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Douglas Pratt

By Douglas Pratt Pratt@moviecitynews.com

DVD Geek: The Artist

French filmmaker Michel Hazanvicius’ delightful 2011 Oscar Best Picture, which dips its toes into Singin’ in the Rain territory, The Artist, has been released on Blu-ray by Sony Pictures Home Entertainment..  The 100-minute film is presented in full screen format and is in black and white, and there is no dialog, although the story is so drenched in emotion and wound so tightly around the traditions of cinema that it makes Mel Brooks’ Silent Movie seem depthless.  The story is about a successful silent film star, played by Jean Dujardin, who is unable to make the transition to talking pictures, and a What Price Hollywood?-type rising starlet, played by Bérénice Bejo, who cares for him.  There is a lovable dog, too.  The film plays out the melodrama of the actor’s decline and fall, however, in an almost pointillist fashion, in that every sequence is also a quotation from some film or some types of films, so that the closer you look at it, the more you see other movies.  This even extends to the lovely original musical score—a marathon effort, to be sure—by Ludovic Bource—which drops its originality in one sequence and draws instead, lengthily and hauntingly, from Bernard Herrmann’s score for Vertigo.  There is the adage in filmmaking that, ‘it has all been done before,’ but The Artist is more deliberately allusional.  It celebrates moviemaking from every conceivable direction at once, whipping the viewer into its maelstrom of motion picture joy.

The black-and-white image is crisp and captivating.  The quality of the BD presentation enhances, among other things, the film’s fabulous production design, so that the locations—such as the Bradbury Building stairwell, evocative of a Jerry Lewis production design, which shows Dujardin’s character on the way down meeting Bejo’s character on the way up, as extras breeze past them and around them in a mysteriously perfect rhythm—and costumes pelt the viewer continually with refreshing stimulation.  The DTS sound gives the musical score—and a sequence or two that have audio effects—a rich, enveloping presence that saturates the viewer in the film’s immediacy.  One warning, however, is in order.  Because the film is so visually oriented—even more so than the standard, linear silent feature, it requires more concentration and attention than other movies, so make sure all of your distractions are tied down or battened up before you begin.

There are English subtitles (for the sound effects) and Spanish subtitles, along with a cute 2-minute blooper reel (mostly of the dog missing its cues), 34 minutes of good production featurettes (which lets you see some of the sets and costumes in color) although there are redundancies among them, a 5-minute piece about the many Los Angeles locations that were utilized (they didn’t just use Mary Pickford’s house—they used her bed), and a rewarding 45-minute question-and-answer piece with the filmmakers and stars in front of an audience.  They talk quite a bit about the film’s unique nature and how that uniqueness affected the creative environment, sharing not just stories about the film’s production, but reflections on the meanings of what they wanted to accomplish.  Supporting star James Cromwell, for example, analyzes in depth how the perspective of performing is altered when the inflections of dialog are not a priority of concentration.  And everyone politely avoids mentioning that proud French tradition, so despised in America, without which the film could never have existed—mime.

 

One Response to “DVD Geek: The Artist”

  1. Irene Sobel says:

    Go read the best review of Singin’ in the Rain I have ever read and Mr. White tells why The Artist imitates it so poorly.

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DEADLINE: How does a visualist feel about people watching your films on a phone or VOD?
REFN: It depends on what kind of movie you make. We had great success with Only God Forgives on multiple platforms in the U.S. Young people will decide how they see it, when they want to see it. Don’t try to fight it. Embrace it. That’s a wonderful opportunity. We’re at the most exciting time since the invention of the wheel, in terms of creativity because distribution and accessibility have changed everything. A camera is still a camera whether it’s digital or not; there’s still sound; an actor is an actor. Ninety-nine percent of what you do is going to be seen on a smart phone – I know this is the greatest thing ever made because it allows people to choose, watching what you do on this format or go into a theater and see it on a screen. That means more people than ever will see what I do, which is personally satisfying in terms of vanity. But you have to be able to adapt, to accept things in different order and length than we’re used to. We are in a very, very exciting time.
~ Nic Refn to Jen Yamato

DEADLINE: You mention Tarantino, who with Christopher Nolan and a few other giants, saved film stock from extinction. To him, showing a digital film in a theater is the equivalent of watching TV in public. Make an argument for why digital is a good film making canvas.
REFN: Costwise, it’s a very effective way for young people to start making movies. You can make your movie on an iPhone. It’s wonderful seeing how my own children use technology to enhance creativity. For me it’s a wonderful canvas. Sure, I love grain in film. I love celluloid. But I also like creativity. I like crayons, I like pencils, I like paint. It’s all relative. Technology is more inclusive. A hundred years ago when film was invented, it was an elitist club. Very few people got to make it, very few people controlled it and very few people owned it. A hundred years later, storytelling through images is everyone’s domain. It’s ultimate capitalism. There are no rules, and no barriers and no Hays Code. Where does this go in another hundred years? I don’t know but I would love to see it.
~ Nic Refn To Jen Yamato