The Oscar Project #84: The Artist (2011)

by Chris Marshall:

I think the symmetry between the first and most recent Best Picture winners is absolutely perfect. Way back in 1927, Wings became the first film to win the top award at the Oscars, and as it turned out, it was the only silent picture to ever win… until this year.

Yes, in some sense, The Artist is not a true silent film. There are moments of sound and even color in the movie, but I have to imagine it’s the closest we’ll ever get to it again. And in another fitting connection, The Artist was set in 1927, the year Wings came out. I know this symmetry only exists because I happened to choose to do The Oscar Project this year, but it almost seems pre-ordained.

I do have to admit that I prefer this year’s winner to the first one, as much as I’ve defended the quality of some (thought definitely not all) of those early winners. But that’s mostly because The Artist is a very good film, finely crafted and well-acted. It didn’t win because it was a gimmick. I wouldn’t say it was the best movie of 2011—that title goes to Drive, based on what I’ve seen from last year—but it was certainly one of the best.

The Oscar Project #33: The Apartment (1960)

by Chris Marshall:

I don’t know what the deep and profound significance of this is, but the first year of each decade produces some pretty great movies. So far, years ending in 0 have brought us All Quiet on the Western Front, Rebecca, All About Eve, and now The Apartment. That’s a pretty fine list there.

There is just so much to like about The Apartment, not least of which is the fact that it’s directed by Billy Wilder. I’ve seen four of his films now (this, Double Indemnity, The Lost Weekend, and Sunset Blvd.), and I’ve loved them all. That is a pretty disparate group of genres to attain mastery in. When Michael Hazanavicius won Best Director this year for The Artist, he said, “I want to thank Billy Wilder, I want to thank Billy Wilder, and I want to thank Billy Wilder.” It’s easy to understand why.

There is such depth in his filmography that it almost defies belief. In addition to the aforementioned films, he also directed Some Like It Hot, Ace in the Hole, Stalag-17, Witness for the Prosecution (and so on). I stop there lest this entire article turn into a list of movies, but Wilder’s filmography merits a mention. He’s made more great movies than most directors make decent ones.