Free Man in Paris

MIDNIGHT IN PARIS (2011)

Midnight in Paris is a movie which made me gush from start to finish. It must be rare when a film makes you perpetually exult. My eyes were moist almost throughout. I felt like Mia Farrow from The Purple Rose of Cairo (1985), the last shot where she is watching Top Hat (1935), the twinkle in her eyes. This film matches the magic of films like The Purple Rose of Cairo and Top Hat. It is a feel-good film like no other. The feeling of nostalgia never transcended from screen to viewer as incisively and as beautifully as this. If you saw me watching this film (that would be mind-numbingly boring, I know) you wouldn’t find it difficult in the least to notice a constant twinkle in at least one of my eyes. My fingers were itching to rhapsodize my experience in words. But if I reveal much of the film, I will be corroding your rendezvous. To put it in a nutshell, it’s a swell time at the movies! (I had to use the word 'swell', I just had to)

Woody Allen has been accused of making a comeback thrice in the past decade. First with Match Point (2005), then with Vicky Cristina Barcelona (2008) and now with Midnight in Paris. His best in the past decade they may be but I consider these false accusations. For me, Woody Allen had not gone anywhere for him to make a comeback. It’s a shame his films are not celebrated widely any longer. Nobody verbalizes it but their thought bubbles tag him as a fading filmmaker who is spurting out a few great ones while he takes his curtain call. Not me. I don’t even think it. His films are still as good as they were. Scoop (2006) is a perfectly delightful film; Whatever Works (2009) is hilarious and perceptive and even Anything Else (2003) had its moments. If you like You Will Meet A Tall Dark Stranger (2010), you are a certified Woody Allen fan. Needless to say, Woody Allen is one of my top ten favorite directors of all time. Surprisingly, even I can categorically (forcibly) differentiate between Allen’s lesser films (perfectly enjoyable as they are) and his greater films. Oh and this is one of those great ones. Hell yes it is.

This is a perfect companion piece to The Purple Rose of Cairo (1985) which happens to be my favorite film of his. I was bound to love this movie. Bullets Over Broadway (1994) is my second favorite. And lo! Midnight in Paris is a cross between these two films. What more could I want? This is movie heaven. (It exists, duh). This film combines the mystique and whimsy of Purple Rose of Cairo, with the angst of the writer in Bullets Over Broadway and the nostalgia of Radio Days (1987).

I am mighty impressed with Owen Wilson who plays Gil, the writer. In my humble opinion, Wilson has no business being in any movie if it isn’t made by Wes Anderson or called Zoolander (2001). But here, he is terrific. Take one joke, for example. Gil says “Yes, but you’re a surrealist! I’m a normal guy!” I literally LOL'd. (Yes, the context of this joke matters here). His witty timing and ability to match the pitch of Woody Allen’s writing is remarkable. He knows the words as well as Allen does when he was writing them. He is the perfect replacement for a Woody Allen-esque character, he talks with the same earnestness and fervor. This actor Allen has been searching for, in Will Ferrell and Larry David. His search ends here. Although Jesse Eisenberg comes next in Nero Fiddled (love that title!), which could prove me wrong. Only time can tell. Time. Now we get to the subject of time.

(SPOILERS AHEAD: Read no further if you want to watch the film without knowing anything about its beauty)

A film that Allen likes to refer to a lot is The Exterminating Angel (1962), Luis Buñuel's greatest film. Here, the reference is probably the funniest joke in the film. The Exterminating Angel is about an upper-class dinner party wherein the guests are unable to leave. Why? Well, for no apparent reason. Oddly enough, Midnight in Paris is a quasi-time-travel movie. Here the time-traveling has no reason as well. He just goes into another time (by literally traveling.. hehe.. funny). This time Allen picks out the Roaring Twenties, the Jazz Age.. L’age d’or, if you may. I was on the edge of my seat. I felt I was meeting F. Scott Fitzgerald, Cole Porter, Pablo Picasso, Salvador Dali and Luis Bunuel in person. I was jumping with joy just like Gil was. I didn’t want it to end. Allen understands the surrealism that is inherent in the medium of film and makes proper use of it. How real it can be.

(Spoilers end)

Marion Cotillard is the heart of this film. (The whole film is full of heart, you may argue). There is a wonderful scene near the end with her and Gil that nudges this film into the great film category. Every Woody Allen film has great supporting performances. Here, they are given by Adrien Brody and Kathy Bates. New York was where most of Allen’s movies were set. Then came London, Barcelona and now Paris. Next up is Rome. Mr. Woody Allen, may you live a 100 years more and make a film on every city you have ever visited. Midnight in Paris is probably his most delightful, charming and lovable films. I dare you to hate this film. I double-dare you.

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