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Archive for the ‘Adrien Brody: ACTING GOD’ Category

Midnight In Paris

04 Jun

Midnight In Paris – Written and directed by Woody Allen – Light Comedy. A screenwriter and his fiancée fall out over Paris, as she shops forward, and he time travels back. 100 minutes Color 2011.

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We expect another dose of Allen’s tired concerns, but we find instead a spoonful of sugar and no medicine at all. Adrien Brody’s excruciatingly funny rendition of Salvador Dali is worth the ticket of admission. Alas, it stands virtually alone as a form of comic comment as Bunuel, Picasso, Matisse, Lautrec, Degas, Gauguin, cameo in and out with no savor comique at all. The joke of celebrity artists’ sudden appearances plays out long before they turn up, and Kathy Bates as Gertrude Stein is once again out of her element in Paris. But, more than the actors, in all these cases, it is the fault of the writer Allen, whose script is flaccid and who tends to sacrifice humor to comedy and comedy to jokes – although some of the jokes admittedly are marvelous. Allen also writes the lines of his male lead for one actor and one actor only, himself, but he is not playing the part just at present, so Owen Wilson who happens to be playing it here, is at times trapped by the Allen rhythms and, through no fault of his own, cannot always adhere to a character whose rug is being pulled out from under him by the failure of the screenwriter who thinks that someone else should be as funny as Woody Allen is when, all the time, Owen Wilson is just as funny on his own and as himself as any normal light comedy film requires. Wilson is right for the part, of course, a gormeless, lecherous, shy, literarily ambition bloke, and his stentorian style of reading his lines is droll beyond measure. He carries the film, for sure, right where it belongs into our own willingly gullible hearts. He is helped in this particularly by Rachel McAdams who gets plenty of and deserved attention from the camera as the fiancée from hell, an extremely well-written part and one which she does full justice to – she’s so funny in everything she does, you’re too horrified to laugh. The other dead spot is Marion Cotillard, leaden as the leading lady in a part that requires mischief and sexual animation such as Carole Lombard had or Goldie Hawn or some Unknown Delight. But, nonetheless, the film carries itself through for us in a good old-fashioned way; it offers us a fairy tale we all have had of hobnobbing with the accomplished. It carries the dream fun through, the feckless younger son meeting all the sacred monsters in the woods of fame, while all the imps are Allen.

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