Michel Hazanavicius
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This is demonstrated in the film's opening scene, set in a "movie palace" during a packed Hollywood premiere in 1927, the year sound cinema demonstrated its potency with "The Jazz Singer."
More than 80 years after "The Jazz Singer" popularized sound, a few purists still maintain that black-and-white silent movies were superior to Technicolor talkies, but no one since Chaplin has made the case more effectively than French director Michel Hazanavicius in his delightful tribute "The Artist."
Sunrise was released in the same year as the famed The Jazz Singer, the first film to popularly use recorded voices.
As Al Jolson sing "My Mammy" for the end of "The Jazz Singer," sound is rapidly developing into the expected norm for audiences everywhere.
As they amp up the voltage on machinery that looks borrowed from Fritz Lang's "Metropolis," they command the prisoner to break his silence.
Opening the Venice Film Festival before moving on to Toronto and the kind of Christmas release that marketing dreams are made of, La La Land would like to dance down the path to the Oscars first taken by The Artist.
And La La Land is a strong contender to dominate the Oscars; Academy voters can’t help picking the film that elevates their jobs to a moral imperative (see also: The Artist, Birdman, Argo).
In a series of rude encounters, the star-crossed lovers run into each other with disastrous results in contrived settings borrowed or based on other people’s movies—everything from the joy of The Artist to the vulgarity of Baz Luhrmann’s Moulin Rouge.
That end, which takes place five years later, is mostly aching, but Chazelle punctuates it with a joyous mini movie about a road untraveled, with some shots that evoke 2012’s silent Best Picture Oscar winner The Artist.
The film’s narrative dissects individualism and stardom in Hollywood, leading to inevitable comparisons to the films Singin’ in the Rain (1952) and The Artist (2011).
Since debuting at Venice last year, Chazelle’s second musical (after his jazzy Guy and Madeline on a Park Bench in 2009) has been hailed as doing for the genre what The Artist did for silent movies.
But if 2011’s The Artist was an homage, this is more of a burlesque, a hot mess of a movie that takes its dramatic cues from the camp excesses of the drag queens among whom our hammered hero finds the lucky Lady.
If you’re looking for an original and surprising variation on A Star Is Born , you’d be better advised to turn to Michel Hazanavicius’ silent film The Artist (2011) than to this downbeat and surprisingly lugubrious version.
You can even count The Artist, the Best Picture winner from 2011, in that camp.
Austin Powers: International Man of Mystery (1997)
Directed by Jay Roach
influenced OSS 117: Lost in Rio (2009)
Visuals Themes
An Austin Powers-style spoof carried out with reasonable attention to aesthetic period detail (grainy cinematography, mod outfits, copious split screen effects), Michel Hazanavicius’ comedy charts 117’s efforts in swinging 1967 to track down a Nazi doctor (Rüdiger Vogler) planning to blackmail the French government with a list of WWII Vichy collaborators.
OSS 117: Cairo, Nest of Spies (2006) was a very funny satire of spy movies not unlike a French Austin Powers.
Like the "Austin Powers" films, the "117" series is a skillful parody of early 1960s spy movies, but more interested in lampooning Cold War cultural attitudes than mod fashions.
Sometimes a loving homage, mostly a savage parody, it was a completely hilarious send-up of hopelessly outmoded tropes, something of a French Austin Powers: International Man of Mystery , but funnier still.
It may not rise to the level of such a classic, but tonally it's reminiscent of Young Frankenstein, a work that at once parodied the Shelley story in broad comic terms while also being supremely in awe of the James Whale film, right down to using original set pieces and compositions to mirror without any form of irony the source material.
The Shape of Water (2017)
Directed by Guillermo del Toro
influenced by The Artist (2011)
Visuals Themes
Del Toro, though, doesn't dare to show the practical physical challenges that might be inherent in Elisa coupling with Amphibian Man, relying instead on generically cuddly images of the lovers embracing, and later springing a pastiche musical number straight out of The Artist .
This is the same kind of swoony, romantic vision of Hollywood’s past that shows up in films like The Artist , Hugo , and Wall-E , and filmgoers who rejected those movies have no business here.
It may be most reminiscent of The Artist (2011), since it's a picture one has to make an effort to adjust to.
The scene serves a deeper purpose than The Artist or even La La Land, with Golden Age Hollywood serving a metaphor for something precious that we dare not speak.
Drops of water on a bus window merge, swimming into a sharp dissolve; woman and creature embrace in a pool of water, her pale body wrapped around his like a moving painting; a vintage musical dream sequence straight out of The Artist.
This rise-and-fall scenario (reminiscent of “Limelight” or “A Star is Born”) mixes in standard relationships, following along with the familiar transition from silents to talkies, like “Singin’ in the Rain” and “The Artist,” going so far as to directly reference the former for any viewer uncertain as to Chazelle’s intentions.
Hollywood was hardly the innocent, asexual industry that a classic like “Singin’ in the Rain” (or later, “The Artist”) so lovingly depicted.
Much like The Artist , it’s set around the time that talkies became the norm, giving nobodies an opportunity to rise and stars a chance to age out of the biz.
Mean-spirited and vicious, it’s so blatantly modern in its anachronisms that Chazelle appears desperately clawing away from fear of being grouped with the solemnly reverential likes of The Artist and Mank .
Like Singin' in the Rain and The Artist before it, this is a portrait of the moment that Hollywood made the transition from silent to sound cinema—a turning point it treats like the fall of Rome, inevitable but bittersweet.
One exchange with a Swiss banker (The Artist’s Jean Dujardin) is conducted telepathically, while during a romantic misunderstanding involving Naomi’s aunt, her thoughts are audible to us.
Most audiences will recognize the cavalcade of familiar faces, from Rob Reiner to Jon Favreau to Jean Dujardin, the latter in his first major role since winning the Best Actor Oscar for “The Artist.”
Few of the others really register, save for Matthew McConaughey as Belfort's chest-thumping Wall Street role model and The Artist 's Jean Dujardin as a frozen-grinned Swiss banker so avaricious he's prepared to deal with — shudder — Americans.
Jean Dujardin, familiar from The Artist, plays a Swiss banker who’s knowledgeable when it comes to money laundering.
There's some telepathic table tennis that goes on between Belfort and an elegant Swiss banker played by a silky Jean Dujardin (from The Artist).
Scorsese seems pumped, too: His film kicks down the fourth wall, takes fevered digressions (like a short history of the Quaalude), and features a mind-reading showdown between Belfort and a sneaky Swiss banker (Jean Dujardin, from The Artist ).
…compared, say, to The Artist, there’s a lack of spark or romance to really bring Jay’s arc to life.
Ever since The Artist was released in 2001, black and white cinematography grew to be synonymous with prestige, and ultimately, this is how it feels in Belfast .
Then came Saturday’s bomb scare while hundreds of people were waiting to be let in to see Oscar-winner Michel Hazanavicius’ The Artist follow-up Redoubtable on the life and marriage of Jean-Luc Godard.
The period look belongs to production designer Mark Tildesley (“The Constant Gardener”), set designer Veronique Melery (“Jackie”) and costume designer Mark Bridges (“The Artist”), all draped in an enveloping piano score by Radiohead’s Johnny Greenwood (“Inherent Vice”).
But allow me to spoil one predictable feature: Phantom Thread showcases a generous number of swoon-worthy dresses made by costume designer Mark Bridges, who’s deservedly on his way to winning his second Oscar after The Artist .
So “A Quiet Place” is the closest thing to a silent movie since “ The Artist .”
Referred to only as “The Artist” (Henry Melling - of “Harry Potter” fame) - his character is a soft-voiced lad missing his arms and legs.
As for Tommy, the last time a leading man said quite so little was in The Artist .
This phenomenon of touching the zeitgeist is what propels a movie into award season, often with an impact that outruns some of Hollywood’s more self-indulgent trophy winners that come with pre-sold campaigns like Shakespeare In Love or The Artist .
It's not entirely unlike Joe Johnston's subversively great The Wolfman , which, in a similar way, essays the corniness and nigh unwatchability of the secondary stable of Universal Monsters by being completely, artfully, jubilantly ridiculous.
The film, shot by Cuarón himself in black and white – an artistic high-dive against the grain but in good company (think “Schindler’s List,” “The White Ribbon” and “The Artist”) – is a scrumptious wonderment to behold.
Not many people realized Michel Hazanavicius had stolen Bernard Herrmann music from Vertigo for The Artist.