Medianoche en París

"Do you think it's possible to love two women at the same time?," asks our protagonist Gil Prender to a tour guide discussed Auguste Rodin's love for his mistress and his wife. Like that's the first time we've heard that question in a Woody Allen movie. Infidelity, gorgeous women, and neuroticism are some of Allen's favorite motifs, so it's really not too much of a surprise that they all appear in Midnight in Paris.

That said, Allen's rendition of those ideas feels fresh this time. Midnight in Paris is a sweet, fun romp through the art world of France. This light comedy may not have some of the heavier messages about adultery and art that previous Allen films have had, but Midnight in Paris is, nonetheless, an enjoyable exercise in allusion to the Lost Generation and artists of the 1920s.

Midnight in Paris begins with the same idea of a man, in this case a screenwriter named Gil played by Owen Wilson, searching for connection with the real world. The protagonist is clearly a projection of Allen's self, but no matter. Gil is engaged to the Inez, played by a blond Rachel McAdams who coincidentally (or is it?) looks like Scarlet Johansson from Vicky Cristina Barcelona. Inez bores Gil with her pretentious friends and spiteful parents, which ultimately causes Gil to seek inspiration on his own time by drunkenly wandering that streets of Paris. One night, he is invited into a car that takes him back to the 1920s where he meets his favorite writers and artists, something that eventually leads to a breakthrough in his work. A large supporting cast includes Kathy Bates, Allison Pill, Adrien Brody, Michael Sheen, and Marion Cotillard.

Allen's conception of Paris is just as romantic as the story itself. The film's physical look matches some of the complexities of the women in that it appears to be almost splashed in gold. It is, after all, the City of Lights. It's a beautiful movie that matches the pretty faces of its starring women.

Allen's screenplay leaps right off the page thanks to his cast, but this too is something that isn't unusual for a Woody Allen film. At his best, Allen picks actors that play their parts with a sense of realism that, when combined with some elements of the fantastic, charm the audience. Just about everyone here manages to do just this, with the exception of Rachel McAdams, who tries her hardest with an underdeveloped character. Marion Cotillard is the best of the cast (as per usual) in her role as Picasso's mistress. She's bursting with sexuality yet she's grounded in her ability to deliver her dialogue with her natural French accent.

Midnight in Paris is fantastique. In comparison to Woody Allen's previous tales of lust and spite, his newest film feels like a dessert rather than a filling entree, yet this is exactly how a good, highbrow summer movie should be. The cast shines just as bright as the lights at the top of the Eiffel Tower and Allen proves himself worthy of his place in society as a master director once again. By no means a classic, Midnight in Paris is a pretty little diversion, one that is grounded in a theatrical gimmick that totally works every time. This, along with The Tree of Life, will be one of a few summer movies that will dazzle visually (without explosions) and somehow manage not to insult the viewer's intelligence.

I'd been meaning to watch Midnight in Paris for ages but, I have to confess, I was put off by the presence of Owen Wilson, who I could not really envisage as the lead in a Woody Allen film. He was actually surprisingly good though and did a decent job as the vessel from which Allen's brilliant dialogue could be heard. However, this is not an actor-driven film or even a story-driven film; its beauty lies in the simple but clever script and the easy-going laid-back style that you'd expect from a Woody Allen film all about nostalgia.

To be fair, I can completely understand why there have been so many negative reviews of Midnight in Paris. There isn't a great deal going on superficially and the characters are all gloriously stereotypical. This doesn't matter though because, although the film is quite simple, it is at the same time wonderfully clever and thought-provoking. However, you do probably have to be in the right mood to watch it. I saw this film on a lazy Saturday afternoon and wasn't expecting too much, so when I was left both entertained and thinking about the past, the present and the future, it was a pleasant surprise. There are few films these days that still have you thinking about them several days later – this is definitely one of them. What do you want from life, with whom do you want to experience it, and why are we always so dissatisfied with where we are and what we've got? Like I say, quite thought-provoking!

It's incredibly ironic that some critics go on about how Woody Allen films aren't anywhere near as good as they were back in the seventies and that he's a has-been pseudo-intellectual, when here he is making a film about nostalgia and poking fun at pseudo-intellectuals in both an obvious and also a more subtle manner. Midnight in Paris is full of self-parody and interesting contradictions, but not everything is immediately apparent and I believe that some viewers of the film may have simply taken it at face value and consequently been left thinking "is that it then?".

On a slightly more negative side, I am perplexed that some people have praised the cinematography and the wonderful images of Paris in the light, in the dark and in the rain. To me, the use of colour and imagery are not too impressive and I would argue that Paris has looked far better in plenty of other films. The music can be a little annoying too – especially in the opening sequence, which seems to go on for ever!

As I said before though, Midnight in Paris is primarily about the dialogue and the interesting ideas that it throws out to the audience. Catch them if you like, and run with them. It's a great easy-going relaxing film that'll hopefully leave you both entertained and thought- provoked.

8/10

Woody Allen has done an excellent job in Midnight in Paris (MIP).

There are a lot of special features about this movie. The dialogue (script), the acting, the score, the cinematography.

Midnight in Paris provides a lot entertainment without essentially "going anywhere." It isn't an extraordinary story. It doesn't provide some deep meaningful message. It's merely a bunch of interesting dialogue mixed with outstanding acting put together to provide good entertainment.

The kind of entertainment I speak of in MIP isn't the ordinary type of "entertainment." It's a rare kind of entertainment and can only be found in certain movies. Pulp Fiction is the other prime example that springs to mind. Although very different in genre and script, there was one broad striking similarity I noticed between the two movies. They both have no purpose, no story (or at least, the "story" is used as a scapegoat to present the desired script in the movie), there basically isn't any real "reason" to see the movie. It's just about nothing. But what both movies succeed to do is just make you watch the movie, immerse yourself in it, provide you with a different kind of "comedy." It isn't comedy that makes you laugh out loud (for the most part) and it isn't failed comedy. It's the kind of comedy where you simply get subtle enjoyment from, you let out an occasional smirk or smile, but the smirk isn't necessarily in relation to the a specific comment in the movie, rather it's a smirk signifying your quiet enjoyment towards the film generally. You can sit there continuously for hours and days following repeated viewings of the film and not get bored simply because its so enjoying to watch. That's the kind of entrainment MIP offers and for the very same reason, it will attract negative attention from certain viewers, but not from me.

Next, the cinematography. Oh my gosh! I could have given this movie a 10 without the rest of the movie being so good. I, having visited Paris, for unfortunately not too long a period, fell in love with the city. It is the most romantic and beautiful city I have ever seen. It really is the city of love and all expectations were not only as good, but better. I hold this thought even though some friends I know of have had, well, not as great an experience as myself.

Woody manages to capture the beautiful presence of Paris like no other director. I felt like I was back in Paris and it sometimes managed to put a chill down my spine because of the amount of beauty I was both witnessing and remembering. I really can't say anymore about the cinematography except that it is the best, it is flawless, it is exceptional and if you have ever been to Paris and loved it, you'll definitely love this movie.

Moving onto the acting, I'll settle this briefly. Although MIP has a lot of very solid small roles (Rachel McAdams was very average, but I think that's how her character was intended to be), Owen Wilson is the complete stand out. Although I can't quote statistics, I think this may be the first movie Owen Wilson has been in which has scored and 8+ on IMDb. To put this bluntly, I'm not an Owen Wilson fan. I generally don't like his comedy. But in MIP I have never met any other actor who fits the lead role so perfectly. To put it metaphorically, Owen fits into MIP like a glove. I have never seen such an flawless representation of Woody Allen himself. Owen is Woody. And therein lies the perfection of his acting. He barely needs to act, because I know all he's doing is being himself and dishing out lines given to him, but it fits so perfect with a Woody image. All in all, MIP is Woody Allen movie, with a Woody Allen touch, a Woody Allen script, a Woody Allen cinematography and a Woody Allen leading actor.

Unfortunately, I can't express a very specific audience to which I would recommend this movie to. If you have been to Paris and loved it, chances are you will love it. It captures the beauty, the fashion, the culture and personality of Paris like it really is Paris. However, like I stated before, the dialogue in this movie and the "story" and "purpose" is something which will attract mixed feelings. I, for one, absolutely loved it. All I can say is that, if you agree with my comments above or if they touch an emotional nerve, then the chances of this movie doing the same to you is very high.

It is nothing too special. It doesn't provide a great message. It doesn't have a extraordinary story. But it provides for a rare kind of entertainment, coupled with exceptional cinematography and for these reasons, I cannot give any less than a 10.

I absolutely adore this movie. All of the actors did such a wonderful job portraying all of the figures and the movie itself is just absolutely stunning. This movie just brings me so much comfort and happiness, it never fails to make me feel better (even if it's just a little bit) when I'm feeling low or sick. And yes- i know it's not the most amazing film but it's still a good one!

Quite a lot of great lines carrying life's wisdom; Profound reflection and insight of living the precious present expressed in a light-hearted touch! If you have your own 'Golden Age' fantasy, you will likely enjoy it. This movie seems to be relatively more straightforward in communicating its message than some of Allen's other works, such as "You Will Meet a Tall Dark Stranger." As a plus, lovely cinematography of the city of Paris - Mr. Allen has apparently fallen in love with the 'good old (and charming)' European major cities; e.g., London, Paris, Barcelona and etc. Very likely, you will leave the movie theater with a big and warm smile on your face...