---
title: "The Artist"
year: 2011
kind: "film"
canonical: "https://film.one/film/the-artist"
fi1m_id: "the-artist"
imdb_id: "tt1655442"
tmdb_id: 74643
wikidata_id: "Q171861"
fi1m_score: 82
critics_score: 88
critics_reviews: 11
published: "2026-09-15"
updated: "2026-09-18T08:37:42.586198+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Artist (2011)

Directed by Michel Hazanavicius · 1h 40m · MPA PG-13 · Drama, Comedy, Romance

## Identity

The Artist

- **Canonical:** https://film.one/film/the-artist
- **Type:** Film
- **Fi1m ID:** the-artist
- **IMDb ID:** tt1655442
- **TMDB ID:** 74643
- **Wikidata ID:** Q171861
- **Same entity:** https://www.imdb.com/title/tt1655442/, https://www.themoviedb.org/movie/74643, https://www.wikidata.org/wiki/Q171861

**Fi1m score: 82** · Critics 88 from 11 reviews

*In a sentence:* Jean Dujardin has the smile of a man who expects the entire cinema to forgive him, and we nearly do

> Michel Hazanavicius makes silent-film storytelling feel easy to enjoy, with Jean Dujardin and Bérénice Bejo giving the romance warmth and mischief. The middle dwells too long on wounded pride, but the pleasure is considerable.

## Synopsis

George Valentin (Jean Dujardin) is a silent-film star facing the arrival of talking pictures. In Hollywood, a change in how films are made threatens the kind of performance on which he has built his life. His story is bound up with that of Peppy Miller (Bérénice Bejo), as romance and professional pride become difficult to separate. With John Goodman as Al Zimmer, James Cromwell as Clifton and Peppy Miller as Doris Valentin, *The Artist* tells its story in black and white, drawing on the gestures and visual storytelling of silent cinema.

## Review

Michel Hazanavicius’s *The Artist* is funny, touching and worth an evening, with one reservation: it spends too long feeling sorry for its hero. The writer-director takes a silent star’s difficulty with the arrival of talking pictures and tells it through silent-film techniques. There is a romance here, and a comedy about professional pride. Neither needs an acquaintance with early cinema to work, although an affection for broad gestures and clearly stated feelings will help.

Jean Dujardin plays George Valentin with the confidence of someone accustomed to being watched. His charm matters because George’s pride could otherwise make him tiresome company; Dujardin lets us enjoy the self-importance before asking us to see what it costs. We laughed at Dujardin’s expansive posing, then felt protective of George when his confidence began to fail. It was the contrast between those two ways of carrying himself that got to us. The performance remains clear without making every feeling look simple.

Bérénice Peppy Miller gives him someone worth paying attention to besides himself. Bejo is lively without making the romance feel weightless, and the two performers make attraction readable without spoken explanation. Their exchanges are the strongest answer to the idea that the whole thing depends on the novelty of its presentation. We could have spent more time with them and less with George’s wounded pride.

Guillaume Schiffman’s black-and-white cinematography makes the close-ups count: a change of expression is allowed to carry the scene. The images let us follow the actors without straining to interpret them. Laurence Bennett’s production design supplies a convincing old Hollywood setting, though the recreation can feel too tidy for an industry being unsettled by change. That prettiness is pleasant to sit with; it also keeps the story’s harder feelings at a comfortable distance.

Ludovic Bource’s score has a substantial job when so much must be understood without dialogue, and it makes the shifts between comedy and sadness easy to follow. It supports the actors without continually insisting that we admire their feelings. Editors Anne-Sophie Bion and Hazanavicius are less consistent: the comic timing is alert, but the passages devoted to George’s troubles repeat an emotional point we have already understood. At 100 minutes, the film still has room to lose a little.

The comparisons with *A Star Is Born* and *Singin’ in the Rain* make sense. Hazanavicius uses a familiar Hollywood story to make silent storytelling accessible, and there is no need to recognise its influences to enjoy it. The limitation is that nostalgia can make the upheaval seem simpler than it should. We learn more about the bruising of one man’s pride than about the business changing around him.

Anyone looking for a searching account of the transition to sound should look elsewhere. This is for an evening when a little sentiment seems welcome, and broad comedy does not need an apology. Watch it for the romance, and allow George rather more patience than he has earned.

*Fi1m score 82, published 15 September 2026.*

## What the critics say

Most critics greet The Artist with considerable warmth, praising a silent-era tribute whose humour and feeling work without specialist film knowledge. Praise centres on Dujardin’s expressive performance and his chemistry with Bejo, which give the romance its emotional weight. The reviews also admire the inventive handling of silence and sound, visual gags and close-ups. For most, the recreation of early Hollywood supports an accessible, moving story rather than becoming an exercise in imitation.

Reservations concern how much substance lies beneath that charm, with a small but distinct dissent beneath the broad enthusiasm. Sight and Sound enjoys the performances but regards the film chiefly as a novelty. Slant Magazine goes further, finding a shallow reworking of A Star Is Born that neglects the realities of the transition to sound. The Skinny’s objection is narrower: the prolonged attention to the protagonist’s decline slightly weakens the emotional effect.

## Straight answers

**Is The Artist worth watching?**

*The Artist* is worth watching for anyone who can enjoy a silent, black-and-white romantic comedy, and we scored it 82. Jean Dujardin and Bérénice Bejo make the attraction between a fading silent star and a rising newcomer readable without a word of dialogue. The middle spends too long on George Valentin's wounded pride, but the pleasure is considerable.

**How long is The Artist, and what is it rated?**

*The Artist* runs 1h 40m and is rated PG-13 by the MPA in the US. It is a drama and comedy film.

**Where can I watch The Artist in the US?**

*The Artist* is streaming on Pluto TV, Tubi, Amazon Prime Video and The Roku Channel in the US, and it is also available to rent from Apple TV and Amazon Prime Video from $3.99. It leaves Tubi on 1 October. Availability is checked daily; the links above go straight to each service.

**How does The Artist compare to Singin' in the Rain?**

*The Artist* and [*Singin' in the Rain*](https://film.one/film/singin-in-the-rain) both turn Hollywood's shift to talking pictures into romantic comedy, but the earlier film is the livelier of the two and the one we would reach for first. Hazanavicius tells his story silently and in black and white, with more sentiment and a longer dwell on hurt pride; Donen and Kelly answer the same upheaval with songs and brisk comic timing. Choose *The Artist* for a gentler, more melancholy evening.

**What should I watch after The Artist?**

After *The Artist*, try [*Singin' in the Rain*](https://film.one/film/singin-in-the-rain) (1952, Fi1m 93): Another Hollywood upheaval, handled with songs, romantic friction and brisk comic timing. Then [*City Lights*](https://film.one/film/city-lights) (1931, Fi1m 89): For romance carried by gesture, with sentiment earned through precise physical comedy; and [*The Last Laugh*](https://film.one/film/the-last-laugh) (1924, Fi1m 84): A sharper silent study of masculine pride damaged by a change in status.

### Reviews we read (23)

- **The Guardian**, Peter Bradshaw (95/100, inferred): The critic calls the film a witty and moving homage to the silent movie era and one of the most purely enjoyable movies in years. They single out the exquisitely judged romance, comedy, and the way it touches on male pride and emotional literacy. [Read](https://www.theguardian.com/film/2011/dec/22/the-artist-film-review)
- **Los Angeles Times**, Kenneth Turan (90/100, inferred): The critic calls the film a glorious throwback and modern miracle that perfectly balances past traditions with present entertainment. It singles out the French creative team's execution and the story's emotional heart involving the leads' chemistry. [Read](https://www.latimes.com/entertainment/la-xpm-2011-nov-25-la-et-the-artist-20111125-story.html)
- **The New Yorker**, Anthony Lane (85/100, inferred): The critic finds the film a clever, heartfelt love letter to silent cinema that avoids cuteness through its French perspective and strong lead performance by Dujardin. It highlights the charm of the dog Uggie and the director's inventive approach to the silent format. [Read](https://www.newyorker.com/magazine/2011/11/21/better-times-anthony-lane)
- **Time Out**, Dave Calhoun (4/5): Hazanavicius delivers a loving silent-era recreation with heart, wit and emotional rhythm that moves between funny and sad while respecting its influences. [Read](https://www.timeout.com/movies/the-artist)
- **Variety** (75/100, inferred): The critic describes it as a heartfelt old-school romance without dialogue that delivers charm through Dujardin's performance and the silent style. It notes the retro appeal but positions it as a festival entry rather than a full release critique. [Read](https://variety.com/2011/film/markets-festivals/the-artist-1117945233/)
- **Empire**, Damon Wise: The critic hails it as a wonderful, sincere love letter to cinema that communicates universal emotions with clarity and delight. They single out the chemistry between Dujardin and Bejo, the perfectly judged score, and the reconnection with the human spirit through simple gestures and close-ups. [Read](https://www.empireonline.com/movies/reviews/artist-review/)
- **Evening Standard**: The critic calls the film funny, touching and delectable, a genuine silent film that works today through visual storytelling and charm. They single out the precision engineering that delights cineastes, the strong supporting cast including the dog Uggie, and the joyful ending. [Read](https://www.standard.co.uk/culture/film/the-artist-review-7428150.html)
- **Film Comment**, Laura Kern: The critic praises the film as a resonant love letter to early cinema that is both authentic and modern, with a moving and funny story of love and loyalty. Dujardin’s performance as the silent-era star is singled out for its charm and range. [Read](https://www.filmcomment.com/article/the-artist-review/)
- **Screen Daily**: A joyously enjoyable pastiche of classic Hollywood, propelled by delightful performances from Dujardin and Bejo, that is lovingly made and extremely watchable despite being a technical challenge to market. [Read](https://www.screendaily.com/the-artist/5027562.article)
- **Sight and Sound**, Tony Rayns: The film is a crowd-pleasing neo-silent that rehashes A Star Is Born with charm and strong performances from Dujardin and Bejo, but at core it remains a novelty hit rather than a substantive work. [Read](http://old.bfi.org.uk/sightandsound/review/6709)
- **Slant Magazine**, Jaime N. Christley: The film is a lazy, shallow rehash of A Star Is Born that ignores the fascinating realities of the silent-to-talkie transition era. It benefits from competent direction that evokes old movies but remains a lightweight gimmick stretched too thin. [Read](https://www.slantmagazine.com/film/the-artist/)
- **The Hollywood Reporter**, Todd McCarthy: The black-and-white silent film employs an enjoyable conceit about a star's decline amid the advent of talkies. It succeeds in approximating the spirit and energy of late silent pictures through strong performances and production design. [Read](https://www.hollywoodreporter.com/news/general-news/artist-cannes-review-188493/)
- **The Independent**, Jonathan Romney: The critic praises the film as a smart, witty and inventive pastiche of silent cinema that honours the era while feeling alive and modern. They single out the note-perfect direction, performances by Dujardin and Bejo, and the way it rediscovers the power of simple images. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/the-artist-michel-hazanavicius-100-mins-pg-6283541.html)
- **The New York Times**, A.O. Scott (NYT Critic’s Pick): The critic praises the film as a generous, touching expression of movie love that celebrates the power of silent cinema without needing words. It singles out the lead performances and nostalgic storytelling for making it aggressively entertaining. [Read](https://www.nytimes.com/2011/11/25/movies/the-artist-by-michel-hazanavicius-review.html)
- **Total Film**, Neil Smith: The critic describes it as a delightful homage to silent cinema that is tender, witty and clever. They single out the way it combines elements of Singin' in the Rain and A Star Is Born into a great big hug of a movie that leaves audiences smiling. [Read](https://www.gamesradar.com/the-artist-review/)
- **Den of Geek**, Ryan Lambie (5/5): The critic calls it an outstanding, one-of-a-kind film that is elegantly crafted and among the finest of 2011. Creative use of sound and the chemistry between the leads are singled out for praise. [Read](https://www.denofgeek.com/movies/the-artist-review/)
- **Digital Spy**, Stella Papamichael (5/5): The critic hails it as a brilliantly playful and magical homage to 1920s-30s Hollywood that ranks above idle spoof. The inventive gags, witty use of silence and sound, and the ensemble performances are singled out. [Read](https://www.digitalspy.com/movies/a352275/the-artist-review/)
- **The Playlist**, The Playlist Staff (A): The review calls it a joyous, big-hearted tribute that's wildly entertaining and a pure joy, highlighting the masterful use of silent film techniques and emotional depth. [Read](https://theplaylist.net/review-the-artist-a-joyous-big-hearted-tribute-to-old-school-moviemaking-20111121/)
- **Collider**, Matt Goldberg (A-): The critic praises the film's playful and affectionate tribute to silent cinema, highlighting Jean Dujardin's magnificent performance and the thoughtful subtext about cinema's evolution. They note minor drags but overall find it engaging and uplifting. [Read](https://collider.com/the-artist-review-2/)
- **Eye for Film**, Anne-Katrin Titze (90/100, inferred): The critic praises the film as an exuberant love letter to cinema with style, wit, insight, and heart, noting how it makes one laugh and cry in quick succession through its honest storytelling and references to old Hollywood. [Read](https://www.eyeforfilm.co.uk/review/the-artist-film-review-by-anne-katrin-titze)
- **The Skinny**, Philip Concannon (4/5): The critic describes it as a stupendously entertaining crowdpleaser with effervescent performances and inventive touches. The extended focus on the protagonist’s fall is noted as a minor misjudgement that slightly undercuts emotional depth. [Read](https://www.theskinny.co.uk/film/new-releases/the-artist)
- **Paste**, Annlee Ellingson (8.4): The review lauds the film's honoring of both form and content in its ode to Hollywood's Golden Age, with standout performances especially from Dujardin who transforms convincingly. It singles out the provocative use of sound and the artful cinematography. [Read](https://www.pastemagazine.com/movies/the-artist)
- **The Wrap**: The film is a charming, sweet, funny and sad tale that functions as a crowd-pleaser even without deep film knowledge. It singles out the lead performance of Jean Dujardin for praise as perfectly evoking a silent-era star. [Read](https://www.thewrap.com/artist-charming-valentine-vintage-hollywood-33039/)

## Details

- **Director:** Michel Hazanavicius
- **Director:** Michel Hazanavicius
- **Writer:** Michel Hazanavicius
- **Cinematography:** Guillaume Schiffman
- **Editor:** Michel Hazanavicius, Anne-Sophie Bion
- **Music:** Ludovic Bource
- **Production design:** Laurence Bennett
- **Costume design:** Mark Bridges
- **Producer:** Thomas Langmann
- **Cast:** Jean Dujardin as George Valentin; Bérénice Bejo as Peppy Miller; John Goodman as Al Zimmer; James Cromwell as Clifton; Penelope Ann Miller as Doris Valentin; Missi Pyle as Constance Gray; Beth Grant as Peppy's Maid; Ed Lauter as Peppy's Butler
- **Runtime:** 1h 40m
- **Certificate (MPA):** PG-13
- **Release (the US):** 20 January 2012
- **Genres:** Drama, Comedy, Romance
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Winner, 2011); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Winner, 2011); [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Winner, 2011)
- **Budget:** $15 million
- **Box office:** $133 million
- **Trailer:** https://www.youtube.com/watch?v=qjCQmpNkBI4

## Where to watch in the US

- Pluto TV: free
- Tubi: free, hd, leaving 2026-10-01
- Amazon Prime Video: add-on
- The Roku Channel: add-on, hd, leaving 2026-10-01
- Apple TV: rent $3.99, hd
- Amazon Prime Video: rent $3.99, hd
- Apple TV: buy $9.99, hd
- Amazon Prime Video: buy $9.99, hd

*Checked 2026-09-15.*

Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, IE, IL, IT, JP, MX, NL, NO, NZ, PA, SE, US. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2012: Best Cinematography (nominated); Best Film Editing (nominated); Best Production Design (nominated); Best Supporting Actress (nominated); Best Writing, Original Screenplay (nominated); Best Actor (won); Best Costume Design (won); Best Director (won); Best Original Score (won); Best Picture (won)
- César Award for Best Actress 2012: César Award for Best Actress (nominated)
- César Award for Best Film 2012: César Award for Best Film (won)
- European Film Award – People's Choice Award for Best European Film 2012: European Film Award – People's Choice Award for Best European Film (nominated)
- Golden Globes 2012: Best Actor – Motion Picture Musical or Comedy (won)
- Lumière Award for Best Film 2012: Lumière Award for Best Film (won)
- Lumière Awards 2012: Lumière Awards (won)
- Meeting Point Europe Award 2012: Meeting Point Europe Award (won)
- European Film Award for Best Actor 2011: European Film Award for Best Actor (nominated)
- European Film Award for Best Cinematographer 2011: European Film Award for Best Cinematographer (nominated)
- European Film Award for Best Composer 2011: European Film Award for Best Composer (won)
- European Film Award for Best Film 2011: European Film Award for Best Film (nominated)
- Palm Dog Award 2011: Palm Dog Award (won)

## If you liked this

- *Singin' in the Rain* (1952), Fi1m 93: Another Hollywood upheaval, handled with songs, romantic friction and brisk comic timing — [Fi1m page](https://film.one/film/singin-in-the-rain.md)
- *City Lights* (1931), Fi1m 89: For romance carried by gesture, with sentiment earned through precise physical comedy — [Fi1m page](https://film.one/film/city-lights.md)
- *The Last Laugh* (1924), Fi1m 84: A sharper silent study of masculine pride damaged by a change in status — [Fi1m page](https://film.one/film/the-last-laugh.md)
- *Blancanieves* (2012), Fi1m 81: For another modern silent film, with fairy-tale cruelty replacing Hollywood reassurance — [Fi1m page](https://film.one/film/blancanieves.md)
- *The Lunchbox* (2013), Fi1m 75: A quieter romance for those who respond to affection expressed indirectly — [Fi1m page](https://film.one/film/the-lunchbox.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-artist