Simply enough, Midnight In Paris is Woody Allen’s love letter to Paris, Paris in the 1920’s, and his love for literature and writers. His adulation for Paris is on par here with his long and more compelling adulation for New York City.
Paris is always know as a romantic place and midnight is know as a romantic time for lovers so it was a good idea and romantic for Woody Allen to title his latest film Midnight In Paris. However I was skeptical on how Owen Wilson would do in the Woody Allen prototype neurotic character. To my surprise and delight he actually fit perfect with the role. Of course Woody Allen rewrote the part, which was 1st intended for a east coast persona, for Owen Wilson who is a west coast beach bum at his finest hour. The amazement, wonder, and bewilderment of a small child shinned through on Owen Wilson’s crooked nose face and were believable.
Rachel McAdams’ character was light, but showed the prototype of the wrong type of women for a writer. Her parents were also great characters as the opposite view of the protagonist.
The movie really take form when Owen Wilson’s Gil is picked up on a random street by a car filled with Paris in the 20’s. He meets many great writers but none played best with comic flare than Ernest Hemmingway.
This is the best Woody Allen movie in recent years. It’s light, it’s funny, and it has a point to make which is living in the past is only an attempt to runaway from the presence.
Ironic that it feels that many of Woody Allen’s recent movies try to recapture the magic that made him a film icon. If he failed to some or succeed to others with Midnight In Paris to recapture his magic, he did manager to recapture his American box office intake making Midnight In Paris his highest grossing film in 25 years beating out his last highest grossing movie Hannah and Her Sisters.
Can’t wait to see what Woody Allen has up his sleeves next.