Gil Pender (Owen Wilson), visiting Paris for unknown length of time, is so taken by the city that he considers moving in, be a perpetual tourist and write his novel. His fiancée Inez (Rachel McAdams) thinks that he should go back to Southern California and stay on as the moderately successful screenwriter that he is. His romanticized view of Paris gets intermittently interrupted by his fiancée’s parents, her older friend Paul (Michael Sheen) and the latter’s yes-woman of a fiancée. After a wine tasting party, Gil takes a rain check when Inez and Paul want to go out dancing. He wants to ingest the city and gets lost. While sitting on some steps, the bells ring midnight, a vintage car stops in front of him and inside are people dressed up for a 1920’s themes costume party. They wave him in, he follows, and they take a ride from one charming, drunken party to another in for real 1920’s Paris.
In his review of Woody Allen‘s new film Midnight in Paris for The New York Times, A.O. Scott says ‘critics…complain when he repeats himself and also when he experiments.’ The same can be said in his version of 1920’s France, the historical characters from that bygone era depicted like Coles Notes. Gertrude Stein (Kathy Bates, because who else?) saying something quotable and eloquent! Ernest Hemingway saying something equally quotable eloquent on an awesome musky drunken haze! Zelda Fitzgerald (Alison Pill) and Salvador Dali (Adrien Brody) saying something coarse and/or surreal that no one rightfully bothered to write down! It’s a damned if he does or doesn’t scenario. The latter might have made history buffs and literati take their own nails out. But choosing the former makes history seem like pushing a button to reassure Gil, as he tells Inez, that the people in the past are exactly what he thought they would be, and that he might not learn anything new despite going into this different world.
Thankfully, history gets a different narrative through Ariana (Marion Cotilliard), a fashion designer originally from a smaller French city. Conventionally, no one in her time would write about her, the thankless muse and objectified trophy to many artists. She’s smitten by Gil’s writing and befriends him. Instead of the gilded tourist-y, antique shop present day France that Gil experiences in daylight, shot marvellously by Darius Khondji, his midnight strolls in 1920’s Paris with Ariana are gray, mahogany and smoke. She leads him to avenues with a whopping four prostitutes in one block. Four! She tells him about her relatively hard life and her encounters with sleazy people of that time.
Through Cotilliard’s commendable performance, Ariana talks about being these artists’ and writers’ lovers or working under revered couturiers as a measly job or a mere stop to a drifter’s journey instead of an honour that Gil thinks it is. Kindred spirits with differences attract, and it’s very convincing that instead of hanging out and being a sponge to ideas from these great writers, he is more fascinated with ‘some girl.’ Ariana is just one of the film’s female characters who are counter-subversive to Gil’s subversion, being able to see the cracks within his nostalgia. Gertrude Stein criticizes a painting that would end up in a gallery that Gil revisits in the present day. Inez’ mother questions his lack of taste in furniture.
Woody Allen’s previous takes on the past are more magical, an element greatly missed in this film. Sure, there’s that bit of dust touching the vintage car as they’re going to Cole Porter’s party, but instead of fully embracing the world where Gil finds himself, we instead see his eyes get bigger, the characters introducing themselves with names of people who have been dead for years. But at least he replaces magic with self-awareness.
- Movie Review – Midnight in Paris (** out of 5) (chicagonow.com)
This is the first draft of my review for Hall Pass for the Innis Herald, a college publication that I write for and that, to my knowledge, doesn’t have a frequently updated web version yet. But you know, those kids have essays to write. Here goes…
Think of this movie as “The Ice Storm” but with explicit and projectile poop.
Due to a few loosely stringed factors – their husbands Rick (Owen Wilson) and Fred (Jason Sudeikis) constantly checking out other younger women while going on a night out with them, accidentally listening to said husbands talk about how much money they’ll pay to be with another woman, the advice of an older but energized neighbor Dr. Lucy (Joy Behar), embarrassing themselves in front of the other neighbors by talking about the said neighbors lady regions – Maggie (Jenna Fischer) and Grace (Christina Applegate) spitefully give their respective husbands the titular “Hall Pass.” The two Rhode Island wives leave for a week and let the men be boys again.
It’s strange how I have to talk about the women – subject – giving Rick and Fred – predicate – the said hall passes, since the subjects of more than half of the film are the men and their Berlusconi-esque pursuit for preferably young, just-turned-21 vaginas. We see the men doing it all wrong, in their forties having to go to the wrongest of places to pick up girls. Day 1 or Day 2, introduced through title cars with the “Law and Order” chimes, is spent chowing down banquets in Applebees, the married men stuck in domesticated suburbs instead of going to clubs or wherever where all the nubile women are supposed to be.
Forty percent, at the most, also show Maggie and Grace enjoying, by default, the sabbatical from their husbands. In Cape Cod with their parents, they watch a baseball game where Maggie catches the eye of the older but dreamy coach and Grace, being the prettier one, gets the attention of the hunky young star player (Tyler Hoechlin, the little boy from “Road to Perdition” all grown up). While the men are failing in their quests and having second thoughts about their temporary freedom, Maggie and Grace have the same anxieties even if the chances are knocking at them unsolicited. The guy who introduced their film tells writer-director Bobby Farrelly, who was present during the screening, that this is his first ‘chick flick.’
During the preview screening, there was this woman laughing so hard during a full frontal male nude scene, which made me pray for her unfortunate life. I ended my review by saying that the film’s ending makes me jealous of Stephen Merchant. 3/5.
‘Cameron Diaz is born in 1972. Her father is Cuban and her mother is part Cherokee. Her Cherokee heritage is the reason we’re showing her movies here at APTN.’ So says the voice-over. Here she’s paired with Pete (Owen Wilson), because the film would rather pay for martial arts training than pay for the more expensive Wilson brother.
This should be bad movie territory, and of course it’s not perfect. It’s also an excuse to advertise Nokia, and break said Nokia. The film also has a lot of different espionage scenarios that it might as well be written by the manatees who write Family Guy, which isn’t that bad of a thing here. I saw it for the first time was when I was twelve. The film also makes room for comedy that I can still laugh at today. I don’t know where comedy is placed in McG‘s priorities, so I’ll give the cast credit for that. Fact! Lucy Liu was the fifth choice to play Alex. Other actresses slotted to play Alex were Julia Roberts and Jada Pinkett-Smith, who have their own humour. Other actresses Angelina Jolie and Thandie Newton can wear skimpy leather office wear. But I can only see Liu balance sexy, campy and funny, both dominating and empowering the Red Star engineers. Of course, the film needs someone who can bring funny as much as Diaz, Drew Barrymore and Bill Murray, who have a steady hand in comedy work.
And who can turn down Bill Murray who in the film look like he’s almost improvising? ‘May I have some ice water please?’ He then does some pretend crying, talks to a bird, plays catch with a wall, put antenna in his head, makes fun of Cher. Hilarious.
‘Bitch’ is used in the film at a time when, I imagine, it would sting as bad as the c-word did last year. The word is mostly directed to the angels. The frumpy woman at Red Star says it to Alex, Natalie (Diaz) says it to Eric Knox’s associate Vivian Wood. But when a guy says it to Natalie, he gets punished for it. To our delight.
Fact! Although this is the movie that helped Barrymore into a marriage with Tom Green, this movie put her in the arms of another man. Sam Rockwell and her play doomed couple Eric Knox and Dylan. This won’t be the last time Rockwell’s character would hide something from Barrymore’s. They’ll also be paired up two years later in Confessions of a Dangerous Mind. Their careers have gone on different paths, but someone pair these two people again, in a more serious movie this time.
The sequence is also one of director McG’s Wachowski Brothers references in the action part of the film, Knox shooting Dylan bullet time style and all. Dylan would later do air kicks, destroying four guys at the same time. Dylan is the shorter and more voluptuous of the girls, the others look like ballerinas while they’re fighting. But she throws more punches that the audience can feel.
The Chad (Tom Green) is great. Where is the Chad? I still think he’s funny and it’s weird to see this film showing him as a relic of the past. Well, as long as he isn’t doing damage to movies today. He’s Canadian? Dammit I was looking forward to hating him!
The film also has a well-rounded soundtrack that covered my bipolar music tastes spanning a decade, from Prodigy to Heart. And of course, to the disco music that is the only clear reference to the TV show in which the movie is based. The final act doesn’t show what Charlie looks like but where Charlie lives. I imagined him to be more of an office guy than some old coot with a Hawaiian shirt on a beach house. Strange. Anyway, Hope you had fun as much as I did.
- Casting the ‘Charlie’s Angels’ Reboot (tvsquad.com)