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The Artist (I) (2011)

8.0
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Ratings: 8.0/10 from 153,114 users   Metascore: 89/100
Reviews: 554 user | 556 critic | 41 from Metacritic.com

A silent movie star meets a young dancer, but the arrival of talking pictures sends their careers in opposite directions.

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Title: The Artist (2011)

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Won 5 Oscars. Another 140 wins & 111 nominations. See more awards »

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Cast

Cast overview, first billed only:
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...
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Clifton
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...
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Peppy's Maid
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Peppy's Butler
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Policeman Fire
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Norma
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Pawnbroker
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The Butler
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Auctioneer
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Policeman Tuxedo
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Admiring Woman (as Nina Siemazko)
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Storyline

Outside a movie premiere, enthusiastic fan Peppy Miller literally bumps into the swashbuckling hero of the silent film, George Valentin. The star reacts graciously and Peppy plants a kiss on his cheek as they are surrounded by photographers. The headlines demand: "Who's That Girl?" and Peppy is inspired to audition for a dancing bit-part at the studio. However as Peppy slowly rises through the industry, the introduction of talking-pictures turns Valentin's world upside-down. Written by L. Hamre

Plot Summary | Plot Synopsis

Genres:

Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated PG-13 for a disturbing image and a crude gesture | See all certifications »

Parents Guide:

 »
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Details

Country:

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Language:

Release Date:

20 January 2012 (USA)  »

Also Known As:

Beauty Spot  »

Box Office

Budget:

$15,000,000 (estimated)

Opening Weekend:

$204,878 (USA) (18 November 2011)

Gross:

$44,667,095 (USA) (15 June 2012)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

After Peppy Miller visits George Valentin at his mansion, she says to her male companion in the car, "Take me home. I want to be alone." This can be seen as a reference to the infamous line uttered by Greta Garbo in the film Grand Hotel (1932), "I want to be alone." Greta Garbo was an actress who was an international icon during Hollywood's silent and classic era, who successfully transitioned into talkies much like Peppy Miller. Another Greta Garbo parallel is that her frequent silent film co-star, John Gilbert, was not able to make a successful transition to the talkies. See more »

Goofs

In the opening sequence, when George watches the film in the theater, the on-screen car appears to be left-hand drive. Since he is standing behind the screen, the image should be reversed. See more »

Quotes

Al Zimmer: You and I belong to another era, George. The world is talking now. People want new faces, talking faces. I wish it wasn't like this, but the public wants fresh meat, and the public is never wrong.
George Valentin: I'm the one people come to see. They never needed to hear me.
See more »

Crazy Credits

The following film is presented in its original 1.33:1 aspect ratio, as intended by the filmmakers. See more »

Connections

Referenced in Midnight Movie Review: Film Top 10 2011 (2012) See more »

Soundtracks

Love Scene
(Bernard Herrmann)
Conducted by Elmer Bernstein, Performed by Royal Philharmonic Orchestra (as The Royal Philarmonic Orchestra)
©Sony/ATV Harmony (cat. Famous)
(p) & (c) 1992 MILAN Entertainment, Inc.
Courtesy of Sony/ATV Music Publishing France & Milan Entertainment, Inc.
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Beware of the overhype!
21 December 2011 | by (Rochester, NY USA) – See all my reviews

If you can get your Weinstein-manipulated expectations WAY down from "Oscar" to "cute gimmick," then this cinematic truffle could very well satisfy – especially if you've ever seen and enjoyed a theatrical screening of a silent movie. There's a faithfulness to the spirit and techniques of the silent era that's undeniably impressive and will delight those few audience members (myself being one) who have enough familiarity with silent cinema to appreciate it.

But is it a movie that you should be running out to see because omnipresent web advertising says that it's an Oscar lock? Negative. If you DON'T have the required familiarity with the silent era, the charms and nostalgia evoked by the film will be completely lost on you, and you'll be far more dependent on the thin and unoriginal storyline for entertainment. (Note: the story borrows shamelessly from both SINGING IN THE RAIN and A STAR IS BORN and is fully consistent with the era's cornball aesthetic.) And even if you ARE familiar with silent cinema, "Oscar worthy" is going to seem like a stretch. Either way, if you really want to enjoy this movie, lowering your expectations from their current hype-elevated levels is imperative. (Anybody notice how remarkably similar Weinstein's overhype campaign for this film is to the one he successfully ran for Roberto Benigni's LIFE IS BEAUTIFUL years ago? Anybody watched that movie since?)

I first saw this film at the Toronto Film Festival with a full house at the spacious Elgin Theater, and it received a favorable albeit muted response from the audience. (By comparison, I saw AMELIE at the same theater ten years prior, and it received a ten-minute standing ovation at the end.) If I'd known at the time that I'd just seen the year's BEST movie, I would have been depressed over what this portended for the year-end releases.

You simply can't help being aware of the limitations of silent movies -- and thankful for the quantum improvement that the introduction of sound made -- no matter how deft the filmmakers are in recreating the look and feel of a bygone era. It's a movie-making era that you're glad IS bygone -- as evidenced by the inability of any of the gushing critics to cite a single color talkie favorite that they wish had been a b&w silent instead.

I say "A" for cinematic conceit and "C" for entertainment value ("B+" for silent film buffs).


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