The Film Geeks

Editor: Anne-Sophie Bion, Michel Hazanavicius
Cast: Jean Dujardin, Bérénice Bejo and John Goodman
Year: 2011

As the Academy Awards have finally drawn to an end for another year, I would assume that much of the public interest still lingers on the film The Artist; a little black & white, silent film from France that still almost nobody has seen. Frankly, if the distinction of winning the Oscar for Best Picture, Best Director and Best Actor hasn’t yet piqued your interest in seeing the film, then maybe nothing will. Although I personally admit that it was by no means my favourite film to come out this year (cough-cough, Tree of Life) it is still a highly amusing film and the two leads, played by Jean Dujardin and Bérénice Bejo, are undeniably charming and have a chemistry that is pure cinematic magic. With the exception of the comical and upbeat soundtrack (most silent films actually had live musical accompaniment), the film is almost completely without sound effects or dialogue (there are a few clever cheats). It is also shot entirely with the sumptuous tones and textures of vintage black and white film and presented in the long-since abandoned aspect ratio known as “Academy Frame” (behold the fruits of my four years of film school, people).

Regardless of a few irksome aspects of the film that I take some small issues with, I’d recommend that people give it the old “college try” and (gasp!) try and sit through this highly entertaining love letter to silent cinema. You might be a bit surprised at how effortless it is to be engaged in a silent film, much as you would any contemporary movie you’d see today. How, in the right hands, all the characters’ motivations, the action, the dramatic moments, the emotional impact and the direction of the plot can all be conveyed

through the sheer power of pure visual storytelling.

But more importantly, I think it would be highly beneficial for people to use the enjoyable experience of watching The Artist as an opportunity to open up to the absolutely awe-inspiring body of cinema that existed before they became “talkies”. The following list is my selection of five masterpieces from cinema’s “golden age” that are an absolute must see by everyone who ever claimed to had anything more than merely a passing interest in film.

If you can, please try to watch them on DVD (preferably a Criterion version if you can get your hands on it). But, because many of these films have actually lapsed into the public domain, you can probably stream a decent quality version online via youtube.

These films are so impeccably beautiful, so timelessly moving and so richly rewarding that no one should miss out on them before we all inevitably head up to that big movie house in the sky.

I am so confident in them that if you decide to watch any of these films and can make a compelling argument that they were not, in fact, an absolutely fantastic movie-watching experience, then I promise you I will personally buy you lunch!

We all know that commonly overheard gripe of modern audiences, “They just don’t make movies like they used to.” These films certainly make a compelling argument that unless you have actually seen the films they used to make… well, my friend, “You ain’t seen (or heard) nothin’ yet!”

3 out of 5

THE FILM GEEKS TOP 5 MUST SEE SILENT FILMS:

The General
1926
Buster Keaton and Clyde Bruckman
USA

Undeniably one of the most definitive and absolutely pure slapstick comedies ever made. Buster Keaton did all of his own stunts (he was like the Jackie Chan of the silent film era) and the incredible personal physical peril he puts himself through only serves to ratchet up the comedy and drama to unbelievable and unrepeatable heights. There was no CGI assistance in these stunts, trust me! Keaton’s haplessly sympathetic, yet nonchalant expressions only further push the absurd hilarity in a performance that rivals only a certain “little tramp”.

Nosferatu

1922

F.W. Murnau

Germany

The first vampire movie ever made and still considered by many to be the one of the best! An unauthorized adaptation of Bram Stoker’s “Dracula”. German filmmaker, F.W. Murnau’s interpretation pushed the envelop on dramatic, atmospheric and just plain creepy-as-all-hell cinematography to the absolute limit when he made this film. The gaunt, other-worldly visage of Max Schreck as the frigtening Count Orlok is one of the most unforgettable images in horror history. A fictional film loosely based on the making of this film, called “Shadow of the Vampire” is also worth checking out.

The Passion of Joan of Arc
1928
Carl Theodor Dreyer
France

This film cemented “the close-up” as not only the single most important camera shot in the language of cinema, but also as one of the few characteristics of film that distinguishes it as a separate and unique medium from all other art forms. Playing the titular role of Joan is Renée Jeanne Falconetti, who subsequent to this film’s release was referred to as simply “Falconetti” (and for good reason). It is an utterly transcendent tour-de-force performance. Any attempt by any living actor to assail her iconic portrayal would be an exercise in futility. Her honest display of raw emotion, magnificently conveys the sublime pathos of her character’s tragically doomed life. She presents her character’s beautiful, yet utterly devastating inner-pain almost entirely through her captivating eyes. It is impossible for one to not be moved to tears, watching her as she gazes longingly up to the sky in a vain attempt to commune with her mute creator.

Metropolis
1927
Fritz Lang
Germany

The prototypical sci-fi film. The technical mastery with which Lang utilized the camera, coupled with revolutionary specials effects, propelled the film’s narrative and theme in an unparalleled way. Lang’s grandiose vision of the future revolves around the deeds of a mad scientist, his seductive android creation and a capitalist with a conscience (the most unbelievable of the three). The breathtaking Art Deco inspired cityscapes of Metropolis would later inspire the setting of Ridley Scott’s neo-noir, Blade Runner. The story plays out as a futuristic allegory of European class struggle. Only the beautiful Maria, a messianic figure who acts as society’s “heart” is their only hope as mediator in resolving the co-existence between the “head” and the “hands” of the world.

City Lights

1931

Charles Chaplin

USA

Of course, no list of the silent film era would be complete without the mentioning of Mr. Charles Chaplin. I can think of no other figure in the history cinema who more completely embodies the cinematic experience. Be it his iconic bowler hat, toothbrush moustache and bamboo cane, his whimsical little walk, his side-splitting physical routines, his biting social commentary, or the heartbreaking sympathy and endearing kindness of Chaplin’s alter ego. The Tramp connected with audiences around the world and will undoubtedly continue to do for so for as long as movies exist. Since its debut in 1931 (Albert Einstein and George Bernard Shaw attended the world premiere) it has been regarded by countless film institutions and filmmakers as one of the greatest films of all time. The film at its core is a touching love story of mistaken identity, akin to some of Shakespeare’s finest comedies. The conclusion of which I will refrain from spoiling, but I assure you is nothing short of pure cinematic bliss.

Friday, March 2, 2012

The Artist

Wednesday, April 13, 2011

The Narrow Margin

The Naked Gun 33 1/3: the Final Insult

The Naked Gun 2 1/2: The Smell of Fear