Beaches Be Trippin\': Five Texas Coast Spots Worth the Drive

Beaches Be Trippin': Five Texas Coast Spots Worth the Drive

Arts & Culture: Let’s face it, most of us Lone Stars view the Texas coast as a poor man’s Waikiki. Hell, maybe just a poor man’s Panama Beach — only to be used... By Callie Enlow 7/10/2013
How Rebates Have the Texas Film Industry Playing Catch Up To its Neighbors

How Rebates Have the Texas Film Industry Playing Catch Up To its Neighbors

Screens: See if you can spot the common thread that is pulling at the seams of the Texas film industry. On NBC’s The Night Shift, a stock-written staff... By Matt Stieb 8/27/2014
Texas Law Leaves Abortion Out of Reach for Many Women

Texas Law Leaves Abortion Out of Reach for Many Women

News: Texas’ sweeping abortion law has already eliminated all abortion clinics south of San Antonio, and the last clinic west of the city... By Alexa Garcia-Ditta 8/27/2014
Phô Nguyen Woos Phonatics

Phô Nguyen Woos Phonatics

Food & Drink: I don’t expect much from Vietnamese restaurants in the way of decor; it’s more not Chinese and not Japanese than anything. I certainly don’t expect... By Ron Bechtol 8/27/2014
Cityscrapes: A race to the convention floor

Cityscrapes: A race to the convention floor

News: “Conventions go to the city which exerts the greatest efforts to secure them. San Antonio can get any convention that it goes after.” That was the position... By Heywood Sanders 8/27/2014

Search hundreds of restaurants in our database.

Search hundreds of clubs in our database.

Follow us on Instagram @sacurrent

Print Email

Film Reviews

Woody Allen tries Paris, and it tastes good

Photo: , License: N/A

Owen Wilson and Rachel McAdams practice their French tongues.

Midnight in Paris

Writ. and dir. Woody Allen; feat. Owen Wilson, Rachel McAdams, Marion Cotillard, Corey Stoll, Kathy Bates, Adrien Brody. (R)


In “A Twenties Memory,” a story that appeared in his 1972 collection Getting Even, Woody Allen sends up Ernest Hemingway’s memoir A Moveable Feast by imagining his own feckless signature self hanging out in Europe with legendary expatriates. “We had great fun in Spain that year,” he writes, “and we traveled and wrote and Hemingway took me tuna fishing and I caught four cans and we laughed and Alice Toklas asked me if I was in love with Gertrude Stein because I had dedicated a book of poems to her even though they were T.S. Eliot’s … ”

Four decades later, Allen revisits that droll premise with Midnight in Paris, an unremittingly delightful demonstration that the past is never past or even what we think it was. In this film, the fretful Allen shnook is Gil Pender, played by Owen Wilson with Woody’s familiar deadpan stammer. A successful screenwriter who is eager to sacrifice affluence for art, Gil describes himself as “a Hollywood hack who never gave literature a real shot until now.” Inspired by fables of the Lost Generation, he has arrived now in Paris with the manuscript of an unfinished novel. “You’re in love with a fantasy,” complains his fiancée Inez (Rachel McAdams), as though love were not itself a fantasy. Intent on resuming a conventional life back in Santa Monica, she does not share Gil’s passion for either Paris or art. Her wealthy, overbearing parents, right-wing Philistines, shadow them during their stay in the French capital. So, too, do a couple Inez knew in college; Paul is pompous, and Carol is pretentious. Shaking their company in order to commune with the Paris of his literary dreams, Gil goes off by himself through the nighttime streets — and somehow ends up at a party where a pianist is singing Cole Porter tunes. It is Cole Porter.

Midnight in Paris becomes an English major’s whimsy, in which a surrogate for the viewer finds himself conversing with T. S. Eliot and Scott and Zelda Fitzgerald and dancing with Djuna Barnes. Ernest Hemingway challenges Gil to box him, and Gertrude Stein offers to edit his manuscript. The artists he encounters include Pablo Picasso, Henri Matisse, and Salvador Dalí, played with panache — and an extra oomph on the í — by Adrien Brody. Gil falls in love with Adriana (Marion Cotillard), an art groupie who has slept with Georges Braque, Amedeo Modigliani, and Picasso but is smitten by the first sentence in the American stranger’s own attempt at fiction. Returning to his hotel room and his unremarkable fiancée each night, Gil is almost as deflated as Mia Farrow’s movie-mad Cecilia is when, in The Purple Rose of Cairo, she must leave the enchantments of cinema for her drab domesticity in Depression-era New Jersey. Midnight in Paris plays on a similar conflation of reality and fantasy. But Gil remains rapturous with the prospect of returning the next day to the 1920s.

We welcome user discussion on our site, under the following guidelines:

To comment you must first create a profile and sign-in with a verified DISQUS account or social network ID. Sign up here.

Comments in violation of the rules will be denied, and repeat violators will be banned. Please help police the community by flagging offensive comments for our moderators to review. By posting a comment, you agree to our full terms and conditions. Click here to read terms and conditions.
comments powered by Disqus