style and subject

The Artist is a contemporary silent film that speaks volumes

Robust orchestrations, pitch-perfect characterization and playful visual storytelling reeled me in as I watched the award-winning film, The Artist, written and directed by Michel Hazanavicius. The silent French film, which contains no spoken dialogue, features a romance between silent film veteran George Valentin (Jean Dujardin) and the naive, yet ambitious actress Peppy Miller (Bérénice Bejo), whose career flourishes as talkies take the country and silent films become passé.

The industry doesn’t fair so well for Valentin, however, whose success crumbles as fast as Miller’s star rises.

Although the romantic storyline proved enticing enough, what I found more interesting was how the story unfolded in the well-executed contemporary silent film style.

Ironically, Hazanavicius chose to set his silent film remake in Hollywood as the industry is taking its final bow. This decision creates an interesting dynamic between the film’s style and the film’s subject. What better way to tell the story of the death of silent film than by resurrecting silent film itself?

This film is as much about print journalism, the railroad industry and The Ziegfeld Follies as it is about silent film.

The combination leads to deliciously self-aware moments in the film, like when ex-star Valentin “overhears” Miller in an interview berating old Hollywood and reducing silent film acting to simply “mugging.”

But the acting in The Artist is much more than mugging. Dujardin, Bejo and John Goodman (who plays a stubborn Hollywood exec) all create delightfully large yet realistic characters, who move grandly and gracefully across the screen. Yet, somewhat betraying the style, some of the facial subtleties in these performances are what give the film a real heartbeat, like a close-up on a coy smile.

At first glance, The Artist is a whimsical pastiche, though with a more critical lens one might also see a broader narrative. By following Miller’s rise to fame and Valentin’s simultaneous fall, The Artist explores the tragedy and beauty of evolving crafts and art forms and the careers that are ruined in the fray. In that way, the film is as much about print journalism, the railroad industry and The Ziegfeld Follies as it is about silent film.

The Artist gives voice not only to silent film stars, but all silenced artists. The story might be slow moving for those without an appreciation for the classics, but anybody with a soft-spot for the art of storytelling must make a trip to the theater soon. The nostalgic experience just won’t be as powerful on DVD.

The Artist is currently showing at Landmark River Oaks Theatre, located at 2009 West Gray.

Movie Review

Comedian John Early takes on modern foodie culture in Maddie's Secret

John Early in Maddie's Secret

Photo courtesy of Magnolia Pictures

John Early in Maddie's Secret.

Comedian John Early is one of those “that guy” actors, having appeared in shows and movies like Broad City, Neighbors 2, Portlandia, Late Night, and Search Party without ever being the lead. So he’s taken it upon himself to give himself bigger exposure by writing, directing, and starring in the new film, Maddie’s Secret.

Early plays the titular female character who works as a dishwasher with her best friend Deena (Kate Berlant) at a food video content company called GourMaybe. When a homemade cooking video shot by her boyfriend Jake (Eric Cahill) goes viral, Maddie gets bumped up to on-camera talent, soon becoming the face of the company, much to the chagrin of rival Emily (Claudia O’Doherty).

With that added exposure comes more scrutiny in the form of online comments, many of which point out Maddie’s fuller figure and clear enjoyment of the food she makes. This criticism triggers Maddie’s bulimia, a condition she thought she had under control. Not wanting to lose her coveted spot, Maddie tries to keep her bulimia from everyone around her, something that becomes increasingly difficult to do.

If that sounds like an ABC afternoon special, that’s because that’s the vibe it seems like Early is going for. The film feels like a melodrama, with many of the actors speaking in unnatural cadences to make situations seem more intense than they actually are. That gives the film a natural comedic tilt, although Early makes sure to have everyone play their scenes straight, letting the ridiculousness of the story speak for itself.

Early playing a woman is oddly not part of the joke. According to him, the performance is not him doing drag, and he never plays the role in an over-the-top manner or like he’s making fun of the character. In fact, it’s striking how earnestly he inhabits Maddie, as if he truly was trying to get into the skin of a woman who found herself in such a situation. Anything funny that comes from him is just part of the progression of the story.

Setting the film in the world of food vlogging is the one area where Early seems to actively be going for jokes. Maddie and Emily come up with creations that seem reasonable and off-the-wall at the same time, like a Rotel dip made with French techniques. Characters also frequent real L.A. restaurants with punny names like Naughty Pie Nature, making fun of the food scene as much as they are exalting it.

Early definitely holds the viewer’s gaze in his first lead role, allowing Maddie to become a fully-realized character. His scenes with Berlant and Cahill make the film, as each of the supporting actors commit to their roles and elevate Early’s writing. Other standouts include Connor O’Malley as the boss at GourMaybe, Kirsten Johnston as Maddie’s mom, and Vanessa Bayer in a late-film cameo.

Because Early is not trying to make a full-on comedy, many may come away perplexed by Maddie’s Secret. But the film is clearly made with intention, giving a slight send-up of both 21st century food culture and a loving homage to the cheesy TV movies of the past.

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Maddie's Secret opens in select theaters on July 3.

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