Although Orange Wednesdays are a bust until normality returns after the festive season, Pete and I have managed to get out to the cinema – to a preview screening of The Artist. Apparently a hit with a critics, I thought it was novel enough to be right up Pete’s street – it’s a silent, black and white film with an old-fashioned aspect ratio. A far cry from the latest installment in the Transformers franchise.
The Artist is set at the end of the 1920s, and revolves around a particularly popular silent movie star – George Valentin. Every movie he stars in is a hit, with his good looks and charm oozing out from the screen. His delightfully talented little dog doesn’t hurt, either.
At the premiere of his latest film, George literally bumps into a young fan who becomes an overnight media success. Peppy is ambitious, and attempting to build on her new notoriety, lands a role as an extra in George’s new production. She becomes infatuated with George; George’s rather neglected wife back home is furious.
But a new era is dawning in Hollywood, and silent movies are about to be upstaged by ‘talkies’. George doesn’t think the new fad will last, and his pride leaves him in the gutter while Peppy becomes Hollywood’s latest darling.
I won’t spoil the ending. Although I knew that this was going to be a silent, black and white film, I didn’t expect it to be quite so much in the 1920s style – I expected a more modern take. It took me back to watching black and white films in the afternoon during school holidays, and the silent Harold Lloyd repeats.
The three leading actors (and I am including Uggie, the dog) are fabulous, conveying everything necessary without speaking a word. There is an orchestral score to underline the action, which at times is not enough noise to drown out the people who are whispering or crunching their way through GIANT BUCKETS OF POPCORN. The modern wall of sound effects has some advantages.
The rest of the cast features a whole raft of familiar faces, some of whom look so different in their spiffy 1920s outfits that they are impossible to identify until later (partly because they don’t speak).
The pace lags a little towards the end, and you remember you’ve been sitting still for a long time, but I found the film charming and a nice change from more modern styles. Pete thought the plot was weak and didn’t rate the film at all.
In comparison, the last preview we went to a few weeks ago (which I forgot to mention at the time) was The Help. Another period piece, this time set in one of the southern American states during the 1960s and dealing with civil rights. A young white woman (Skeeter), keen to become a journalist, decides she wants to help local black women employed in domestic service to tell their stories – which are mainly of prejudice, disgust and exploitation. A key issue covered is the widely-held belief that sharing a toilet with the black ‘help’ would transmit disease.
It sounds a dismal topic, and although it’s not an entirely comfortable to look back on this period of our history and see the racial ignorance that prevailed, The Help is a fabulous film. It’s about compassion, tolerance and having the courage to stand up for your convictions – in a period when doing so could cost you your life.
With some fabulously funny moments, and an upbeat ending, I can thoroughly recommend giving The Help a go. And watch out for a charming performance from Allison Janney of the West Wing, as Skeeter’s mother.
Posted in Emma's blog by emma on Thu, Dec 15 2011


