Page 18 THE VILLADOM TIMES I & II • January 11, 2012 ‘The Artist’ is a joyous romp without words by Dennis Seuling “The Artist” almost dares moviegoers to see it. This black-and-white silent picture was shot in the old standard boxy aspect ratio, much as movies were made and exhibited until sound, color, and widescreen dramatically transformed cinema. Mel Brooks played with the idea for comic effect in “Silent Movie” (1976), incorporating a slew of big-name actors to boost sales at the box office. In contrast, “The Artist,” a foreign film about old Hollywood, offers no superstars and does not strain after jokes. Instead, a touching script, the humanity of its characters, and the talent of its principals turn this unusual project into a commercially viable movie. The time period spans 1927 to 1932, a time of enormous upheaval in Hollywood. “The Jazz Singer,” the first talkie, hit screens in October of 1927, and sounded the death knell for silent pictures. Some silent film makers and stars succeeded brilliantly, many did not, and opportunities boomed for new talent. “The Artist” focuses on two characters whose Hollywood careers move in opposite directions. George Valentin (Jean Dujardin) is a Chaplin-like star of the silent era. He gives a fan of his, Peppy Miller (Berenice Bejo), her first break in show biz. In 1929, the head of the studio, Al Zimmer (John Goodman), announces that the studio is ceasing all silent film production and getting on the talkie bandwagon. As Valentin resists the change to sound, his star dims while Peppy’s career blossoms. There are clearly plot similarities to “A Star Is Born,” “Singin’ in the Rain,” and any backstage picture in which the ambitious, talented kid makes good. Fortunately, “The Artist” has a tremendous charm all its own. The oldfashioned filming techniques become secondary to the story, which is a simple tale told extremely well and with great humor. Dujardin is a master of physical comedy and will remind the viewer of those little moments in Chaplin films when he enacts a comic bit, such as the Jean Dujardin and Berenice dance of the rolls in “The sound era. Gold Rush” or his roller skating acrobatics in “The Rink.” Dujardin’s Valentin is an agile performer and a snappy dancer who can enchant an audience by improvising a series of hilarious curtain calls. He loves his star status and regards the coming of sound as a threat. Peppy, on the other hand, is as game for the challenge of sound as she is talented and charming. Pretty, spunky, with an ebullient personality and a mischievous twinkle in her eye, she lights up the screen. Bejo is a wonder. She has a face made for movies. When she is on screen, viewers can’t take their eyes off her. Reminiscent of the young Mary Tyler Moore and Debbie Reynolds, she is perky, frisky, and adorable. There is also on hand one of the funniest canine stars in years: Valentin’s dog. The dog not only appears with him in movies, but is also his constant companion, whether at home, attending a premiere, or sitting in a movie theater. The dog is always at his side and goes into Lassiemode when Valentin’s life is in danger, insisting that a cop follow him to the rescue. Director Michel Hazanavicius has taken great care in presenting the period of the Roaring Twenties and begin- Bejo star as actors in Hollywood during the late silent-early ning of the Depression. Costuming and set design, down to the vintage film equipment depicted, are flawlessly incorporated. The actors perform in the style of the silent era, but the director strikes exactly the right balance to keep the movie from becoming a spoof. That would be very easy. It is far richer as it shifts from broad comedy leading to elements of tragedy before culminating in one of the best movie finales of the year. It is rare for a movie to be this exhilarating. While watching “The Artist,” one is simultaneously entertained, impressed, moved, and overjoyed. When a film does all that, the effect must be attributed to creative genius: the perfect blending of script, performance, and direction. This is one such case when everything comes together to produce a perfect movie. What makes “The Artist” more than just a gimmick film is its sincerity and obvious love of cinema. The movie transports viewers to a distant era and treats its characters as real people, not clichés. Director Hazanavicius has created a loving tribute to the medium of film that both celebrates the past and acknowledges the inevitability of progress.