It is very maddening as a cinephile when I am inundated with advertising for the latest Kevin James masterpiece or even a Michael Bay explosion extravaganza yet never once see an advertisement for quite possibly the best film I've seen this year. This is the case with Midnight in Paris, the latest and possibly one of the best films in the career of Woody Allen. I am not much of an Allen fan, in fact his particular schmaltzy, whiney humor turns me off. But on the recommendation of one of the two I trust, I went to see this film. I was utterly captivated and struck with that rare feeling. There are times when one can watch a film and not only get completely lost within the film but also get that drive and desire to make things similar. This film is one of those that will make others want to become filmmakers and that is a powerful thing. Every aspect of this film is done remarkably well, making it one of my favorites of 2011 immediately.
Let me start with the writing. The concept of the narrative is remarkable. Allen creates a layered and complex narrative that is fascinating. And unlike another of my favorites from the recent past, Inception (Christopher Nolan, 2010), this narrative doesn't require multiple viewings to peel back those layers. The films analyzes the role and purpose of art in past and contemporary society and gives voice to that ancient struggle any artist faces, surviving while maintaining their integrity as an artist. It also looks at the fate of modern man, trapped in a world where succumbing to societal pressures becomes the far easier, primarily taken route one travels. And then ultimately it is also a love story, one where a man must find his true passion as well as deal with escaping that which will serve to bind him. A story this good, written this well had better earn some Oscar consideration.
What makes the narrative so good, so powerful is in it's examination of modern man struggling to cope with societal pressures and expectations. Gil Pender (Owen Wilson) is a successful man. He is engaged to a beautiful woman, has a rather successful and lucrative career as a Hollywood screenwriter yet something doesn't quite add up for Gil. He is on his second visit to Paris, and he laments two things. First he feels he shortchanged himself on his previous visit, hindering his artistic future. Second, he romanticizes Paris of the 1920's and it's attendant residents, the members of the Lost Generation. Ultimately Gil has reached a crossroads in his life, as we all do sooner or later. And at this crossroads he is forced to see things objectively. Will he choose the mainstream life and probably be unhappy? Or shall he follow his heart and ultimately do what will be fulfilling and leave him happy? This is a very powerful situation he faces and one that is extremely prevalent in contemporary society. We are constantly bombarded with images and pressures of how we are 'supposed' to live our lives. Yet where has the creativity gone? Our energy and passion for things. This is a beautiful moment in your life, if you ever face this choice. It truly changes your life. ( on a personal note, I've faced it, chosen my path and never looked back. If only you have the chance to be so lucky)
As much as the writing is beautiful and the power of the narrative so fitting, the score for this film is both at the same time. Going back and bringing alive the music of the era was just fantastic and fit every place it was put into for the film. Also, the job done by the art department and the overall production design for the film was tremendous. The costumes were flawless, the myriad pieces from the era beautiful. And the casting of the supporting characters made the film. Though small, Adrien Brody's turn as "Dali" (I wish I could write the inflection Brody placed on his name, comedy gold) was a scene stealer and indicative of a great performance by all.
Speaking of great performances, Owen Wilson turns in his career defining moment in the role of Gil Pender. At times quirky and off beat, at definite odds with his fiancée family, Wilson hits the role of Pender as the artist at a crossroads perfectly. Yet the most amazing part of his performance lies in his eerily similar mannerisms to a young Woody Allen. Watch the film and tell me Wilson doesn't remind you of Alvy Singer (Allen) in Annie Hall (Allen, 1977). Coincidentally, the last comedy to win Best Picture. Also of particular note is the beauty and grace of Marion Cotillard. She single handedly is going to make me want to go to Paris and give up my eternal chase of Barbie and find myself a European charmer! And Rachel McAdams is stunning as well. Can someone please tell her to remain a blonde for all her roles?
This is a great film, one you may not have heard about or seen advertised. It is a romantic comedy albeit one that stretches the conventions of the genre. That said, with the dearth of quality in that genre, maybe stretching conventions is what's needed. And ultimately I hope that the Academy remembers this film come awards season, because it deserves the recognition.
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