Midnight In Paris review
“A Woody Allen Film” doesn’t mean what it used to. Releasing a film a year, every year, you’re bound to get some hits and misses, in the last decade the filmmaker’s output has been more erratic than ever. “Anything Else” and “Whatever Works” are among his worst films ever, while “Match Point” stands as a career highlight. Because of this unpredictability, it wasn’t until it’s recent premiere at Cannes that “Midnight In Paris” really jumped onto my radar. Reviews were glowing but it was hard to tell if the film was actually that good or if critics were just excited that it was better than some of his recent duds. It turns out it’s a bit of both, but it’s such a joy to watch, you can’t fault it for not standing up to his best work (or even borrowing bits from his better films).
Owen Wilson stands in for Allen as Gil, an LA screenwriter who dreams of living in Paris and finishing his novel. Rachel McAdams is his uptight fiancee Inez and Michael Sheen embodies the pseudo-intellectual a-hole that serves as a counterpoint to Wilson’s romantic artist. Marion Cotillard, Adrien Brody, Kathy Bates and Tom Hiddleston round out a delightful supporting cast. Wilson’s laid back charm proves a great fit for Allen’s films, as usually the lead actor is forced into copying his mannerisms, Wilson brings a completely different feeling to the film and it’s one of his best roles in years. Without spoiling exactly what happens, Gil romanticizes life in another era, specifically Paris in the 20’s and the film takes a roundabout way of showing him that it’s best just to be present. This point is hammered home a little too strongly, when the suggestion might have done, a speech is given, but it doesn’t detract from the overall experience.
The film is breezy fun, a complete fantasy, with every aspect of Paris completely idealized for the audience as it is for Gil. (When you leave the theatre, your first thought will be to go there at once.) The story is ridiculous the more you think about it, but in the moment you’re along for the ride. Half the fun is watching Wilson make his way through Allen’s fantasy, while the other half is just admiring how gorgeous Paris looks and I think that’s kind of the point. It’s a strong antidote to some of the directors darker efforts and one of his most enjoyable films of the last decade. Best to enjoy it while it lasts because there will be another one next year.
