes which make one melt with every blink speak volumes which although an oxy-moron when discussing silent film is certainly true in this case. Her scene with a coat rack is hysterically-romantic and if the Academy gave an award for "Cute Dancing", her "Charleston" would be win hands or should I say "feet" down. In good supporting roles are Penelope Ann Miller as Valentin's long suffering wife "Doris", James Cromwell as his chauffeur /assistant "Clifton" and John Goodman as the blustery studio head "Al Zimmer" (another good name). And for all you pet lovers yes, Valentin has a very talented dog that fills those "awwwww" moments.
The films only fault maybe it could put acting schools and teachers out of business for all aspiring thespians need do to learn the true craft of their vocation is to watch the heartfelt, well written and well directed performances in The Artist. As a silent movie buff I Iook at this film as a love letter to that bygone era and hope and expect it will renew and create interest in classic silent movies and silent movie stars. As a writer, producer, actor and general movie lover myself I give it as many stars as the talkies destroyed. In fact, I've already put in my pre-order on Amazon for the DVD, the insert of which I'm sure will feature the words "Academy Award Winner".
The story is simple but classic after helping young starlet "Peppy Miller" (the name fits the character), movie idol "George Valentin" (the last name perhaps an homage to silent great Rudolph) falls on hard times and when the now famous actress he's helped tries to return the favor, his pride becomes his biggest demon. OK, we've seen this when James Mason's alcoholic binges destroyed him after making Judy Garland the title character in the classic A Star is Born. However, setting this theme in the silent movie era, using the advent of sound as the impetus which led to the title character's downfall (fueled of course by a drug more dangerous to an actor than alcohol "ego") was both ingenious and historically accurate as many a silent film star's career disappeared when sound first emerged from their mouths (as another classic, Singin' in The Rain, could attest).
The film's structure moves everything at a great pace. We see actor Valentin's subtle downfall from fame equally balanced with starlet Miller's rise and again without the usual clichés. The cinematography is as sharp as any classic black & white film and the few lines we do read from title cards are witty and clever. Finally, the ending which I will not give away, brings everything full circle.
Director Michel Hazanavicius should be applauded for not only attempting the risk of making a silent film about silent films in this day and age, but for writing a screenplay which not only brings together such classic themes, but doing it in ways that cleverly highlight the film's genre by using its silent limitations. I not only smell Oscar nomination here but maybe Oscar itself.
Speaking of Oscar lead Actor Jean Dujardin should also be getting an early phone call on nomination day for his portrayal of the egotistical yet always classy fading star. As for lead Actress Berenice Bejo she does the impossible by letting her natural beauty come second to her natural acting. Her performance combines comedy, tragedy and genuine emotion and one can't help wonder how great she would have been as an actual actress from that era. Her large expressive eyes which make one melt with every blink speak volumes which although an oxy-moron when discussing silent film is certainly true in this case. Her scene with a coat rack is hysterically-romantic and if the Academy gave an award for "Cute Dancing", her "Charleston" would be win hands or should I say "feet" down. In good supporting roles are Penelope Ann Miller as Valentin's long suffering wife "Doris", James Cromwell as his chauffeur /assistant "Clifton" and John Goodman as the blustery studio head "Al Zimmer" (another good name). And for all you pet lovers yes, Valentin has a very talented dog that fills those "awwwww" moments.
The films only fault maybe it could put acting schools and teachers out of business for all aspiring thespians need do to learn the true craft of their vocation is to watch the heartfelt, well written and well directed performances in The Artist. As a silent movie buff I Iook at this film as a love letter to that bygone era and hope and expect it will renew and create interest in classic silent movies and silent movie stars. As a writer, producer, actor and general movie lover myself I give it as many stars as the talkies destroyed. In fact, I've already put in my pre-order on Amazon for the DVD, the insert of which I'm sure will feature the words "Academy Award Winner".
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