New York -- Leaving the Angelika Theater this past weekend, on the opening night of Woody Allen's latest film, I participated in a mild argument with my companion that left me feeling a bit like one of the blathering, pseudo-intellectual characters Allen has been parading before audiences for decades.
What I liked best about "Midnight in Paris" -- and what my friend found most annoying -- was its very thinness, its gallery of static characters, its steady march of fleshed-out clichés. In the film's fantastical sequences, which deliver a struggling novelist from 2010 back to 1920s Paris, Allen conducts affairs with a mythical grasp of history, from entire eras –- primarily, the gin- and jazz-soaked Roaring Twenties -– to individuals: Ernest Hemingway always rearing for a fight; genial Scott Fitzgerald thwarted by his hysterical wife, Zelda; and Salvador Dali, the wide-eyed, hallucinatory weirdo.
All of this irritated my companion and delighted me,...
What I liked best about "Midnight in Paris" -- and what my friend found most annoying -- was its very thinness, its gallery of static characters, its steady march of fleshed-out clichés. In the film's fantastical sequences, which deliver a struggling novelist from 2010 back to 1920s Paris, Allen conducts affairs with a mythical grasp of history, from entire eras –- primarily, the gin- and jazz-soaked Roaring Twenties -– to individuals: Ernest Hemingway always rearing for a fight; genial Scott Fitzgerald thwarted by his hysterical wife, Zelda; and Salvador Dali, the wide-eyed, hallucinatory weirdo.
All of this irritated my companion and delighted me,...
- 5/23/2011
- by Gregory Beyer
- Huffington Post
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