A piece of art is always defined by it’s time, or more specifically, by it’s own context. For a piece of art to relate to its audience, it must be relevant. Shot in black and white in 4:3 with no recorded sound, The Artist exists as the perfect counter argument to the emergence of 3D. This is where The Artist draws a lot of it’s charm. If there wasn’t a current debate about whether 3D enhances one’s experience of a story, I don’t think people would have embraced The Artist as much as they have now.
Onto the film, the cast does a great job at rehashing silent movie acting. Bérénice Bejo looks like a silent film actress. Jean Dujardin reminds me of Gene Kelly with his killer smile. I particularly liked what he did with his eyebrows in a scene where he films a spy movie. The story is basically Singing in the Rain and story wise the third act does seep too long in sadness. It seeps to the point where we are just lingering on somebody’s pain and suffering (almost like in the film The Pursuit of Happyness). It gets a tad uncomfortable than you’d want in musical comedy where things should hop along, even in sad scenes they have sad musical/dance numbers, don’t they?
The Artist makes me think of what Quentin Tarantino’s goal with Kill Bill: it’s a postmodern throwback film that’s directly addresses its influences. Part of the joy is watching the film references its influences along with the story. This sets up a trap: a film that relies on the strength of previous films has a hard time rising above them. For example, most of Kill Bill: Volume 2 is a homage to spaghetti westerns. The Ennio Morricone music, the telephoto shots of Uma Thurman walking in the steamy desert all make me think of how The Good, The Bad, and the Ugly was a great film. Automatically this sets Kill Bill in an inferior position because my focus isn’t on Kill Bill. That was partly my experience with The Artist.
Unlike Kill Bill, there’s a precision in craft in The Artist that I admire and respect. Michel Hazanavicius loves cinema but is able to reign in his fanboy-isms to tell a proper story. For example, they perfected when and when not to show cards for dialogue. The nightmare sequence in which George Valetin dreams about the advent of sound films was one of the highlights. I can’t believe one dog (Uggie the dog as Jack the dog) did all those tricks!
The Artist succeeds in its goal, it’s a well-crafted, well-acted delight of a film. The film is made for film lovers and I smiled throughout it’s entirety. Smiling through a film is a different experience from laughing through a film. You leave the theater feeling warm and fuzzy. But ultimately, I don’t think the postmodern throwback film is something to be rewarded or applauded to this level. Its longevity is suspect, but I guess time will tell on that.