The Artist

Ein fantastisch inszeniertes, einfallsreiches, frisches, humoriges und die Kinematografie liebendes Zwinkern in Richtung der Filmliebhaber*innen, das an einer schwachen Handlungslinie hängt. Ed Wood hatte auch eine schöne Geschichte und einen starken Gedanken. (15.02.2012)

Incredibly sweet, playful, a delight for the eye, the ear and the spirit of all old people, among whom I also count myself. The dance number at the end was so terribly cute that I was grinning from ear to ear. And if I were a woman, I'd kill for Jean Dujardin's irresistible smile. Since I'm a man, at least my platonic love for Berenice Bejo will have to suffice :o) (02.04.2012)

Those who know my ratings a little will be well aware that I am not a fan of silent movies. My relationship with them is similar as with pizza Margherita: I have nothing personal against it, but without at least ham, it doesn’t quite make it. And that’s the reason why I wasn’t that excited about this movie; at worst, I expected an unlikeable romantic and artsy Oscar bait, and at best, a bearable and sincere but rather boring movie. I was wrong, The Artist couldn’t have been a more pleasant surprise. It’s a very entertaining, nice and charming movie that doesn’t need sound. But when it does use some sound, it’s worth it (e.g. the nightmare). It left me with a feeling that none of this year’s other Oscar contenders did: having watched a truly exceptional movie. So I’m really rooting for it, and I’m saying this as someone who normally appreciates movies that are more progressive in their contents or format over “retro” ones (like The Social Network over The King’s Speech last year). 9/10 (21.01.2012)

Who would have thought that a silent film can astonish me even at a time when talkies are the norm and we’re seeing the rise of 3D movies? In fact, it is an absolutely beautiful throwback and homage to the film of the past. And this is what the very imaginative story of this movie is based on. Well, I have to admit that although Jean Dujardin seemed a bit crazy to me in his earlier films, here he showed that he’s a master of his craft even without sound. Perhaps I will never forget the scene where he appears at the ball, frowns and looks for something. There are so many emotions in that face that it can’t even be described. At that moment you’ll just fully understand what that means. And you’ll find out you can do without any lines or sound without a problem. The same goes for the final scene. I couldn’t imagine a more beautiful dance number. And shot in one go? Oh my God, is someone still filming such scenes these days? Hats off, for such a film experience does not occur every day. And that’s probably a good thing; thanks to this, this film gains a lot of uniqueness, which it will never lose. (20.12.2013)

Der pure Charme der filmischen Eskapismus. Ein Film über eine Zeit, als Zelluloid brannte, das ja von sich selbst brennt und sich dennoch auf wundersame Weise an übermäßiger Ehrfurcht und Blick in die Vergangenheit nicht verbrennt. Die Arbeit mit dem Soundtrack und einem Stummfilm stellt nämlich nicht nur deshalb einen famosen regietechnischen Schachzug dar, weil sie geschickt das in den Vordergrund rückt, was in einem gesprochenen Film niemals aufgefallen wäre, sondern auch, weil diese Idee in ihrer Einfachheit nahezu genial ist. Ein Stummfilm, der seine Stummheit nicht zu einem zweifelhaften Fetisch erhoben hat (ergötzen wir uns doch daran, so ist´s heute nicht mehr und wird es auch nicht sein), sondern zum bedeutendsten erzählerischem Bestandteil (der Film ist sich selbst magisch, nicht weil er uns an etwas erinnert). Hazanavicius hat eine Arbeit abgeliefert, vor der ich den Hut abnehme. Sofern denn einer der Kritiker The Descendants - Familie und andere Angelegenheiten als feingeschliffenes Juwel bezeichnet hat, muss er den Film verwechselt haben. Dies hier ist nämlich ein Wohlfühljuwel, bei dem ich mit offenem Mund dahinstarrte. (21.01.2012)

Playful and in love with film. If it hadn't forcefully slid into the existential realm and screamed so boldly about "silent" emotions in the last third, it would have been the daredevil of the year with The Artist, who is now rightfully collecting laurels. This way, I can't get rid of the feeling of a slightly desired gradation that thus works a bit less than it could, but in the end, I still have to praise it. The main couple shines in every smile or dance, period films force me to reminisce, and the retro soundtrack works so perfectly that I devoured the transformation into the twenties to the last box. As a whole, however, due to the aforementioned, only 75%. (27.01.2012)

The Artist is certainly not nearly as bad as my single star would suggest, but it is also not nearly as good as the enthusiastic comments and five-star ratings from others would imply. I will completely leave aside the fact that it has numerous Oscar nominations and a real chance of winning overall because the bestowal of Oscars has never represented and does not represent a stamp of quality in the history of cinema. The Oscars simply represent the calculation of the film academy, which succumbs to certain trends, moods, and clever advertising by distributors, just like the audience itself. I will say it like this: The Artist is a typical midcult, as defined by Umberto Eco in his book of essays dedicated to culture. This means a skillfully made film that pretends to be avant-garde and cleverly plays with the snobbery of those film viewers who scorn ordinary consumer production and present themselves as admirers of artful productions. It is a film that does not burden the brain, does not hide within itself any ideas or artistic risk, and relies on the certainties and professionalism of filmmaking. Of course, it is not original either; this has been seen several times before, and I would say in a less pleasing but more emotionally convincing execution. The Artist is unlucky because I saw it in a movie theater that I rarely visit and I am overly picky. If I saw it on TV, I would have turned it off after 20 minutes and not reviewed it. Under these circumstances, it made me furious, especially since I had company with me and couldn't leave the movie theater. For me, this film is simply too pleasing and superficial; emotionally, I completely missed the point and I could engage with its game. It reminds me of the huge soap bubbles that my children created at the water park. They look impressive, but they burst immediately and nothing remains of them. In two years, when the current Oscar fascination fades away and the effect of the smart marketing campaign of the production company wears off, I don't think anyone will even mention The Artist. But there are a few positives. Bérénice Bejo is truly lovely, and the stylization of the late 1920s, although it has little in common with the reality of the events in film production at that time, has its charm. Also, if it were edited into a stylish 30-minute slapstick, it would evoke completely different feelings in me. Overall impression: 25%. (25.02.2012)

Der Enthusiasmus wollte sich nicht einstellen, denn ich ahnte doch, dass es nicht ganz richtig sein würde, und deshalb habe ich es auch ziemlich hinausgezögert, mir den Film anzuschauen. Und ihn dann, um sicher zu gehen, noch einmal anzusehen. Natürlich ist der Film nicht völlig schlecht, und wenn er auch nur einen Bruchteil der Zuschauer dazu anregt, echte Stumme zu entdecken, dann hat er seinen Zweck erfüllt. Andererseits ist die Geschichte nur eine Fortsetzung des Schlechten aus Singin' in the Rain, und damit habe ich ein großes Problem. Kurz nach der wirklichen Revolution des Tonfilms wurde das Ereignis konserviert und zu einer Legende voller untergegangener Stars, in Ungnade gefallener Kobolde, persönlicher Pleiten der "längst Vergangenen" und dem Aufstieg jener "natürlichen, frischen und begehrenswerten" neuen Gesichter, die sich in der neuen Konzeption am besten dadurch auszeichneten, dass der Star des Stummfilms eben doch eher die dümmliche Blondine war, und auf dem aufsteigenden Ast befindet sich natürlich die schlaue, eigenwillige dunkelhaarige Frau. Wie einfach, mein lieber Watson. Der Held der Vergangenheit kann kein anderer sein als eine Kombination aus Rudolph Valentine, Douglas Fairbanks und John Gilbert. Zum Glück gibt es auch einen gutmütigen Studiobesitzer, irgendjemanden von den legendären Chefs bis hin zu William Randolph Hearst (gespielt vom ausgezeichneten John Goodman); ein cleverer dressierter Hund, glaubwürdige Kulissen, prächtige Kostüme, eine nahezu perfekte letzte Tanznummer und etwas Hoffnung auf eine bessere Zukunft (oder darauf, dass selbst eine ehemalige Stummfilmikone eines Abenteuerfilms wegen ihrer Bewegungsqualitäten in einem Musical einen zweiten Frühling erleben kann). Was etwas trügerisch ist, sind der klingende Albtraum und insbesondere das Lied von 1936, das als Background für 1931 verwendet wird. Ebenso problematisch und überflüssig ist die Übertragung von Filmmaterial aus Das Zeichen des Zorro (1920). Es stellt sich also die Frage, ob die Geschichte des Stummfilms wirklich interessant ist, nur weil diese Ära längst vorbei ist? (24.04.2012)

Der vorige Film des Regisseurs und der beiden Hauptdarsteller, OSS 117 - Der Spion, der sich liebte, hat mich nicht besonders beeindruckt. Eines konnte ich ihm aber nicht absprechen – er sah wirklich wie ein Film aus, der ungefähr in den sechziger Jahren gedreht wurde. Bei The Artist ist es den Autoren gelungen, dieses Stück zu wiederholen. Außerdem haben sie das Filmerlebnis durch eine klassische, aber sehr nette Geschichte voller Humor und Nostalgie verstärkt. Die Illusion, dass man sich wirklich einen Film aus dem Jahr 192? anschaut, ist fast perfekt (diejenigen, die den argentinischen Film La Antena gesehen haben, werden das wahrscheinlich nicht besonders beeindruckend finden). Die Kamera, die Musik, all die Details, die beiden Hauptdarsteller (eine perfekte Verkörperung von Douglas Fairbanks und Mary Pickford), die wie um ihr Leben spielen und tanzen, der herrlich verärgerte John Goodman, der mir am meisten gefallen hat, James Cromwell… Alles ist perfekt. The Artist ist ein unglaublich schlauer Film. Dinge, die ich vielleicht bemängeln könnte, müsste ich gleichzeitig auch bei allen uralten Filmen kritisieren, von denen er handelt… Und das hätte keinen Sinn. (29.02.2012)

Perhaps, with its trivial plot, it relies too much on the nostalgic mood of the target audience and on its own formal uniqueness in the flood of Hollywood mainstream, but The Artist is such a beautiful piece of filmmaking. It isn’t thought-provoking or groundbreaking, but wonderfully fresh, witty and authentic, nicely removed from the postmodern plagiarist guise. Emotionally mature, emotionally gripping. 80% (11.11.2015)

When I found out which film won the main awards at the Oscars, I was very surprised. The best director was a Frenchman that nobody had really heard of before, and the same was true for the best actor category, where I was disappointed that Brad Pitt didn't win the award, as he deserved it a lot. Perhaps he should have danced in "Moneyball." However, the biggest shock was that the award for the best film went to a movie that was neither American nor co-produced, it was a French-Belgian film. "The Artist" was personally like a bolt from the blue for me. The presence of several film stars in it still doesn't make it an American film, but on the other hand, a film was created that is incredibly American in the sense that it takes place in the USA, from 1927 to 1932, which were not only the years of the crisis but also the years when the transition from silent film to talkies was happening and the stars of silent film were forgotten. This is exactly the case of George Valentin, who can't come to terms with the fact that people want to see talking actors. "The Artist" is a film that showcases the era in its beauty, it is a tribute to American silent film and silent film in general, it is a beautiful film, a film for the viewer. Yes, it is possible to watch a silent film and enjoy it even in the 21st century. It is good that the film made it to cinemas and that people know about it. Perhaps there will be increased interest in other silent films of the modern era. Michel Hazanavicius created a work that is not stunning in terms of the script, but it is stunning in its presentation, form, and cinematic beauty. More: http://www.filmovy-denik.cz/2012/05/9-umelec-diktator-nacho-libre-rise.html (19.02.2013)