Do It Again on Midgnight Special
| Midnight in Paris | |
|---|---|
 Theatrical release affiche | |
| Directed by | Woody Allen |
| Written by | Woody Allen |
| Produced by |
|
| Starring |
|
| Cinematography | Darius Khondji |
| Edited by | Alisa Lepselter |
| Production |
|
| Distributed by | Sony Pictures Classics (United states of america) Alta Films (Spain)[1] |
| Release dates |
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| Running fourth dimension | 94 minutes[2] |
| Countries |
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| Language | English |
| Budget | $17 million[1] |
| Box office | $154.1 meg[1] |
Midnight in Paris is a 2011 fantasy comedy picture show written and directed past Woody Allen. Gear up in Paris, the film follows Gil Pender (Owen Wilson), a screenwriter, who is forced to confront the shortcomings of his relationship with his materialistic fiancée (Rachel McAdams) and their divergent goals, which get increasingly exaggerated as he travels back in time each night at midnight.[3]
Produced past the Castilian grouping Mediapro and Allen's United states-based Gravier Productions, the motion picture stars Wilson, McAdams, Kathy Bates, Adrien Brody, Carla Bruni, Tom Hiddleston, Marion Cotillard, and Michael Sheen. Information technology premiered at the 2011 Cannes Film Festival and was released in the United States on May 20, 2011.[3] [4] The film opened to disquisitional acclaim and is considered 1 of Allen's best films in recent years. In 2012, information technology won the Academy Accolade for Best Original Screenplay and the Golden Globe Honor for Best Screenplay. Information technology was nominated for 3 other Academy Awards: All-time Picture, All-time Director and Best Art Direction.[5]
Plot [edit]
In 2010, Gil Pender, a successful but disillusioned Hollywood screenwriter, and his fiancée Inez are in Paris vacationing with Inez's wealthy, Republican parents. Gil is struggling to finish his debut novel, almost a man who works in a nostalgia shop, and finds himself drawn to the rich artistic history of Paris, especially the Lost Generation of the 1920s. Inez dismisses his ambitions to move to Paris and write as a delusional dream and encourages him to stick with more lucrative screenwriting assignments. Past hazard, they meet Inez'due south friend Paul and his wife Carol, and Inez invites them to join her and Gil every bit they sightsee. Paul speaks with great authority but questionable accuracy on every subject they run across, even contradicting a bout guide at the Musée Rodin, where he insists his knowledge of Rodin's relationships is more accurate than the guide's. Gil finds him pedantic and annoying, withal Inez adores him.
A night of vino tasting gets Gil drunk, and he decides to walk the streets of Paris to return to the hotel; Inez goes off with Paul and Ballad by taxi. Gil stops to go his bearings, and at midnight, a 1920s car pulls upward beside him. The passengers urge him to join them and he finds himself at a party for Jean Cocteau attended by notable people of the 1920s Paris art scene: Cole Porter, his wife Linda Lee Porter, and Zelda and Scott Fitzgerald. Zelda gets bored and encourages Scott and Gil to leave with her. They first head to Bricktops, where they encounter Josephine Bakery dancing, and then to a cafe where they run into Ernest Hemingway and Juan Belmonte. After Zelda and Scott go out, Gil and Hemingway hash out writing, and Hemingway offers to evidence Gil's novel to Gertrude Stein. Merely as Gil exits the building to fetch his manuscript from his hotel, he returns to 2010: the buffet where he encountered Hemingway is now a laundromat.
The side by side nighttime, Gil tries to share his fourth dimension-travel experience with Inez, but she ditches Gil before the clock strikes midnight. When information technology does, the aforementioned car returns. Gil joins Hemingway on his way to visit Gertrude Stein's apartment, where Gil is introduced to Stein, who is in the midst of giving Pablo Picasso a negative critique of a new painting of Picasso'southward lover Adriana. Gil is instantly drawn to Adriana, a costumer designer who has too had affairs with Amedeo Modigliani and Georges Braque. Stein reads aloud the novel's commencement line:[half-dozen]
'Out of the Past' was the name of the store, and its products consisted of memories: what was prosaic and fifty-fifty vulgar to one generation had been transmuted by the mere passing of years to a status at once magical and also camp.
Adriana praises his writing, and admits that she has always had a longing for the past, specially the Belle Époque.
Dorsum in 2010, Gil continues his time travel for the adjacent couple of nights. Inez is unimpressed with the boulevards and bistros and Gil's disappearing, while her father is suspicious and hires a private detective to follow him. Adriana leaves Picasso and continues to bond with Gil, although he is conflicted by his allure to her. Gil explains his inner disharmonize to Salvador Dalí, Human being Ray, and Luis Buñuel, but every bit surrealists, they find nothing unusual about his claim of coming from the future. Gil later suggests the plot of the pic The Exterminating Angel to Buñuel, which he doesn't sympathise.
Inez and her parents are traveling to Mont Saint Michel while Gil meets Gabrielle, an antiquarian dealer and boyfriend admirer of the Lost Generation. He buys a Cole Porter gramophone record from her and later finds at a book stall by the Seine Adriana's diary from the 1920s, which reveals that she was in love with him. Reading that she dreamed of receiving a gift of earrings from him and then making love to him, Gil tries to steal a pair of Inez's earrings to give to Adriana, simply is thwarted by Inez's early return to the hotel room.
Gil buys earrings for Adriana and returns to the past. He takes Adriana for a walk, they kiss, and he gives her the earrings. While she's putting them on, a horse-drawn wagon comes down the street, and a richly dressed couple inside the carriage invite Gil and Adriana for a ride. The carriage transports the passengers to the Belle Époque, an era Adriana considers Paris's Gilt Historic period. Gil and Adriana get first to Maxim'southward Paris, then to the Moulin Rouge where they meet Henri de Toulouse-Lautrec, Paul Gauguin, and Edgar Degas. Gil asks what they believe the best era was, and the three hold information technology is the Renaissance. The excited Adriana is offered a job designing ballet costumes and proposes to Gil that they stay, merely Gil, upon observing the unhappiness of Adriana and the other artists, realizes that chasing nostalgia is fruitless because the present is always "a niggling unsatisfying." Adriana, notwithstanding, decides to stay in the 1890s, and they role means.
Gil rewrites the kickoff two chapters of his novel and retrieves his typhoon from Stein, who praises his progress as a writer and tells him that Hemingway likes it but questions why the chief character has non realized that his fiancée, based on Inez, is having an affair with a character based on Paul.
Gil returns to 2010 and confronts Inez. She admits to having slept with Paul, only disregards information technology every bit a meaningless fling and that they can talk over information technology afterwards their wedding. Gil breaks up with her and decides to motion to Paris. Walking by the Seine at midnight, Gil bumps into Gabrielle; he offers to walk her dwelling subsequently it starts to rain. They acquire that they share a love for Paris in the rain.
Bandage [edit]
Chief Bandage
Owen is a natural histrion. He doesn't sound similar he'south acting, he sounds like a human being speaking in a situation, and that's very appealing to me. He's got a wonderful funny bone, a wonderful comic instinct that'due south quite unlike my own, only wonderful of its kind. He's a blond Texan kind of Everyman'due south hero, the kind of hero of the regiment in the sometime war pictures, with a bully flair for existence amusing. Information technology'due south a rare combination and I thought he'd exist great.
—Woody Allen, in product notes nigh the film[7]
This is the 2nd fourth dimension McAdams and Wilson co-starred every bit a couple; they did so before in 2005's Wedding Crashers. In comparison the two roles, McAdams describes the ane in Midnight in Paris equally being far more than antagonistic than the role in Wedding Crashers.[eight] Allen had high praises for her performance and that of co-star Marion Cotillard.[9] Cotillard was bandage as Wilson's other dear interest, the charismatic Adriana.
Carla Bruni, vocalist-songwriter and married woman of former French president Nicolas Sarkozy, was recruited by Allen for a role every bit a museum guide.[10] In that location were false reports that Allen re-filmed Bruni'due south scenes with Léa Seydoux, but Seydoux rebuffed these rumors revealing she had an entirely divide role in the film.[eleven] Allen as well shot down reports that a scene with Bruni required over thirty takes: "I am appalled. I read these things and I could not believe my eyes ... These are not exaggerations, but inventions from scratch. There is admittedly no truth." He continued to describe Bruni as "very professional person" and insisted he was pleased with her scenes, stating that "every frame will announced in the motion picture."[12] [13]
Product [edit]
Writing [edit]
Allen employed a reverse approach in writing the screenplay for this film, by building the motion-picture show'south plot effectually a conceived movie title, 'Midnight in Paris'.[14] The time-travel portions of Allen'due south storyline are evocative of the Paris of the 1920s described in Ernest Hemingway's 1964 posthumously published memoir A Moveable Feast, with Allen's characters interacting with the likes of Hemingway, Gertrude Stein, and F. Scott and Zelda Fitzgerald, and uses the phrase "a moveable feast" in two instances, with a re-create of the book actualization in one scene. Allen originally wrote the character Gil as an East Coast intellectual, only he rethought information technology when he and casting director Juliet Taylor began considering Owen Wilson for the function.[7] "I thought Owen would be charming and funny but my fear was that he was non so Eastern at all in his persona," says Allen. Allen realized that making Gil a Californian would actually make the character richer, and then he rewrote the function and submitted it to Wilson, who readily agreed to exercise it. Allen describes him as "a natural histrion".[7] The prepare-up has certain plot points in mutual with the 1990s British sitcom Goodnight Sweetheart.
Filming [edit]
Principal photography began in Paris in July 2010.[15] Allen states that the primal aesthetic for the camera work was to requite the film a warm ambience. He describes that he likes it (the cinematography), "intensely red, intensely warm, because if you go to a eating place and you're there with your wife or your girlfriend, and it's got cherry-red-flecked wallpaper and turn-of-the-century lights, you both expect beautiful. Whereas if you're in a seafood restaurant and the lights are upward, everybody looks terrible. And then it looks prissy. It'due south very flattering and very lovely."[14] To achieve this he and his cinematographer, Darius Khondji, used primarily warm colors in the film'south photography, filmed in flatter weather and employed limited camera movements, in attempts to describe little attention to itself. This is the first Woody Allen picture to go through a digital intermediate, instead of beingness color timed in the traditional photochemical way. Co-ordinate to Allen, its employ here is a test to see if he likes it enough to utilise on his hereafter films.[16]
Allen's directorial style placed more emphasis on the romantic and realistic elements of the picture than the fantasy elements. He states that he "was interested only in this romantic tale, and anything that contributed to it that was fairytale was right for me. I didn't want to get into information technology. I only wanted to get into what diameter down on his (Owen Wilson'due south) human relationship with Marion."[xiv]
Locations [edit]
The film opens with a 3+ one⁄2 -minute postcard-view montage of Paris, showing some of the iconic tourist sites.[17] Kenneth Turan of the Los Angeles Times describes the montage equally a stylistic approach that lasts longer than necessary to simply establish location. According to Turan, "Allen is maxim: Pay attention — this is a special place, a identify where magic tin happen."[eighteen] Midnight in Paris is the kickoff Woody Allen film shot entirely on location in Paris, though both Love and Expiry (1975)[19] and Anybody Says I Dear Y'all (1996)[20] [ unreliable source ] [ unreliable source ] were partially filmed at that place.
Filming locations include Giverny, John XXIII Foursquare (near Notre Dame), Montmartre, Deyrolle, the Palace of Versailles, the Opéra, Pont Alexandre 3, the Sacré-Cœur, the Île de la Cité itself, and streets near the Panthéon.[10]
Marketing [edit]
The Sony Classics team decided to accept a lemon and make lemonade. They obtained a list of reporters who were invited to the Cars two junket and sent them press notes from Midnight in Paris, encouraging them to enquire Wilson questions near the Allen film during the Pixar media day. Wilson happily complied, answering queries near his character in Paris that provided material for a host of stories. Sony Classics likewise got a concur of Wilson's schedule of Tv appearances to promote Cars ii on shows similar Belatedly Bear witness with David Letterman, and so bought ad time for Paris spots on the nights when Wilson was a guest.[21]
—Patrick Goldstein, Los Angeles Times
The film is co-produced by Allen'southward Gravier Productions and the Catalan company Mediapro[22] and was picked upwardly by Sony Pictures Classics for distribution. It is the fourth film the 2 companies accept co-produced, the others being Sweet and Lowdown, Whatsoever Works and You Will Run into a Alpine Nighttime Stranger.
In promoting the film, Allen was willing to do simply a express amount of publicity at its Cannes Film Festival debut in May. Wilson was already committed to promoting Pixar's Cars 2, which opened in late June, several weeks after Allen's film arrived in cinemas. Due to these challenges and the relatively small ($10 million) budget for promotion, Sony Classics had to perform careful media buying and printing relations to promote the pic.[21]
The film'due south poster is a reference to Vincent van Gogh's 1889 painting The Starry Night.[23]
Release [edit]
Box office [edit]
The flick made its debut at the 2011 Cannes Film Festival on Wednesday May 11, when information technology opened the festival equally a showtime screening for both professionals and the public;[24] information technology was released nationwide in France that same twenty-four hours, Wednesday being the traditional day of change in French cinemas.[25] Information technology went on limited release in six theaters in the United States on May xx and took $599,003 in the get-go weekend, spreading to 944 cinemas 3 weeks afterwards, when it went on broad release.[1]
Midnight in Paris achieved the highest gross of whatsoever of Allen's films in North America, before adjusting for inflation. The film earned $56.iii million in Due north America, overtaking his previous best, Hannah and Her Sisters, at $40 million.[26] Documents from the Sony Pictures hack revealed the picture show turned a turn a profit of $24 meg.[27]
Equally of 2016, Midnight in Paris is the highest-grossing pic directed by Woody Allen, with $151 meg worldwide on a $17 one thousand thousand budget.[1]
Critical reception [edit]
Midnight in Paris received critical acclaim. On Rotten Tomatoes the movie has an approval rating of 93%, based on 224 reviews, with an average rating of seven.81/10. The site's critical consensus reads, "It may non boast the depth of his classic films, but the sweetly sentimental Midnight in Paris is funny and charming enough to satisfy Woody Allen fans."[28] The film has received Allen's all-time reviews and score on the site since 1994's Bullets Over Broadway.[29] On Metacritic, the movie has a score of 81 out of 100, based on forty reviews, indicating "universal acclaim".[thirty]
The picture show received some generally positive reviews after its premiere at the 64th Cannes Film Festival. Todd McCarthy from The Hollywood Reporter praised Darius Khondji's cinematography and claimed the film "has the concision and snappy stride of Allen'south best piece of work".[31]
A. O. Scott of The New York Times commented on Owen Wilson's success at playing the Woody Allen persona. He states that the movie is marvelously romantic and credibly blends "whimsy and wisdom". He praised Khondji'south cinematography, the supporting cast and remarked that information technology is a memorable movie and that "Mr. Allen has oft said that he does not want or await his own work to survive, merely every bit minor and lighthearted as Midnight in Paris is, it suggests otherwise: Non an ambition toward immortality so much as a willingness to leave something behind—a fleck of memorabilia, or fine art, if you similar that discussion improve—that catches the attention and solicits the adoration of alone wanderers in some future time."[32]
Roger Ebert gave the pic 3+ 1⁄2 stars out of 4. He ended his review thus:[33]
This is Woody Allen's 41st pic. He writes his films himself, and directs them with wit and grace. I consider him a treasure of the cinema. Some people take him for granted, although Midnight in Paris reportedly charmed even the jaded veterans of the Cannes press screenings. There is nothing to dislike about it. Either yous connect with it or not. I'thou wearying of movies that are for "everybody" — which ways, nobody in detail. Midnight in Paris is for me, in item, and that's just fine with moi.
Richard Roeper, an American film critic, gave Midnight in Paris an "A"; referring to it as a "wonderful pic" and "i of the best romantic comedies in contempo years". He commented that the actors are uniformly vivid and praised the film's utilize of witty ane-liners.[34]
In The Huffington Post, Rob Kirkpatrick said the picture show represented a return to form for the managing director ("information technology'southward every bit if Woody has rediscovered Woody") and chosen Midnight in Paris "a surprising picture show that casts a spell over us and reminds u.s. of the magical properties of cinema, and especially of Woody Allen'due south cinema."[35]
Midnight in Paris has been compared to Allen's The Purple Rose of Cairo (1985), in that the functioning of the magical realism therein is never explained. David Edelstein, New York, commended that approach, stating that it eliminates, "the sci-fi wheels and pulleys that tend to suck up so much screen fourth dimension in time-travel movies." He goes on to applaud the picture show stating that, "this supernatural comedy isn't just Allen'southward best moving-picture show in more than a decade; it'due south the only i that manages to rise higher up its tidy parable structure and be easy, graceful, and glancingly funny, as if buoyed by its befuddled hero's enchantment."[36]
Peter Johnson of PopCitizen felt that the film's nature as a "period piece" was far superior to its comedic components, which he referred to as lacking. "While the period settings of Midnight in Paris are almost worth seeing the movie ... it hardly qualifies every bit a moral compass to those lost in a nostalgic revelry," he asserts.[37]
Joe Morgenstern of The Wall Street Journal acknowledged the bandage and the look of the picture and, despite some familiarities with the picture show's disharmonize, praised Allen'due south work on the film. He wrote, "For the filmmaker who brought these intertwined universes into being, the film represents new energy in a remarkable career.".[38]
Peter Bradshaw of The Guardian, giving the film 3 out of v stars, described information technology as "an amiable amuse-bouche" and "sporadically entertaining, low-cal, shallow, cocky-plagiarising." He goes on to add together that information technology'southward "a romantic fantasy run a risk to be compared with the vastly superior ideas of his comparative youth, such equally the 1985 movie The Royal Rose of Cairo."[39] In October 2013, the film was voted by the Guardian readers as the ninth best film directed by Woody Allen.[40]
More than scathing is Richard Corliss of Fourth dimension, who describes the film equally "pure Woody Allen. Which is not to say bang-up or even good Woody, but a distillation of the filmmaker'south passions and crotchets, and of his trend to laissez passer callous judgment on characters the audience is non supposed to similar. ... his Midnight strikes not sublime chimes only the clangor of snap judgments and frayed fantasy."[41]
Quentin Tarantino named Midnight in Paris equally his favorite film of 2011.[42]
The film was well received in French republic. The website Allocine (Hullo Cinema) gave information technology iv.2 out of v stars based on a sample of twenty reviews.[25] Ten of the reviews gave information technology a full five stars, including Le Figaro, which praised the film's evocation of its themes and said "i leaves the screening with a smile on i's lips".[43]
Faulkner estate [edit]
The William Faulkner estate later filed a lawsuit against Sony Pictures Classics for the picture show's chip of dialogue, "The past is not dead. Actually, it's not even by," a paraphrasing of an often-quoted line from Faulkner'south 1950 volume Requiem for a Nun ("The past is never expressionless. It's not even past."), claiming that the paraphrasing was an unlicensed use of the estate. Faulkner is directly credited in the dialogue when Gil claims to have met the writer at a dinner party (though Faulkner is never physically portrayed in the film). Julie Ahrens of the Fair Apply Project at the Stanford University's Center for Internet and Society was quoted as saying in response to the accuse, "The idea that one person can command the use of those item words seems ridiculous to me. Any kind of literary allusion is unremarkably celebrated. This seems to squarely fall in that tradition." Sony's response stated that they consider the activeness "a frivolous lawsuit".[44] In July 2013, a federal judge in Mississippi dismissed the lawsuit on fair utilize grounds.[45]
Accolades [edit]
| Award | Category | Recipient(south) | Outcome |
|---|---|---|---|
| 84th Academy Awards[46] [47] | Best Film | Letty Aronson, Stephen Tenenbaum | Nominated |
| Best Director | Woody Allen | Nominated | |
| Best Original Screenplay | Woody Allen | Won | |
| Best Fine art Direction | Anne Seibel, Hélène Dubreuil | Nominated | |
| Alliance of Women Film Journalists | All-time Film | Nominated | |
| Best Director | Woody Allen | Nominated | |
| Best Screenplay Original | Woody Allen | Won | |
| All-time Ensemble Cast | Nominated | ||
| Australian Academy of Movie theater and Television set Arts[48] | Best Flick – International | Nominated | |
| Best Direction – International | Woody Allen | Nominated | |
| Best Screenplay – International | Woody Allen | Nominated | |
| 65th British Academy Picture show Awards[49] [50] | BAFTA Award for Best Original Screenplay | Woody Allen | Nominated |
| Bradbury Award[51] | Bradbury Award | Woody Allen | Nominated |
| British Fantasy Awards[52] | British Fantasy Honor for Best Screenplay | Woody Allen | Won |
| Broadcast Film Critics Association Awards | Best Picture | Nominated | |
| Best Original Screenplay | Woody Allen | Won | |
| All-time Comedy | Nominated | ||
| Chicago Pic Critics Association Awards | Best Original Screenplay | Woody Allen | Nominated |
| 2012 Comedy Awards | One-act Moving picture | Nominated | |
| Comedy Role player | Owen Wilson | Nominated | |
| Comedy Director | Woody Allen | Nominated | |
| Comedy Screenplay | Woody Allen | Nominated | |
| Directors Order of America | Outstanding Directorial Achievement in Feature Moving-picture show | Woody Allen | Nominated |
| 69th Golden Globe Awards | Best Motion Film – Musical or Comedy | Nominated | |
| Best Director | Woody Allen | Nominated | |
| All-time Thespian – Move Picture Musical or Comedy | Owen Wilson | Nominated | |
| All-time Screenplay | Woody Allen | Won | |
| Goya Awards | |||
| Best Original Screenplay | Woody Allen | Nominated | |
| Grammy Awards[53] | Best Compilation Soundtrack For Visual Media | Won | |
| Houston Film Critics Order Awards | All-time Pic | Nominated | |
| Best Managing director | Woody Allen | Nominated | |
| Best Screenplay | Woody Allen | Nominated | |
| Independent Spirit Awards | Best Supporting Male | Corey Stoll | Nominated |
| Best Cinematography | Darius Khondji | Nominated | |
| National Society of Film Critics | Best Screenplay | Woody Allen | Nominated |
| New York Film Critics Online | Best Film | Nominated | |
| Online Movie Critics Social club | All-time Original Screenplay | Woody Allen | Won |
| Producers Guild of America Awards | Best Theatrical Movement Motion picture | Letty Aronson, Stephen Tenenbaum | Nominated |
| Satellite Awards | Best Pic | Nominated | |
| Best Director | Woody Allen | Nominated | |
| All-time Supporting Actress | Rachel McAdams | Nominated | |
| Screen Actors Guild Awards | Outstanding Operation by a Bandage in a Move Picture | Nominated | |
| Washington D.C. Area Film Critics Association | Best Director | Woody Allen | Nominated |
| All-time Original Screenplay | Woody Allen | Won | |
| Writers Guild of America Awards | Original Screenplay | Woody Allen | Won |
| 11th Grande Prêmio Brasileiro de Movie theater | Best Foreign Film | Woody Allen | Won |
Home media [edit]
The soundtrack was released on December nine, 2011, and released on Blu-ray and DVD on December twenty, 2011.[54]
References [edit]
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External links [edit]
- Official website (U.s.)
- Official website (France)
- Jonathan Jones: "Midnight in Paris: a beginner's guide to modernism" The Guardian, October 11, 2011.
- Midnight in Paris at IMDb
- Midnight in Paris at AllMovie
- Midnight in Paris at Box Part Mojo
- Midnight in Paris at Metacritic
- Midnight in Paris at Rotten Tomatoes
- Midnight in Paris at Sony Pictures Classics
- Midnight in Paris at the TCM Movie Database
- Midnight in Paris at The Numbers
Source: https://en.wikipedia.org/wiki/Midnight_in_Paris
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