It’s probably fair to say that Woody Allen lost his magic quite a
while ago. His whimsical monologues and awkward fumbling through life
seem dated when applied to a modern setting. Some would say he has
outstayed his welcome as a director and, while films such as Manhattan were masterpieces, his more modern attempts have fallen flat. So luckily, Midnight in Paris recaptures that magic he once held.
Owen Wilson takes the proxy-Woody Allen as Gil Pender, a Hollywood screenwriter whose trip to Paris with his fiancée Inez (Rachel McAdams) leads him to be inspired to write a serious novel just like his heroes, the novelists of the 1920s. On a late night stroll, Gil finds himself jumping into a car with the likes of F. Scott Fitzgerald and Cole Porter and being taken to this bohemian 20s Paris that he longs to inhabit. While there, he falls in love with Picasso’s mistress (Marion Cotillard) and attempts to get Ernest Hemingway, his all-time hero, to try out his book.
Midnight in Paris is charming more than anything. Beginning with a picture-postcard montage of Paris akin to that of the start of Manhattan, the city of Paris itself becomes a character. This setting also allows Allen to try something new – putting his own words into the mouths of these famous socialites of the 20s to great and witty effect. He’s definitely in his element creating his own 20s Paris as the present feels rather clunky and superficial and hence an effective contrast.
VERDICT: While this feels more fantastical than standard Woody Allen, whose best work is grounded in reality, his wit comes through well. With great performances, Midnight in Paris is just a delightfully charming film.
5/5
Owen Wilson takes the proxy-Woody Allen as Gil Pender, a Hollywood screenwriter whose trip to Paris with his fiancée Inez (Rachel McAdams) leads him to be inspired to write a serious novel just like his heroes, the novelists of the 1920s. On a late night stroll, Gil finds himself jumping into a car with the likes of F. Scott Fitzgerald and Cole Porter and being taken to this bohemian 20s Paris that he longs to inhabit. While there, he falls in love with Picasso’s mistress (Marion Cotillard) and attempts to get Ernest Hemingway, his all-time hero, to try out his book.
Midnight in Paris is charming more than anything. Beginning with a picture-postcard montage of Paris akin to that of the start of Manhattan, the city of Paris itself becomes a character. This setting also allows Allen to try something new – putting his own words into the mouths of these famous socialites of the 20s to great and witty effect. He’s definitely in his element creating his own 20s Paris as the present feels rather clunky and superficial and hence an effective contrast.
VERDICT: While this feels more fantastical than standard Woody Allen, whose best work is grounded in reality, his wit comes through well. With great performances, Midnight in Paris is just a delightfully charming film.
5/5
