I have a soft spot for Woody Allen movies. Even supposedly terrible ones like Scoop are films I can enjoy a great deal. Granted I've only seen about half of his movies, but there hasn't been even one that I downright disliked, simply a couple I haven't cared for as much. This year's offering (I say "this years" because Allen works so regularly that 1991 was the last year he didn't have a movie, and he still released 11 movies in the 90's) is the charming romantic comedy Midnight in Paris. It's not as deep or as impressive as Allen's best work, but damn if it isn't romantic, funny, and highly enjoyable.
Owen Wilson takes on the lead role here, that of hack screenwriter Gil Pender. He churns out crappy Hollywood movies but yearns to write a book and be important and worthy like his literary heroes. He's in Paris on vacation with his fiancee Inez (Rachel McAdams), they tagged along with her parents who're there on business. He's a romantic who wants to roam the streets and stop in cafes, drink wine and walk in the rain. He's the only one in the group who even likes being in France until he and Inez meet up with Paul and Carol (Michael Sheen and Nina Arianda) who want to take them to Versailles and drone on in pseudo-intellectual talk about French history and art. Gil just wants his simple pleasures (and to be out of the presence of the insufferably pompous Paul) and Inez is happy to get rid of him, so she lets him go.
While the clock strikes midnight one night, a car pulls up and a jovial group of people pull Gil in with them and take him to a party. At the party he sees a guy who looks mysteriously like Cole Porter singing songs to adoring listeners, and meet a couple who introduce themselves as the Fitzgerald's, F. Scott and Zelda. Scott takes a liking to Gil and offers to take him along to a bar they're going to to meet up with Hemingway. Gil finds himself magically drawn into the world of 1920's artistic Paris, a time and place he'd dreamt of his whole life. He runs across Dali, Bunuel, Man Ray, Gertrude Stein, Picasso, Matisse, and TS Elliot, among others during his few extraordinary nights. He also happens to run across the beautiful Adriana (Oscar winner Marion Cotillard), who has Picasso, Hemingway, and legendary bullfighter Juan Belmonte fighting for her affections. Gil falls for her just like the others do as he dreads the inevitable end of his miraculous journey through 1920's Paris.
Owen Wilson is one of the better actors when it comes to playing the traditional "Woody" role. He has a bit of Allen neurosis, while also keeping his strangely laid back charm, and some shades we've not seen from him before. His ability to portray Gil's hopeless romanticism, while those around him try to destroy it, is essential to making the movie work. Wilson's Wedding Crashers love interest McAdams is pitch perfectly hateable as Gil's relentlessly unsupportive fiancee, so obviously crushing on Michael Sheen's pedantic Paul while Gil is too busy being annoyed by him to notice. Marion Cotillard is as luminous as Paris itself, making it unsurprising that so many of the artists are using her as their muse.
The script is Allen's strongest since Sweet and Lowdown, the sweetness and romance fully coming through without being forced in the slightest. The gorgeous photography by ace cinematographer Darius Khondji brings an extra amount of warmth to the movie that fits in nicely with the unassuming romanticism Allen's going for. I also like Allen's comments on coming to terms with the times you live in and not getting bogged down in the nostalgia of the past, because the people in that time probably didn't think everything was so great and idealized a previous era too. Even with a little bit of intellectual comments on nostalgia, it's still hard not to think of this movie as simply one of the sweetest love stories I've seen in a long time, and glad to see one of my favorite filmmakers working at such a high level.