Paris, we love you

Midnight in Paris (2011)

Written and Directed by Woody Allen

The artists:

Ernest Hemingway (Cory Stoll)

F. Scott Fitzgerald (Tom Hiddleston)
Zelda Fitzgerald (Alison Pill)

Salvador Dali (Adrien Brody)

Cole Porter (Yves Heck)

Luis Bunuel (Adrien de Van)

T.S. Eliot (David Lowe)

Gertrude Stein (Kathy Bates)

Pablo Picasso (Marcial Di Fonzo Bo)

Woody Allen’s knowledge of and his appreciation for the great artists of the past has always attracted me to his work.  This is especially apparent in films like Annie Hall with its barrage of references and Manhattan (poking fun at the “Academy of the Overrated”) and even his newer work like Vicky Cristina Barcelona with the tip of the cap to Antoni Gaudi.  The auteur’s latest picture Midnight in Paris takes his love of art and brings it to the forefront. 

Prior to seeing the film I wasn’t sure being in good films was Owen Wilson’s thing.  Thankfully, Woody and casting director Juliette Taylor know what they’re doing as Wilson tackles his role with charm and enthusiasm.  He is Gil the romantic, a self-described Hollywood hack who would much rather write serious novels and live in Paris just like the great artists of the 1920’s.  He appreciates the little things like Paris at night, Paris in the rain and soaking in as much culture as he can.  His unsupportive and often hostile fiancée is Inez, played by Rachel McAdams.  Some say this is a throwaway role for McAdams and the only thing likable about her in the picture is cinematographer Darius Khondji’s fondness for her posterior.  McAdams has star billing but this film is Wilson’s and the scene-stealing artists he meets in Paris after midnight.

Adriana (Marion Cotillard) and Gil (Owen) enjoy Paris at night.

Gil is under the impression his life would be better if he lived in Paris of the 1920’s where giants like F. Scott Fitzgerald, Zelda Fitzgerald, Ernest Hemingway, Salvador Dali, Pablo Picasso, Luis Bunuel, Cole Porter frequented cafes, partied at Maxim’s, drank wine into the wee hours of the night and created magic.  The bearded and pedantic Paul (Michael Sheen) describes this “false notion” as having contempt for the present.  Naturally, the character of Paul is yet another shot at pseudo-intellectualism even though Paul is an “expert” in Monet, Picasso, wine and yes, even dancing.

Paul (Michael Sheen) is an expert in damn near everything.

The most fascinating parts of the film are when the clock strikes midnight and Gil is given a lift by literary and art icons each night and whisked away to a new adventure.  Gil encounters Ernest Hemingway (scene stealing Corey Stoll) who speaks the way he wrote:

Gil: Gil Pender.
Ernest Hemingway: Hemingway.
Gil: Hemingway?
Ernest Hemingway: You liked my book?
Gil: Liked? I loved all of your work.
Ernest Hemingway: Yes. It was a good book because it was an honest book, and that's what war does to men. And there's nothing fine and noble about dying in the mud unless you die gracefully. And then it's not only noble but brave.

Ernest Hemingway (Corey Stoll -center-)

The same can be said of Woody’s Fitzgerald (Tom Hiddleston) who calls friends “old sport” much like Jay Gatsby. It’s also fun to see the unpredictably of Zelda (“She’s just as we imagined and read about!”) portrayed by Alison Pill.  Zelda is insecure in her relationship with Scott, she clashes with Hemingway who hated her writing and friends note “her great talent seems to be drinking”.  Viewers won’t be able to forget Adrien Brody as Salvador Dali and his rhinoceros monologue.  Likewise for Kathy Bates’ Gertrude Stein, the friend to artists and the only one Hemingway trusted to provide feedback on his work.  Gil confides in her for a critique on his novel.

Gil and the 1920's gang.

Running parallel to the endless array of artists making appearances is Gil’s love interest Adriana (Marion Cotillard).  She’s an aspiring costume designer although she’s more of a mistress to a variety of artists like Picasso.  This love angle evokes Purple Rose of Cairo because it works in its fantasy context only.  Much like that film, Midnight in Paris explores fantasy versus reality, but with a denouement that is appreciative to both sides.

Midnight in Paris will delight movie-goers with its charm, romance and wit and should please Woody devotees who will smile at Woody’s almost Manhattan-like opening scene of Paris lovingly set to Sidney Bechet’s (his favorite musician) soulful “Si Tu Vois Ma Mere”.  ****

Pull up a chair and let Dali (Adrien Brody) tell you about the rhinoceros.