WOODY ALLEN SCRIPTS ONE OF HIS BEST
Midnight In Paris
Midnight In Paris is what you call a ‘Woody Allen special’. Beautifully shot in hues of red (Allen says the idea was to emanate a “warm feeling” as you watch the film), it’s the director’s 41st film, and his first completely shot in the French capital.
Midnight In Paris tells the story of a popular Hollywood scriptwriter, Gil, who’s trying his hand at his first novel without much success. A romantic in love with all things vintage, much like his novel’s protagonist, Gil is shown to have a rocky relationship with fiancé, Inez, a far more practical and slightly dominating woman. On a trip to Paris with Inez and her parents, Gil chances upon a mystical world, one where all his inspirations — Ernest Hemingway, Scott Fitzgerald, Pablo Picasso, Salvador Dali among others — come alive post-midnight. Gil realises he is transported to Paris in the 1920s, the “classic era”, where art, literature and music is thriving, with the greats shaping art and culture as we would later come to know in the modern world. The film is a literature lover’s wet dream come true. Allen seamlessly merges the real world with the dreamy one, the film bursting with witty writing and “warm” moments. Allen’s trademark humour is apparent right through, and the art direction makes every frame a treat. Allen opens the film with a rather indulgent three-and-half-minute-long montage showing some of Paris’ most famous landmarks, familiarising you with the most important character in the film, Paris.
Owen Wilson gives a delightful performance as Gil; you’d think he’s an unusual choice for the role but he portrays Gil’s social awkwardness and ability to revel among like-minded people efficiently. Of the four nominations it has scored at the Academy Awards (Picture, Direction, Original Screenplay and Art Direction), the film’s best chance would be to win the screenplay award for Allen, with The Artist giving it tough competition in the category. The film is surely one of the best written ones of 2011; you can’t but marvel about Allen’s mastery over scriptwriting, still so fresh nearly six decades since Allen started out as a television writer and playwright.
Midnight In Paris may not have the emotional depth of, say, Annie Hall but is a delightful watch nonetheless, probably Allen’s best since the turn of the millennium. It makes you wonder what the auteur may have in store for us next.
Midnight In Paris
Midnight In Paris is what you call a ‘Woody Allen special’. Beautifully shot in hues of red (Allen says the idea was to emanate a “warm feeling” as you watch the film), it’s the director’s 41st film, and his first completely shot in the French capital.
Midnight In Paris tells the story of a popular Hollywood scriptwriter, Gil, who’s trying his hand at his first novel without much success. A romantic in love with all things vintage, much like his novel’s protagonist, Gil is shown to have a rocky relationship with fiancé, Inez, a far more practical and slightly dominating woman. On a trip to Paris with Inez and her parents, Gil chances upon a mystical world, one where all his inspirations — Ernest Hemingway, Scott Fitzgerald, Pablo Picasso, Salvador Dali among others — come alive post-midnight. Gil realises he is transported to Paris in the 1920s, the “classic era”, where art, literature and music is thriving, with the greats shaping art and culture as we would later come to know in the modern world. The film is a literature lover’s wet dream come true. Allen seamlessly merges the real world with the dreamy one, the film bursting with witty writing and “warm” moments. Allen’s trademark humour is apparent right through, and the art direction makes every frame a treat. Allen opens the film with a rather indulgent three-and-half-minute-long montage showing some of Paris’ most famous landmarks, familiarising you with the most important character in the film, Paris.
Owen Wilson gives a delightful performance as Gil; you’d think he’s an unusual choice for the role but he portrays Gil’s social awkwardness and ability to revel among like-minded people efficiently. Of the four nominations it has scored at the Academy Awards (Picture, Direction, Original Screenplay and Art Direction), the film’s best chance would be to win the screenplay award for Allen, with The Artist giving it tough competition in the category. The film is surely one of the best written ones of 2011; you can’t but marvel about Allen’s mastery over scriptwriting, still so fresh nearly six decades since Allen started out as a television writer and playwright.
Midnight In Paris may not have the emotional depth of, say, Annie Hall but is a delightful watch nonetheless, probably Allen’s best since the turn of the millennium. It makes you wonder what the auteur may have in store for us next.
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