"This is a universal, unique movie, it has potential to cross barriers. But we never thought about that on set, when we were doing the film. We knew that in making a silent movie, we were doing something a little bit under the wire, a bit interdit. It's a pastiche, but for the French taste, you would have thought"
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Dujardin is doing a careful two-step: claiming global reach while insisting it wasn’t engineered for it. That tension is the whole point. “Universal, unique” is a paradox on purpose - a way of saying the film can travel precisely because it isn’t trying to speak everyone’s language. The subtext is a quiet rebuke of prestige-movie calculation: the idea that “crossing barriers” is something you can storyboard. Instead, he frames the success as an accident of craft and conviction.
The most revealing phrase is “under the wire,” followed by “interdit” (forbidden). He’s describing not just a stylistic gamble (a silent film in the 2010s) but a cultural misdemeanor: choosing a form the market has effectively outlawed. That hint of illegality gives the project swagger. It recasts nostalgia as insurgency, not museum work.
Then comes the defensive charm of “pastiche.” Pastiche can be a polite insult - imitation without stakes. Dujardin anticipates that critique and pivots: “for the French taste, you would have thought…” The unfinished thought implies a familiar French anxiety about exportability. A silent film, soaked in old Hollywood grammar, could read as too referential, too cinephile, too French-about-cinema to connect outside France. His point is that they weren’t chasing “international”; they were chasing the thrill of making something slightly prohibited. And that’s why it could land everywhere: sincerity beats strategy, and risk reads as confidence across languages.
The most revealing phrase is “under the wire,” followed by “interdit” (forbidden). He’s describing not just a stylistic gamble (a silent film in the 2010s) but a cultural misdemeanor: choosing a form the market has effectively outlawed. That hint of illegality gives the project swagger. It recasts nostalgia as insurgency, not museum work.
Then comes the defensive charm of “pastiche.” Pastiche can be a polite insult - imitation without stakes. Dujardin anticipates that critique and pivots: “for the French taste, you would have thought…” The unfinished thought implies a familiar French anxiety about exportability. A silent film, soaked in old Hollywood grammar, could read as too referential, too cinephile, too French-about-cinema to connect outside France. His point is that they weren’t chasing “international”; they were chasing the thrill of making something slightly prohibited. And that’s why it could land everywhere: sincerity beats strategy, and risk reads as confidence across languages.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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