Here is what I watched in November. Continue reading “Films Watched: November 2011”
The best artists are driven by their nostalgia for the greats who came before them. They are then able to turn their longing for the past into an appreciation of the present. This is what Woody Allen wants us to take away from his latest film, Midnight in Paris.
Midnight in Paris stars Owen Wilson as Gil Pender, a Los Angeles-based screenwriter on a Parisian vacation with his image-concerned fiancée, Inez (Rachel McAdams). Gil, like any other artist, is fascinated by the cultural history of Paris and he romanticizes living in some Parisian attic as a expatriate writer. But Inez has other ideas. For her, Paris is great to visit while wearing ill-fitting shirt dresses, but nothing else. This difference drives a wedge between their relationship (though it is hard to see how they ever got together in the first place).
Also on their trip are Inez’s equally image-concerned parents (yes, buy the really ugly expensive chairs that you can only find in Paris) who trust Gil about as far as they can throw him. By chance, Inez and Gil encounter friends, Paul (Michael Sheen) and Carol (Nina Arianda) in the French capital. The couples go site seeing with each other and Paul’s pretentiousness further alienates Gil from Inez.
When Gil wallows in his frustrations while taking a walk at midnight, he is transported into the fantasy world of 1920s Paris. He meets literary greats and artists like Fitzgrald, Hemingway, Picasso, Stein, and Dali who help him with his novel about, what else, a man who works in a nostalgia shop. Gil also finds a muse in the gorgeous Adriana (Marion Cotillard), a woman who toys the affections of all the greats and sparks Gil’s romantic side. His wondrous encounters with Adriana and the other Lost Generation personas inspire Gil to take control over the direction of his life.
Allen makes no secret that Midnight in Paris is drive in by a love for a great city’s history. The beautiful opening shots of Parisian landmarks, set to Sidney Bechet’s “Si to va ma mere“, introduces an American audience to a highly romanticized view of Paris. The first scene of Gil and Inez in Monet’s garden at Giverny looks just like a painting. Gil, discussing his love of Paris and Inez, looks like he is a part of this painting while Inez never quite fits. Their differences are painfully obvious right from the beginning.
As the infamous personas – Cole Porter, Josephine Baker, TS Elliot – appear on the screen, the nostalgia for the past only swells. The actors – Adrien Brody as Salvador Dalí, Kathy Bates as Gertrude Stein, Corey Stoll as Ernest Hemingway – seem to be having great time in these roles. There is also plenty humor to be taken from the presence of these characters and with Gil acting as the audience, staring at them with amazement . In one scene, Gil tries to explain his problem of being from the future visiting the past to Dali and Luis Bunuel (Adrien de Van), until he realizes that he won’t get far because they are surrealists.
Midnight in Paris has become one of Woody Allen’s most successful films in 25 years already earning more than $23.3 million and it is a greater critical success than Allen’s previous two efforts. Allen continues his tour of great European cities with his next film The Bop Decameron, a romantic comedy set in Rome. Does any of that really matter though? Part of the fun of anticipating any Woody Allen is analyzing the few facts we know before seeing the final product and knowing we’ll watch it as long as Allen has made it.
Last week I posted the poster for Woody Allen’s upcoming Midnight in Paris, starring Owen Wilson, Rachel McAdams, Michael Sheen, and Marion Cotillard. The trailer began making its way around the internet today. Check it out below.
Midnight in Paris seems like a wonderful crowd pleaser. The cinematography, just judging from this trailer, is outstanding; Paris has never looked more gorgeous. I find myself giggling at Michael Sheen’s bearded pseudo-intellectual American and the brief glimpse of Cotillard makes me smile. No doubt she will make the movie all the more memorable. I am so looking forward to May 20.
Here is the poster for Woody Allen’s upcoming film Midnight in Paris, which is premiering at the Cannes Film Festival in May. So far, Midnight in Paris is the only film confirmed for the Cannes Film Festival lineup. (The other films will be announced on April 14.)
How very Van Gogh! What could this poster, which borders on a bad Photoshop project, possibly be saying about Midnight in Paris? The cast includes Owen Wilson, Adrien Brody, Marion Cotillard, and even French first lady Carla Bruni-Sarkozy in the romantic comedy about a family traveling to Paris on a business trip.
What do you think of the Van Gogh inspired poster? And more importantly, what European city should Woody Allen tackle next? It has already been announced that Allen will shoot his next film in Rome. I would love to see cities I love such as Berlin or Prague get the Woody Allen treatment. Even more ideal would be Istanbul (I have a serious love affair with that city).
When I go into a romantic comedy directed by Roger Michell (Notting Hill) and written by Aline Brosh McKenna (The Devil Wears Prada), I expect quirky characters, some funny monologues, and montages set to the poppiest of pop tunes. What I don’t expect is Broadcast News, the film Morning Glory has been endlessly compared to since its release. Morning Glory lacks the deep, satirical introspection of broadcast journalism that makes Broadcast News a juicy classic. But in the case of this movie, it doesn’t bother me one bit. If I want Broadcast News, I’ll watch Broadcast News.
Becky Fuller (Rachel McAdams, finally getting a role worthy of her boundless screen charm) is a young, harried, loveless, workaholic producer for a New Jersey morning news program. (She also has really unfortunate but endearing bangs.) After being fired, she sets out on a frantic job hunt that lands her way into an executive producing gig with “Daybreak”, the joke of the morning news.
The experienced but dedicated Becky is given the seemingly impossible task of saving the fourth-rated program from cancellation. She hardballs legendary news anchor Mike Pomeroy (Harrison Ford) into joining the program as co-anchor with Colleen Peck (Diane Keaton). Pomeroy and Peck battle it out on the airwaves for control over the show with Becky stuck as the middleman. Ford, nailing the part of the curmudgeon newscaster, steal scenes with every monotone mumble.
In a movie all about its endearing female lead finding success and love, it is the romance that’s put on the backburner. We’re supposed to care that Becky’s relationship with hunky news producer Adam (Patrick Wilson) is floundering. (Girl, just put down the Blackberry!) But we don’t. That is in part because their relationship is inconsistent and underdeveloped. Adam is just a prop, whose sole purpose is to teach Becky how not to be a neurotic workaholic and to show the audience just how lovable she can be.
Instead it is the comical and mature work relationship that develops between Becky and Pomeroy that becomes the true focus of Morning Glory. Her overenthusiastic, can-do attitude to his hard-edged, never-smiling persona plays off each other perfectly. Albeit McAdams sometimes seemed more than crazed. (The bangs really don’t help.)
When you place these two character’s alongside “Daybreak”’s quirky characters, the up-for-anything Colleen, the goofy weatherman, the entertainment girl with a limited vocabulary, -who all join in Becky’s shameless attempts to boost ratings – the effortless charm of Morning Glory wins out.
Yes, Morning Glory may lack the depth of Broadcast News. But since when does every movie set in a newsroom have to be Broadcast News? That presumption and expectation sets an impossible standard for most films to reach. Especially when Morning Glory is, in its own way, a solid, enjoyable, and yes, fluffy, to use Mike Pomeroy’s favorite word, romantic-comedy.