Pretentious Message But Terrific Cinema Fun

Rating: Null/10 (24 January 2012)

As silent film matinée idol George Valentin (Jean Dujardin - Think Doug Fairbanks/Rudolph Valentino but portrayed by an actor who looks more like a combination Gene Kelly & Gilbert Roland) fades into obscurity following the advent or "talkies" (motion pictures with sound) his discovery Peppy Miller (Berenice Bejo) skyrockets to the top of Hollywood. Going in opposite directions in Dream City they each often reflect on how much fun they had working together.
She remains on top while he wallows in alcoholic misery. Run off the studio lot and forced out of his mansion after a one-sided divorce only his manservant and his adorable little dog stick by him. Out of pride he refuses to accept Peppy's help feeling stung that his old friend might pity him. Only after she conceives of a way that they can share glory on equal terms does he aquiesce resulting in a partnership which presumably makes them both bigger stars than ever.
No one has any excuse for not seeing this movie beyond simply not wanting to. Screening copies have sent out and leaked all over the internet like a carpet-bombing in what some may interpret as evidence of a brazen (yet sly and effective) attempt by its makers to influence Academy Award voters or conveniently misplaced copies that magically found their way into the hands of bootleggers.
The viewer can interpret the narrative of 'The Artist' in their own way. The most optimistic and politically correct way is in suggesting that people should put aside their differences and pride to share the spotlight i.e. power. Specifically as it relates to gender equity if you go by the casting equation. To me that Utopian Socialist gender relations interpretation distracts from the real message of the film.
The most cynical way to look at it would probably be my own personal view which is that I think it is essentially saying movie stars should stick up for each other more in order to have greater control over their productions without putting up the cash-risk that producers do. Gender doesn't come into it and neither, evidently do others involved prominently in film production.
If you look at it that way you can see why Academy Award voters (a voting block heavily influenced by the Screen Actors Guild) might embrace this title as that has been the message implicit in their voting for awards going back to the late 1970s.
We aren't talking about a Hollywood run by directors, screenwriters, cinematographers et cetera even though each has as much if not more right to refer to themselves as artists. We are talking about a Hollywood run by actors - a group often more concerned about sending political messages with their work when they aren't catering to other aspects of their own vanity.
As for the production value I have nothing nothing but raves and could gush over every single frame in this immaculately photographed movie. Black & white cinematography has never been equalled in the artistic precision with which it presents the photographed on the big screen though the 1970s colour palate is close as colour has gotten to it.
Jean Dujardin as Valentin is the main beneficiary of this production with his star-making turn and may have a long Hollywood career ahead of him playing dapper villains since Tinseltown has few other kinds of roles for foreign actors pushing 40.
Other than that the makers can take their pretentious theme, self-serving message (The director is a former actor and is married to Bejo) and condescending attitude and shove them you know where.