My Review of Midnight in Paris: Chasing After the ‘Golden Age’

~ A light, whimsical and fleeting romance with the past. 

Film critics have labelled Midnight in Paris an unexpected comeback for the Woody Allen of old. Having lived in Paris for 9 months in 2001, I have to admit that I could relate to the overarching theme encapsulated in Allen’s light-hearted comedic exploration of historic Paris – you can’t live in the past, as alluring as the past may seem.

As with all films that pay tribute to iconic Parisian landmarks, I can’t help but feel nostalgic about that brief period in the past when I lived in the most romantic city on earth. The cinematography of the opening shots evoked these wistful feelings once more and had me longing for my personal bygone era.

Midnight in Paris sees Woody Allen cast Owen Wilson as his latest alter ego, a role that I personally don’t find befitting of the altogether generic Wilson. I find him quite intolerable unless cast in the slapstick romcoms in the same vain as Marley & Me, Zoolander, Wedding Crashers and the like. Nevertheless, despite my personal dislike of Wilson, I can still appreciate Allen’s reason for casting him in the role.

Owen Wilson as Gil in Midnight in Paris

Wilson plays Gil, a hack Hollywood screenwriter with grand ambitions to become a serious novelist. He visits Paris with his utterly annoying fiancée, Inez, played by the beautiful Rachel McAdams. Gil idealises Paris as the city of inspiration and idolizes literary and artistic giants of old. Gil’s holiday is turning into a rather exasperating time with Inez, her stuffy parents and her pseudo-intellectual friends, when he is extraordinarily transported to the Paris of The Twenties over several nights.

During these encounters with history, he rubs shoulders with the likes of Hemingway, F. Scott Fitzgerald, Gertrude Stein and Pablo Picasso. Gil is also presented with the alternative to his irritating fiancée in the form of the lovely Adriana, played by Marion Cotillard, former mistress and muse to Modigliani, Braque and recently Picasso.

I want to live in The Twenties too - for the clothing!

Gil, with the final draft of his book in tow, asks Gertrude Stein to critique his work and gets caught up in romantic dialogue with Adriana. She, like him, idealizes a bygone era and wishes for the livelier Belle Epoque of the 1890s. Over the course of his time-travelling excursions, Gil does find the insight he craves for his art and his relationship. Although the past is to be cherished, Gil finds happiness in his present – thankfully not with Inez (good riddance!).

On a personal note, I can say that the Paris of my memories is not the Paris I experienced back in 2001. I too think back nostalgically to my time in Paris, as it is depicted in the opening shots to Midnight in Paris, but it was mostly a city filled with unfriendly people, filthy streets and depressing weather. It’s interesting how the mind works to romanticize memories.

Dug this one up from my old pics. A typically, gloomy Paris. 

If you’re even vaguely a Woody Allen fan, Midnight in Paris is worth a watch. I loved the visual feast that is Paris and the costume designer, Sonia Grande, did a good job in recreating the different periods. I loved the little 1920s numbers worn by Marion Cotillard, although I’m quite sure she’d look gorgeous in just about anything. 

A surprising part of the film is the cameo by the French First Lady, Carla Bruni-Sarkozy, who plays the tour guide at the Rodin Museum. I admit, I did not recognize her as Nicholas Sarkozy's wife when I watched the film, but now that I do, I have to say - move aside Obamas, the Sarkozy’s are quite a handsome pair (okay, it's pretty much all her).

If you'd like to read another review of the film, I usually enjoy Peter Travers' reviews. Here is Peter Travers' review of Midnight in Paris.