The Artist (film)

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Movie
German title The Artist
Original title The Artist
The-Artist-Logo.svg
Country of production France
original language English
(subtitles and spoken dialogue at the end of the film)
Publishing year 2011
length 100 minutes
Age rating FSK 6
JMK 6
Rod
Director Michel Hazanavicius
script Michel Hazanavicius
production Thomas Langmann
music Ludovic Bource
camera Guillaume Schiffman
cut Anne-Sophie Bion ,
Michel Hazanavicius
occupation

The Artist (Engl. For "The Artist") is a feature film of French director Michel Hazanavicius from the year 2011 . The tragicomedy is set in Hollywood between 1927 and 1932 and tells the opposing success story of two big screen stars (portrayed by French actors Jean Dujardin and Bérénice Bejo ) in the transition from silent to sound film . Hazanavicius conceived the film in 4: 3 Academy format in black and white with subtitles and almost no spoken text.

The Artist premiered on May 15, 2011 at the 64th Cannes International Film Festival and opened in French cinemas on October 12, 2011. Mostly understood by international critics as a brilliant homage to old Hollywood or a declaration of love for filmmaking, The Artist has won more than 30 international film awards, including five Oscars in 2012 (including as “ Best Film ”), three Golden Globes , seven BAFTA Awards and six Césars . The German theatrical release was on January 26, 2012.

action

Hollywood in 1927: The silent film actor George Valentin is the acclaimed star of Kinograph Studios . After the world premiere of his latest film A Russian Affair , in which he appears with his trained Jack Russell Terrier “ Jack ”, he bumps into his fan Peppy Miller in the crowd in front of the premiere cinema. Valentin, who at first appears annoyed, jokingly resolves the embarrassing situation for Peppy and poses with her in front of the photographer. Finally the young woman kisses the actor on the cheek. This photo appears the next day on the cover of the industry paper Variety , much to the displeasure of Valentine's wife Doris and the film producer Al Zimmer.

Spurred on by the sudden fame, Peppy goes to the Kinograph Studios , where she is hired as an extra for Valentin's latest film A German Affair . Valentin becomes aware of Peppy when she is rehearsing dance steps behind a screen. When producer Al Zimmer recognizes the young woman from the front page, he wants to send her away. Valentin is committed to Peppy and she is allowed to take part in a dance scene as an extra.

After filming, she sneaks into Valentin's wardrobe, writes “Thank You!” On his wall mirror and, longing for the star, hugs his coat hanging on the clothes rack. Valentin observes this scene, is touched and lets Peppy in on the secret of success - she has to stand out from the crowd. He then paints a blemish on her upper lip. The intimate meeting of the two is interrupted by Valentine's loyal chauffeur Clifton and Peppy sneaks away unnoticed.

While Peppy played her way up from extras to supporting roles in the next few years with her new trademark - the artificial beauty mark - there was a break between Valentin and Al Zimmer in 1929, who only relied on sound films . Peggy and Valentin meet again on a staircase, there Peggy climbs while Valentin descends, a metaphor for the ascent and descent. Valentin then produced his own silent film, the expensive adventure film Tears of Love , which hit the box office flop. On the other hand, Peppy Miller's sound film Beauty Spot , which started on the same day, October 25, is a hit with the public. That same evening, Valentine's wife informs him that she is separating from him and that he has to leave the house within two weeks.

One evening Valentine's unexpected encounter with the now successful star comes when Peppy shows up in a restaurant and gives two men a radio interview in which she speaks out with conviction that she should switch to talkies (“Out with the old, in with the new! ”), not realizing that Valentin, who is in the same restaurant, overheard everything. Offended in his pride, he leaves the restaurant angry and a horrified Peppy, who still feels a lot for him, remains behind.

Shortly afterwards, she finds herself in the cinema as one of the few viewers of Valentin's Tears of Love , from which she is very touched.

Two years later, Valentin lives, forgotten by the audience and devoted to alcohol, with his chauffeur Clifton and his dog in a small apartment. He lost his money in his film project and the big stock market crash of 1929 . He sold a large part of his property at auction. Valentin fires Clifton, to whom he has not been able to pay a salary for a long time, and gives him his car. Drunk he sets his old rolls of film on fire, which sets off an apartment fire. But he is rescued by his loyal dog, who calls a police officer to help. Peppy Miller, who has always followed Valentin's path in life and has risen to become the new star of Kinograph Studios, learns of the incident. She immediately rushes to Valentin's bedside and discovers that Valentine's only film role has saved the material of their joint film A German Affair from the flames. The doctors assure Peppy that Valentin is out of danger and without hesitation she takes him home to take care of him. She also makes Al Zimmer promise to have Valentin appear in a sound film.

While Peppy goes to filming, Valentin looks around alone in her house, a luxurious villa, and comes across all of his property in a secluded room, which the actress acquired at auction with the help of her servants. Once again hurt in his pride, Valentin returns to his burned-down apartment to take his own life with a revolver. Peppy - in a premonition - leaves the film set in a hurry and drives home in a hurry with the car. Just as Valentin is putting the pistol in his mouth and the subtitle announces “Päng!”, Peppy hit the car against a tree right in front of Valentin's house. She climbs out of the damaged vehicle unharmed and rushes to Valentin, who was startled by the traffic accident and prevented from carrying out his suicide attempt.

Peppy tells him about the new film offer, but Valentin is skeptical because he thinks his time is over, the audience doesn't want to "see" him . But Peppy, who doesn't give up, finally persuades Valentin to appear with her as a tap dance duo (with a clear choreography based on Fred Astaire and Ginger Rogers ) in a dance film in which he doesn't have to speak.

The couple is hailed as the next entertainment sensation by producer Al Zimmer. When her dance number on the set is over, The Artist becomes a sound film in the final minute: On Zimmer's “Perfect! Will we get it all over again? ” Follows Valentin's first and only audible sentence: “ With pleasure! ” On the other hand, one hears no audible word from the sound film actress Peppy. In the original you can hear his strong French accent, which is the most likely explanation for why Valentin refused to speak and why his colleagues on the set did not encourage him to do so (except for Peppy). He feared that American audiences would not accept an actor with a foreign accent. Unfortunately, this important part is lost in the German dubbing because it says without an accent: “With pleasure!” .

Soundtrack

The music was composed by Ludovic Bource and recorded by the Brussels Philharmonic under the direction of Ernst van Tiel.

No. title
1. The Artist Overture
2. 1927 A Russian Affair
3. George Valentin
4th Pretty Peppy
5. At the Kinograph Studios
6th Fantaisie D'amour
7th Waltz for Peppy
8th. Silent Rumble
9. 1929
10. In the stairs
11. The Sound of Tears
12. Comme Une Rosée De La
13. 1931
14th Jungle bar
15th L'ombre Des Flame
16. Happy ending ...
17th Charming Blackmail
18th Ghosts from the Past
19th My Suicide 03.29.1967
20th Peppy and George

History of origin

Director and screenwriter Michel Hazanavicius

Director Michel Hazanavicius had already planned to realize such a film project in the early 2000s; However, his proposal was not taken seriously. It was only after the success of his two agent parodies OSS 117 - The Spy Who Loved Himself (2006) and OSS 117 - He Is Himself Enough (2009) with Jean Dujardin in the lead role that producer Thomas Langmann was ready to support the film project . Hazanavicius had originally flirted with making an agent film in the style of Fritz Lang's Spione (1928), but then wanted to break away from the OSS films and broach serious issues. At the same time he wanted to work again with his partner Bérénice Bejo and Dujardin, who had played a leading role in the first OSS film. He then drafted the story of the encounter between a silent film star and a young starlet and put it on as a melodrama .

In preparation for the 124-scene script that he wrote in four months, Hazanavicius allegedly watched 150 silent films. In addition to Sunrise , he was also inspired by Murnau's City Girl , the films by Frank Borzage and King Vidor's The Crowd . In fact, there were many silent film stars back then who had problems transitioning to talkies at the end of the 1920s and whose careers were damaged or even ended. So, according to Hazanavicius, there would be echoes of Douglas Fairbanks , Gloria Swanson , Joan Crawford, and removed the story of Greta Garbo and John Gilbert . When writing, he also orientated himself on the Hays Code , which earlier placed value on the morally acceptable representation of sexuality, among other things, in American films. “People don't kiss, there are no kissing in my film, the dance scenes are the love scenes,” says the director. Hazanavicius selected about ten to twelve films as reference points, which he passed on to the film team. I.a. he made no secret of the fact that he had taken the entire breakfast sequence from Orson Welles ' Citizen Kane .

The Artist was filmed on location in Hollywood in 35 days. As film locations were u. a. the studios of Paramount Pictures and Warner Bros. selected. The original estate of former Hollywood actress Mary Pickford was used for Peppy Miller's house and bedroom . In order to get the actors, who had to act without text, in the mood for the scenes, Hazanavicius had a. a. Play music by Bernard Herrmann , Max Steiner ( Boulevard der Twilight ) , Franz Waxman , George Gershwin , Cole Porter , Marvin Hamlisch ( Just As We Were ) or Philippe Sarde ( The Things in Life ) . He also used the music by Ludovic Bource , which had already been composed for the film , to evoke emotions. Bource recorded his compositions with the Brussels Philharmonic, which comprises 80 musicians. However, the film also contains previously released music - The Jubilee Stomp is originally from Duke Ellington , Estancia Op. 8 by Alberto Ginastera . Pennies from Heaven , the theme song from the film of the same name, was written by Arthur Johnston and Johnny Burke and was nominated for best movie song at the 1937 Academy Awards. At the end of the film, Bernard Herrmann's theme from Alfred Hitchcock's Vertigo - From the Realm of the Dead (1958) is quoted, which was originally only intended as a temporary solution.

Although conceived as black and white film, cinematographer Guillaume Schiffman used grainier 500 ASA color film and modern cameras for the shoot. He increased the gloss with additional filters, through which the white tones could be distributed more and the black could get more power. Special optics with lenses without anti-reflective layers and much more powerful headlights than from the 1950s and 1960s were also used during the shooting.

The film was produced by La Petite Reine. The cost was 13.47 million euros . Other producers included Hazanavicius with his company La Classe Américaine, France 3 and Studio 37. The film title The Artist was not determined by the director, but by the producer Thomas Langmann. The original working titles were Peppy and George , then Beauty Spot . “To me, [George Valentin] is haughty, selfish, self-centered. I don't see how he can be an artist, but he [Langmann] thinks he's an artist, ” said Hazanavicius.

reception

In France and the United States

World premiere at the Cannes Film Festival (from left to right): film composer Ludovic Bource, director Michel Hazanavicius, actors Missi Pyle, Bérénice Bejo and Jean Dujardin, cameraman Guillaume Schiffman and producer Thomas Langmann

The Artist premiered in 2011 in competition at the Cannes International Film Festival . The film was originally intended to be shown out of competition, but a few days before the festival began, it was included in the official competition for the Palme d'Or. The French trade press was one of the film of the favorites for the grand prize of the festival, but eventually the US contribution The Tree of Life by Terrence Malick was awarded. The French daily Le Monde praised the first part of the film, which was made with "exciting virtuosity", as well as the "special charm" of Bérénice Bejo and the "clever" score by Ludovic Bource. The downfall of George Valentins is less convincing, since the slower pace does not go hand in hand with an increased intensity of the emotions. Jean Dujardin's play becomes more nuanced and realistic between the scenes. In France, when it opened in theaters on October 12, 2011, with 78,000 viewers, the film went straight to number one in the cinema charts on the first day alone and was able to reach more than a million moviegoers.

The US-American industry service Variety also described the film as a "declaration of love to silent film cinema" and highlighted the charm of Jean Dujardin. In the United States, where the film was also able to find an influential distributor with The Weinstein Company , The Artist was shown in selected cinemas from November 23, 2011. The Artist received almost without exception positive to very good reviews. By February 2012, the film grossed $ 76.5 million worldwide, including 31.9 million in the United States.

The fact that in the finale of The Artist Herrmann's well-known film music from Hitchcock's Vertigo (1958) was quoted resulted in a complaint from the American actress Kim Novak . Herrmann had written much of the music during the filming of Vertigo , in which Novak played the female lead. At the beginning of January 2012 Novak booked a full-page advertisement in the trade journal Variety under the title “I want to report a rape” , in which she complained that her work had been mistreated and the makers of The Artist Evoke feelings that they claim to be their own. Michel Hazanavicius replied that his film was a love letter to the cinema and that he loved Herrmann's music. He respects Novak and regrets that she disagrees.

German language criticism

The Artist was "touching, charming and full of elegance" for the cinema and one of the most beautiful films of the cinema year, for the Neue Zürcher Zeitung it was "brilliant" and "the funniest film in a long time". It was called a pleasure ( Die Presse ) or it made the film pleasure of the silent film era comprehensible ( Die Welt ) , offered moments of pure happiness ( film-dienst ) or left the viewer speechless with happiness ( Der Tagesspiegel ) . According to taz , the film earned its awards . But the Tages-Anzeiger didn't think everything about him was successful, and according to Ray he was "a little too sure of his own charm" and overly celebrated by Anglophone critics.

Older viewers would be happy about the "round of open and hidden quotes", the film is like a picture album for wistful viewing of the epoch. It is a "gorgeous" or more beautifully inconceivable declaration of love to classic Hollywood, a masterly or "masterfully mastered, coherent" homage. The Artist approaches the silent film with admiration and a wink: “One would be just museum-like, the other just a joke; both together are irresistible. "

He is like an “encyclopedic archive of the elaborate narrative techniques of this phase”, which he consistently exploits, “shamelessly uses the classics [...] and creates a meta-genre in which everything seems artificial and perfect.” According to Ray, he is clever Looking at the “lost aesthetics” of the silent film, the film-dienst saw no imitation, but praised the charm of a meta-film. Die Welt : “How smoothly visual ideas, acting style and the outstanding music of Ludovic Bource intertwine, how the arc from the airiest, illustrative playfulness to the expressively darkened world of Fritz Lang or Friedrich Wilhelm Murnau is stretched, how coherent and effortless all film and Music quotes embrace this silent film from 2011 instead of crushing it: it is a regressive, but never stupid film bliss. " Die Zeit called Hazanavicius' film" a work of art whose greatness consists in the silent film not as a limitation, but as a completely dust-free stage of an ancient one and to understand eternally new history. ”The form of expression of the silent film narrates“ more eloquently and poignantly ”than the majority of contemporary films, all stylistic devices“ are bursting with the desire for expression. ”The actors dosed the silent film facial expressions and gestures so that they do not looked ridiculous or silly. On the other hand, the Tages-Anzeiger was bothered by the “awfully clumsy” symbolism, and Ray remarked about the film: “For him, silence is just silver. The Artist is a false silent film: one that pushes for sound. "

The Artist deals with a technological transition and therefore also with the present. Unlike Singin 'in the Rain , who welcomed the replacement of silent by sound film, The Artist is on the side of the lost. At that time it was said: “He who has rested too long on his fame must leave his place and fall out of society; the one who finds her way into the new world quickest will replace him. It is the basic coordinates of our capitalist social system that Michel Hazanavicius playfully alienates. ”Many critics found that the work at a time when films are characterized by computer technology, 3D and motion capture shows that the appeal of cinema and its ability to Enchantment does not lie in such technology. Hazanavicius is counting on the fact that “Hollywood will feel a little bloated, sluggish and saturated when looking at these youthful pictures today”.

Sometimes the critics praised the wealth of ideas, sometimes they declared the plot to be simple and “suitable for the masses” or simple and “not entirely new”. The furnishings are "masterfully" or "accurately recreated", the "exquisite" pictures are a masterpiece in the most beautiful or "preciously sparkling" black and white. The actors showed great talent, and the dog was "sensational". Dujardin's facial expressions, his irresistible face and his charm were praised. After the OSS-117 films, he proves again that he can play a charismatic idol. He and Bérénice Bejo complemented each other perfectly. The scene in the cloakroom, in which Bejo mimes with Valentin's coat, has been mentioned many times as “an image of devotion and being in love”, beautiful or “gorgeous”. The Tages-Anzeiger complained, however, that Bejo "is funny and beautiful, but simply looks too modern (and too thin) for a silent movie star."

Awards

Jean Dujardin 2011 in Cannes

The Artist competed at the 2011 Cannes Film Festival and won the Acting Award for Jean Dujardin . By January 2012, Hazanavicius' film had received more than 70 international festival and critic awards and was nominated for over 70 other awards. The prizes won include a. the American New York Film Critics Circle Awards and Broadcast Film Critics Association Awards, the Oscars , Golden Globes , British Academy Film Awards and French Césars in the categories "Best Picture" and "Best Director".

Oscars 2012

Won :

  • Best movie
  • Best Director (Michel Hazanavicius)
  • Best Actor (Jean Dujardin)
  • Best Score (Ludovic Bource)
  • Best Costume Design ( Mark Bridges )

Nominated :

  • Best Supporting Actress (Bérénice Bejo)
  • Best original script
  • Best cut
  • Best camera
  • Best production design

Golden Globes 2012

Won :

  • Best film - comedy or musical
  • Best Actor - Comedy or Musical (Jean Dujardin)
  • Best film score

Nominated :

  • Best Director (Michel Hazanavicius)
  • Best Supporting Actress (Bérénice Bejo)
  • Best script

A selection of the other nominations and awards:

2011 :

Bérénice Bejo with her won César (2012)

2012 :

  • Alliance of Women Film Journalists 2012: Best Film and Director
  • Vancouver Film Critics Circle Awards 2012: Best Picture and Best Screenplay
  • 2012 Broadcast Film Critics Association Awards: Best Film, Director, Costumes, and Score
  • Denver Film Critics Society Awards 2012: Best Director and Score
  • Prix ​​Lumières : Best Film and Best Actress (Bérénice Bejo)
  • 32nd London Critics' Circle Film Award 2012: Best Picture 2011, Best Director and Leading Actor (Dujardin)
  • Producers Guild of America Award (PGA Award) 2012: Darryl F. Zanuck Award for Thomas Langmann
  • Directors Guild of America Award 2012: Best Director on a Motion Picture
  • Screen Actors Guild Awards 2012 : Best Actor (Dujardin), Nominations for Best Supporting Actress (Bejo) and Best Acting Company
  • British Academy Film Awards 2012 : Best Film, Best Director, Best Actor (Dujardin), Best Original Screenplay, Best Cinematography, Best Score, Best Costumes, five other nominations (Best Actress - Bejo, Best Editing, Production Design, Costumes, Sound, Mask)
  • César 2012 : Best Film, Best Director, Lead Actress (Bejo), Cinematography, Film Music, Best Production Design, four other nominations (Best Lead Actor - Dujardin, Best Original Screenplay, Editing, Costumes)
  • Independent Spirit Awards 2012: Best Film, Best Director, Leading Actor (Dujardin), Cinematography, another nomination in the Best Screenplay category
  • Dog News Daily 2012 Golden Collar : Uggie Movie Dog
  • European Film Award 2012 : Nomination for the audience award

literature

conversations

  • With Michel Hazanavicius in der Welt , February 25, 2012, p. 25: "Restrictions are incredibly liberating"

Review mirror

positive

  • Cinema No. 2/2012: The Artist
  • epd Film No. 1/2012, p. 37, by Rudolf Worschech: The Artist
  • film-dienst No. 2/2012, p. 52, by Felicitas Kleiner : The Artist
  • Focus , January 23, 2012, p. 86, by Harald Pauli: fallen out of time
  • Frankfurter Allgemeine Zeitung , January 25, 2012, p. 31, by Andreas Kilb : And a spring bangs on the parquet
  • Neue Zürcher Zeitung , January 26, 2012, p. 47, by Susanne Ostwald: Not to mention dogs
  • Die Presse , January 25, 2012, by Norbert Mayer: “The Artist”: The great glow from Hollywood's last days of silent film
  • Der Spiegel , January 23, 2012, p. 125, by Lars-Olav Beier: Hollywoods Kindertage
  • Der Tagesspiegel , January 25, 2012, p. 19, by Christian Schröder: Das Glück des Schweigens
  • taz , January 26, 2012, p. 17, by Thomas Groh: A true robber pistol
  • Die Welt , January 25, 2012, p. 25, by Cosima Lutz: In love with light and shadow
  • Die Zeit , January 26, 2012, p. 57, by Kilian Trotier: Why more words?

Rather positive

  • Ray , No. 2/2012, p. 51, by Gerhard Midding: The Artist
  • Tages-Anzeiger , January 26, 2012, Züritipp p. 5, by Thomas Bodmer: Dream in black and white

Web links

Commons : The Artist (film)  - Collection of images, videos and audio files

Individual evidence

  1. ^ Certificate of Release for The Artist . Voluntary self-regulation of the film industry , January 2012 (PDF; test number: 131 225 K).
  2. ↑ Age rating for The Artist . Youth Media Commission .
  3. ^ Official press booklet (PDF file; 4.7 MB) at festival-cannes.com, pp. 5–6 (accessed on January 1, 2012)
  4. ↑ a b Woodward, Adam: Michel Hazanavicius ( Memento of the original from January 8, 2012 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / www.littlewhitelies.co.uk archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at littlewhitelies.co.uk, December 21, 2011 (accessed December 31, 2011)
  5. ↑ Official press booklet (PDF file; 4.7 MB) at festival-cannes.com, pp. 6–8 (accessed on January 1, 2012)
  6. ↑ Official press release (PDF file; 4.7 MB) at festival-cannes.com, p. 8 (accessed January 15, 2012)
  7. ↑ Interview: Michel Hazanavicius at avclub.com, November 23, 2011 (accessed January 15, 2012)
  8. ↑ Jeffries, Stuart: The Artist: the silent film they said no one wanted to see at guardian.co.uk, December 8, 2011 (accessed December 31, 2011)
  9. ↑ Emerick, Laura: A Frenchman's hooray for Hollywood . In: Chicago Sun-Times , December 23, 2011, p. 6
  10. ↑ Official press release (PDF file; 4.7 MB) at festival-cannes.com, p. 49 (accessed January 1, 2012)
  11. ↑ Official press booklet (PDF file; 4.7 MB) at festival-cannes.com, pp. 11–12 (accessed on January 1, 2012)
  12. ↑ Official press booklet (PDF file; 4.7 MB) at festival-cannes.com, pp. 17–18 (accessed on January 1, 2012)
  13. ↑ a b Kim Novak vs. "The Artist": Hollywood diva rages against Oscar favorites at Spiegel Online , January 10, 2012 (accessed January 16, 2012)
  14. ↑ Official press release (PDF file; 4.7 MB) at festival-cannes.com, p. 48 ff. (Accessed on January 6, 2012)
  15. ↑ Lemercier, Fabian: Ebullition pour La conquête et le candidat Sarkozy at cineuropa.org (accessed on January 15, 2012)
  16. ↑ Emerick, Laura: 'The Artist' is director's love letter to early Hollywood  ( page no longer available , search in web archives )  Info: The link was automatically marked as broken. Please check the link according to the instructions and then remove this notice. @1@ 2Template: Dead Link / www.suntimes.com   , December 21, 2011 (accessed January 15, 2012)
  17. ↑ Wachthausen, Jean-Luc: Chut! . In: Le Figaro , May 11, 2011, No. 20768, p. 29
  18. ^ Overview of the French trade press at lefilmfrancais.com (French; accessed on January 16, 2012)
  19. ^ Sotinel, Thomas: Le virtuose Michel Hazanavicius pastiche le cinéma des années 1920 . In: Le Monde , May 17, 2011, p. 25
  20. ↑ Köhler, Margret: Robust, creative, solid: viewer records in neighboring France  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. at film-dienst.kim-info.de (accessed on February 5, 2012)@1@ 2Template: Toter Link / film-dienst.kim-info.de  
  21. ^ The Artist . In: Variety , May 23, 2011, p. 16
  22. ↑ According to the evaluation from Metacritic.com , accessed on January 16, 2012. Of the 40 US film reviews considered, 39 rated the film “positive” according to the evaluation method from Metacritic.com, only one negative. 13 reviews were presented with the top grade of 100, six reviews with 90 or more points, 16 with 80 and more points, four with 70 and more points, one with 78 points.
  23. ↑ Profile at boxofficemojo.com (English; accessed on February 26, 2012)
  24. ↑ a b Cinema No. 2/2012: The Artist
  25. ↑ a b c d e f Susanne Ostwald: Not to mention the dogs . In: Neue Zürcher Zeitung , January 26, 2012, p. 47
  26. ↑ a b c d e Norbert Mayer: "The Artist": The great glow from Hollywood's last days of silent film . In: Die Presse , January 25, 2012
  27. ↑ a b c d e Cosima Lutz: In love with light and shadow . In: Die Welt , January 25, 2012, p. 25
  28. ↑ a b c d e Felicitas Kleiner : The Artist . In: film-dienst No. 2/2012, p. 52
  29. ↑ a b c d Christian Schröder: The happiness of silence . In: Der Tagesspiegel , January 25, 2012, p. 19
  30. ↑ a b c d Thomas Groh: A true robber pistol . In: taz , January 26, 2012, p. 17
  31. ↑ a b c d e f g Thomas Bodmer: Dream in black and white . In: Tages-Anzeiger , January 26, 2012, Züritipp p. 5
  32. ↑ a b c Gerhard Midding: The Artist . In: Ray , No. 2/2012, p. 51
  33. ↑ a b c d e Andreas Kilb: And a feather bangs on the parquet . In: Frankfurter Allgemeine Zeitung , January 25, 2012, p. 31
  34. ↑ a b c d Lars-Olav Beier: Hollywood's childhood days . In: Der Spiegel , January 23, 2012, p. 125
  35. ↑ a b c d e f g Kilian Trotier: Why more words? . In: Die Zeit , January 26, 2012, p. 57
  36. ↑ a b Rudolf Worschech: The Artist . In: epd Film No. 1/2012, p. 37
  37. ↑ a b Harald Pauli: fallen out of time . In: Focus , January 23, 2012, p. 86
  38. ↑ Terrier from “The Artist” wins “Goldenes Halsband”  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. at stern.de, February 14, 2012.@1@ 2Template: Toter Link / www.stern.de