Some Mixed Thoughts on “Midnight in Paris”

While, this is not technically a film review, I did want to vent a bit on Woody Allen’s latest film, Midnight in Paris, which is getting raves from critics and the public alike. This is great news, as Mr. Allen has been somewhat off his game for a few years and, as a tremendous fan of his work, I could not be happier. Hell, just look at the graphic I use as my avatar on this site! The movie also looks like it will easily eclipse Hannah and Her Sisters (1986) as his greatest domestic box-office success. This is also good news because I don’t think nearly enough people give his films a chance. Well, the modern-day fairy tale Midnight in Paris has been out for a while now, so I am a little late to the game…but after seeing it a couple of weeks ago, I felt I had to — as an objective admirer of his artistry — jot down some of my very profound thoughts. 🙂

First, the good. Anyone familiar with Allen’s canon of work knows that he’s been tapping the well pretty dry as of late. Same themes and the same characters in pretty unoriginal and disappointing films. With Midnight in Paris, Allen brings to the screen his most imaginative and creative movie since The Purple Rose of Cairo (1985). That’s saying something and was very refreshing to finally see. It’s also been a bit challenging to find a suitable Woody archetype to play the lead roles. John Cusack did it very well. Here, Owen Wilson does a wonderful job as Gil, a Hollywood screenwriter who is struggling to finish his first novel. He is affable, charming, witty, and romantic.

Woody usually gets great performances from his all-star ensembles, and this film is no different. Adrien Brody is magnificent in the one scene he is in, playing Salvador Dali. He is hysterical and nearly steals the show. The lovely Marion Cotillard is also a wonder to watch as Pablo Picasso’s mistress. Michael Sheen is perfectly cast as the pseudo-intellectual who knows much less about art and culture than he’d like to think. You dislike him just the right amount. Kathy Bates (as Gertrude Stein), Corey Stoll (Ernest Hemingway), Allison Pill (as Zelda Fitzgerald) also stand out and deliver some fun and believable performances as their 1920’s icons.

It was a lot of fun keeping your eyes out, waiting to see which famous character we would be introduced to next. Picasso, Gauguin, Degas, Bunuel, Eliot, Fitzgerald? They’re all here and having a ball. The costume design and art direction provide a genuine look and feel of Paris in the 20’s, which is no surprise as Allen’s period pieces always do an admirable job of this.

And now for the not so good. Rachel McAdams is too bitchy and too dislikable as Gil’s fiancee. Her mother too. You just can’t stand them, which I know is the idea — but it is laid on too thick, giving the characters little dimension. My biggest flaw with the film was that for a movie with such a remarkable premise to it…so magical and so fantastic…it doesn’t go nearly as far as it should. Other than introducing a number of famous cultural icons to us, very little is done with them. Subplots arise with little follow-through. And the ending itself is far too abrupt. It just…ends. You are left wanting more — and not in a good way. Rather, you’re left (at least I was) feeling somewhat let down. I felt that this time, Woody was almost there…he had a great idea, a solid script, strong performances, lovely design and locations…and just didn’t take it all the way home.

So all in all — a cute, fun, highly imaginative film that unfortunately could have gone much further and ranked among Woody’s best. I have read all of the hoopla declaring that “Woody’s back!” and that Midnight in Paris ranks among his greatest films ever. I think, after so many stinkers during the past decade, that the bar has been set a bit low, so the hype here is overdone. It’s a very good movie — and I surely recommend people to go see it — but in my opinion, doesn’t go into his Top 10.

My Rating:

Anticipating Woody Allen’s New Film

So — it’s that time of year again. A time where hope springs eternal. A time for cautious optimism — and a time for well-deserved skepticism. Almost as clockwork as waiting for Puxatony Phil to show his face each and every year, comes the release of a new film release by the legendary auteur Woody Allen.  This year, Midnight in Paris (Allen’s 42nd feature film) is scheduled for release and opens this week (after debuting to rather positive reviews at the Cannes Film Festival).

As always, Allen has been able to bring together a star-studded cast to speak the lines of the aristocracy. For Midnight in Paris, we are treated to Oscar winners Adrien Brody, Kathy Bates, and Marion Cotillard — as well as co-stars Owen Wilson, Rachel McAdams, Michael Sheen, Alison Pill, and Carla Bruni. But it is usually not the cast that has been the problem with some of Allen’s films for the past 10+ years — sadly, it has been the bland storytelling and the writer/director himself revisiting the same old themes using the same old characters in his films. I have written about this quite a bit on The Lantern, so I won’t bother repeating myself here. Suffice it say that I remain a tremendous fan of Mr. Allen — I still feel he is one of the finest American filmmakers we have. However, his batting average since 1999’s wonderful Sweet and Lowdown has not been a very impressive one. I keep hoping that he will stretch himself as an artist and explore new ground, but this is rarely the case — and I am slowly giving up on this dream with each new film released.

I enjoyed last year’s You Will Meet A Tall Dark Stranger very much. Though it tackles many of his favorite subjects, the writing was much sharper and more genuine — and the cast gave wonderful performances. It was a strong 3-star film. The romantic comedy Midnight in Paris — the first film that Allen has shot entirely on location in Paris — so far has pretty good word of mouth, even getting a solid 86% approval rating on Rotten Tomatoes as I write this post. We shall soon see. With the slow decline in Allen’s work over the years, critics have had a tendency to over-praise his good films (a la Match Point and Vicky Cristina Barcelona), proclaiming them to be much more than they are, simply on the basis of comparing them to such duds as Anyone Else, The Curse of the Jade Scorpion, and Scoop. Of course they look like masterpieces compared to these embarrassing efforts.

But, as I do every year, I will be at the theater this weekend and pay for my ticket. Woody’s films always get my money. I will wait with baited breath and hope for the best. Fingers crossed.

My review of You Will Meet A Tall Dark Strangerclick here

My Top 10 Films of Woody Allenclick here

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