Director: Woody Allen
Writer: Woody Allen
Stars: Owen Wilson, Marion Cotillard, Rachel McAdams, Corey Stoll
Release date: May 20th, 2011
Distributor: Sony Pictures Classics
Countries: USA, Spain
Running time: 94 minutes
Best part: The kinetic visuals.
Worst part: McAdams’ annoying character.
Woody Allen has found his home away from home with Midnight in Paris, a film about finding your imagination hiding in the city of love. Reminiscent of Jean-Pierre Jeunet’s Amelie, Allen illuminates the historical and famous locales of Paris, turning the city into a charming and expressive work of art. Allowing us to view both the past and present through his eyes illustrates his love of Paris, and is reminiscent of his representations of his native Manhattan.
The story centres around Gil Pender (Owen Wilson), a thirty-something writer struggling to find a worthwhile ending for his first novel. Unable to fit into the life his obnoxious fiancee Inez (Rachel McAdams) has picked out for him, including expensive belongings and pedantic friends, Gil feels a special connection to Paris that no one around him understands. One night while walking through the streets of Paris, he stumbles across an antique 1920’s car. After accompanying the people inside, he travels back in time and meets his literary and artistic idols, including Salvador Dali, Gertrude Stein and Ernest Hemingway. His love for their work, and new-found friendship with Picasso’s mistress Adriana (Marion Cotillard), creates a desire to continually return to this world at the stroke of midnight.
Allen’s direction and screenplay make Midnight in Paris a smart, witty and charming adventure. The beginning of the film, featuring continuous wide shots of the city, details 24 hours in Paris and develops the feeling of a wonderful fantasy. A bold visual style featuring elaborate 1920’s era fashion and nightclub settings, and a smooth guitar and jazz based score, delivers a quaint and comfortable representation of the past. Both artistic and literary references and discussions, based on the work of his role models, spark delightful scenes of dialogue that Allen is known for. The chemistry between every character is electric and the desire to learn more about, but not spending too much time on, each icon leaves a surprise around every turn and keeps the film consistently exciting. Despite the historical and literary discourses becoming alienating at points, the appearance of every icon keeps the viewer interested in both their work and their reactions and connections to a fan like Gil. Kathy Bates as Gertrude Stein, Adrien Brody as Salvador Dali, Tom Hiddleston and Alison Pill as Scott and Zelda Fitzgerald respectively, and Corey Stoll as Ernest Hemingway deliver standout performances in their small but dignified roles.
“No subject is terrible if the story is true, if the prose is clean and honest, and if it affirms courage and grace under pressure.” (Ernest Hemingway (Corey Stoll), Midnight in Paris).
Owen Wilson’s standout performance becomes the most beguiling aspect of Midnight in Paris. Not only does Wilson portray a representation of Allen perfectly but he also becomes the avatar for the audience. Gil’s writer’s block and desperate search for creativity post screenwriting are defined by his entrapment of simple ideas. His inability to fit into Inez’s life of material things, and his increasingly different views to others around him on the art life of Paris, make him a likeable, funny and dynamic character. He feels a true sense of belonging when confronted with his heroes in the same place and when entwined with their overarching stories. Gil’s feeling towards his situation contains many signs of Allen’s theories of film-making and creating a true piece of art. Allen’s ode to a “Golden Age” of creativity is both a homage to the art and literature history of Paris and a representation of his struggle to fit into the present Hollywood system.
Allen, from Annie Hall to Match Point, has gone out of his way to boost Hollywood cinema above the norm. Midnight in Paris, tapping into his long-lost optimism and light-heartedness, is a fun and frivolous romantic comedy.