‘Midnight in Paris’ is one of the most lovely and charming movies I’ve seen in a long time. As an avid Woody Allen fan, it’s refreshing to see him continue to explore an international canvas. He gets the idealized romanticism many associate with Paris just right. Yet in the midst of that fantasy he interjects an incredibly alluring and relevant theme; that our nostalgia for the past often keeps us from embracing the golden age of our own life and times.

Owen Wilson’s easy going, but searching and wonder-eyed performance is pitch perfect, and Darius Khondji’s photography is sumptuously bathed in hazy golden hues.

What I continue to respond to more and more in Allen is the optimist attempting to emerge from the shadows of what he often refers to as a meaningless existence that ends the same for all of us. He finds that quest for meaning to be the main function of the artist (as Kathy Bates herself articulates in this film). That makes his ‘Midnight in Paris’ a strong and fascinating counterpoint to Lars von Trier’s nihilistic world view in ‘Melancholia’.

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Out of the Past:  Woody Allen explores the meaning of The Golden Age in ‘Midnight in Paris’.

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