Touching silent film 'The Artist' speaks volumes

"The Artist" is a gimmick movie, and what a great gimmick it has.

It's one big, delightfully slurpy wet kiss to the movies, and like Martin Scorsese's current hit "Hugo," revels in nostalgic affection for the bygone era of silent films.

"The Artist," written and directed by French filmmaker Michel Hazanavicius, is presented as an old-fashioned black-and-white, (mostly) silent movie shot in the traditional "academy" format, the same dimensions as a standard 4-by-3 TV screen. (The movie was actually shot in color <I>and </I>widescreen, then altered in postproduction.)

The story revolves around silent movie superstar George Valentin, played by the gifted French comic actor Jean Dujardin, star of the zany James Bond spoof "OSS 117: Cairo, Nest of Spies" and its silly sequel "Lost in Rio."

As George, Dujardin channels a little bit of silent stars Rudolph Valentino and Douglas Fairbanks, plus a big chunk of Gene Kelly's bravado as silent star Don Lockwood from "Singin' in the Rain."

A raging egomaniac, George hogs the limelights (plus all the non-lime ones) when he takes the stage after a screening of his latest derring-do for the cinema.

He practically ignores his fuming co-star Constance (Missi Pyle), much to the exasperation of producer Al Zimmer (an ultra-slimmed down, nearly unrecognizable John Goodman).

Adored by fans all over the world, George doesn't get much affection from his tired wife Doris (Penelope Ann Miller). They are not very nice to each other.

Then comes the fateful afternoon when George entertains some fans outside the studio. One of the young women in the crowd, Peppy Miller (the director's wife, charismatic Brazilian actress Berenice Bejo), accidentally bumps into him.

Their eyes meet.

And you just know that they just know. They are as smitten as a kitten.

George helps Peppy grab hold of a low rung on the Hollywood ladder. She proves to be a quick climber.

In a wistful twist on "A Star is Born," Peppy's star rises, even through the tumultuous transition into the talkies.

Meanwhile, George's career tanks during the advent of sound, and his ego refuses to allow him to adapt.

"I'm the one people come to see!" he thunders. "They never needed to <I>hear</I> me!"

In time, George winds up with only two fans: his faithful butler/valet/chauffeur Clifton (James Cromwell) and his fearless co-star, a Jack Russell terrier now unable to help his master out of a bad scrape.

The idea of watching a black-and-white silent movie (with the exception of two comical slips) probably sounds pretty lame, but "The Artist" is an inventive, cleverly constructed poem to cinema that's surprisingly moving, very funny and a tad sad.

Film buffs will appreciate how Hazanavicius raids images from classic films (among them "Citizen Kane"), and non-buffs should be amused by how the filmmaker plays with sound and speed, especially in a scene where the smitten George and Peppy are surrounded by people quickly moving in blurs.

Some of the best parts could be throwaway bits, such as a happy Peppy flirting with George's jacket on a coat rack in a marvelous, wordless vignette.

With Guillaume Schiffman's camera work painting the screen with shimmering tones of silver, white and black, "The Artist" becomes an engaging reminder that the art of cinema began not with the word, but with the image.

And Dujardin cuts a wonderful image as a haughty star whose pride proves to be his undoing.

Filled with bombastic aplomb, Dujardin peppers his performance with arched brows, twinkling eyes, knowing smirks and dancing feet in a flawless execution of one of the year's most challenging and unforgettable roles.

“The Artist”

★ ★ ★ ½

Starring: Jean Dujardin, Berenice Bejo, John Goodman, Penelope Ann Miller, James Cromwell, Missi Pyle

Directed by: Michel Hazanavicius

Other: A Weinstein Company release. Rated PG-13 for a “crude gesture” and “a disturbing image.” 100 minutes