New Release Review: Midnight in Paris (Woody Allen, 2011)

Midnight in Paris is truly a delight. Woody Allen has built a film that is near impossible not to become immersed in and be enthralled by, even if your knowledge of literature, film and art history and the wonderful characters that define past eras of artistic creation is not up to speed; there is still plenty to admire and enjoy. Woody Allen has infused his highly intellectual screenplay (which is his most wildly imaginative in some time) with plenty of wit, has channeled the neurotic qualities of his persona through Owen Wilson, who delivers a stellar performance, and has created a real treat, and one of the most recommendable film experiences of the year.

Finding himself blown away by his magical discoveries on the streets of Paris, Gil Pender (Wilson) finds his life is changed forever amidst a perplexing realm of nostalgia – which is 75 year-old Woody Allen's way to honour the writers, artists and filmmakers he was inspired by and continues to admire, and capture a city he clearly loves. Midnight in Paris is a declaration of love for Paris, the romance it generates, both between humans and within the Arts, and as a source of inspiration and enlightenment.

The opening reminds one of a tourist video promoting the beauty, tranquility and surrealism of the City of Love through a montage of short shots, capturing all avenues of the city, at first by day and then by night. It isn’t entirely a series of postcard shots (though there are shots of the Champs-Elysees, the Louvre and the Eiffel Tower, of course) but also consists of quaint alleyways, cafes, parks and foot crossings. There is an effortless beauty to the images but Allen's purpose is to remain restrained - knowing the delights in store for the audience once the clock strikes midnight. It is next-to-impossible to explain the story and enthusiastically discuss the film without revealing the imaginative twists of the plot, so I'll warn you here, there will be a few spoilers later.

Gil Pender is a talented and successful but humble Hollywood screenwriter whose career hasn't reached the imaginative heights he always hoped it would. He has become distracted by the idea of writing a great novel, something of intellectual substance. He is struggling to finish his first one about a man who works in a 'nostalgia store' and wants to absorb the romanticism of Paris for inspiration. He, and his fiance Inez (Rachel McAdams), are vacationing there with Inez's wealthy parents (Mimi Kennedy and Kurt Fuller), who are critical of Gil's desire to abandon his lucrative Hollywood career. Inez doesn't share Gil's whimsical qualities and romantic view of Paris, nor his passion for Art, and becomes a tad obsessed with an old friend, Paul (Michael Sheen), who they meet by-chance in a restaurant.

Paul is a pseudo-intellectual, a pompous, pedantic and arrogant man who speaks with great authority and passion about a variety of topics ("He's an expert on French wine") but is often shallow and inaccurate with his insight. Gil finds Paul insufferable and decides to decline an invitation to accompany the party dancing, and walk back to the hotel through the streets of Paris alone. Having become lost, both psychologically (Gil realises his ideals aren't suited to the present era) and geographically, and still feeling a little drunk, he sits down on a set of stairs. Following the nearby chime of a bell, indicating midnight, an antique car of champagne-drinking partygoers stops and invites him to join them. As soon as he enters the car, Gil's life will never be the same again. He meets an eclectic mix of vibrant, colourful company and partakes in lavish parties, dancing and all assortments of eye-opening wonder - and an all-star cast, including Marion Cotillard, Kathy Bates, Tom Hiddleston and Adrien Brody (in one of the best cameo performances, ever) pop up to join in the festivities.

Owen Wilson is sensational. His performances in the films of Wes Anderson were always great but he imbues Gil with a likeable personality and expertly captures Woody Allen's rambling awkwardness. Though, the evidence that Allen has used his central character as a surrogate is far less evident here. Wilson is also quite charming and his comic timing alongside a brilliant Michael Sheen is perfect. The ensemble cast, across the board, is excellent, and all seem to be having a magnificent time. Marion Cotillard is one of the most luminous beauties in the world - and even Gil exclaims that her character Adriana has "one of the best faces ever".

The luscious cinematography from Johanne Debas and Darius Khondji is gorgeous, beautifully capturing the streets of Paris by night. Through expert interior lighting, detailed production design, beautiful period costumes, and a lively soundtrack, the 1920's (okay, so Gil is transported back to the 20's) is recreated not to be accurate, but to replicate how Gil imagined it would have been, with all his idols depicted as eccentric and immediately hospitable.

I’m an admirer of Woody Allen’s work, but I have seen far too little of his 70’s and 80’s resume. Annie Hall is sublime, but I also enjoyed Match Point, Vicki Cristina Barcelona and even Whatever Works. This is immediately a personal favourite. Allen, in addition to critiquing criticism - Paul assumes his opinion of a Picasso to be correct, while Gil's appreciation, having actually experienced a little of the artist and the context, is much more informed and passionate - also implies that artists aren’t content to create in their own era, and reminisce on the past times of their idols, when they believe inspiration was more alive. Gil is in love with a fantasy, with his perfect scenario – walking around Paris (preferably in the rain) in 1920’s with his literary idols – transforming into an alternate reality that ultimately influences his own.

You don’t need to have read a novel by F. Scott Fitzgerald or Ernest Hemmingway, seen a film by Luis Bunuel or be familiar with the work of Pablo Picaso and Salvadore Dali to thoroughly enjoy this film – the fact that you have heard of these artists and recognise their cultural significance, is enough to warrant their involvement in this film to work. I had such a great time. A smile was stretched permanently across my face. I was giddy with excitement from the very beginning; I was charmed by Wilson’s likeable performance and I fell in love with the extremely alluring Frenchwoman, Marion Cotillard, all over again.

Verdict: Midnight in Paris is an absolute delight; a deft blend of amusing ridicule against the pedantic, arrogant variety, a critique of criticism, a whimsical romanticism of the artist and intellectual and a charming, emotionally resonating tale about individualism, and the desire to wholeheartedly fulfill one’s desires and beautiful fantasies. Easily one of the best films of 2011.

My Rating: ★★★★ 1/2 (A-)