The French Connection: Midnight in Paris

My basic rule is, once the movie's been out for five years, the spoiler alert warning is unnecessary. I mean, you've had five years. But since I'm taking about 2011, here it is:

This post contains spoilers about the movie Midnight in Paris.

There are lots of factors going into a movie that can make or break it. These can broken down into three basic categories: writing, acting, and editing. If even one of these is lacking, the movie can't be successful, whether critically or theatrically.

So when I was watching the Oscars this past year and I see Midnight in Paris win for Best Original Screenplay, the movie is immediately put on my radar. Not only does that check off the “writing” part of the process, but with Woody Allen on the team doubling as director (and his sister one of the producers. Hopefully awesomeness is hereditary in their family), you can also check off “editing”.

With two out of three requirements, a PG-13 rating, and a slight love for Owen Wilson (with Marion Cotillard and Tom Hiddleston along for the ride (check off “acting”)), I didn't hesitate to record Midnight in Paris on my TV when it was showing on Starz.

This Woody Allen directed and written film centers around struggling writer, Gil Pender (Wilson), when he's on vacation in Paris with his unsupportive fiancee. While trying to find his way back to the hotel after one-too-many drinks, he's picked up by some seemingly-friendly carriage riders.

At first you think that Gil is about to be put on the morning news, but no. These Parisians are friendly and drop the semi-intoxicated Gil off...in the 1920s.

Upon realization of what has happened, the slightly-more-sober-now Gil takes full advantage of what's around him. He talks with Ernest Hemingway, F. Scott Fitzgerald (Hiddleston), and Pablo Picasso and his mistress, Adriana (Cotillard). His writer's block seems to be fading but his troubled relationship with his fiancee, worsening.

One night as Adriana and Gil walk the streets of 1920s Paris, they're taken by another carriage to what is discovered to be the 1890s. Adriana exclaims her excitement; this is her favorite era, the 20s are so bland. Surprised and confused, Gil asks some locals what their favorite era is and they answer with a congenial “Renaissance”. Thus he realizes what he's been missing this whole time: it's best to accept the present for what it is.

He breaks it off with Inez (which is also caused by learning of her affair with a friend of her families) and stays in Paris.

2010 Paris.

This movie meets all the requirements for gold. And if I have to make a cliched sandwich analogy, I would say that Allen's fabulous script is some great Vienna bread, the actors are the delicious sun-dried tomato turkey, and the spotless editing would be whatever's left: a few spinach leaves and a little bit of spicy mustard. Without any one of these components, a sandwich isn't a sandwich. A movie isn't a movie. Especially if you take away the bread, because that's what we call a salad those are just WRONG.