Page 28 THE VILLADOM TIMES I • June 8, 2011 ‘Midnight in Paris’ features magic in City of Lights painting by Pablo Picasso. Meanwhile, Inez and her parents constantly find things to criticize, darkening the mood. Things get more unpleasant when Gil and Inez run into her old college boyfriend, Paul (Michael Sheen), who is annoyingly pedantic and manages to get under Gil’s skin. Gil winds up exploring Paris on his own when, one night, partygoers in a taxi invite him to join them. Reluctantly, he accompanies the group and finds himself transported on a remarkable adventure. Director Woody Allen is back in great style with “Midnight in Paris.” The film has a wistful, nostalgic feel, and his depiction of Paris is reminiscent of the tender loving care he has taken in his films set in his hometown of Manhattan. What is so good about Allen is his ability to create a mood, tell a story, offer solid characters, and do it all cinematically in under an hour and a half. “Midnight in Paris” is lean, but never sparse or lacking. It is just the right length. At first glance, Wilson seems an odd choice for a guy who idolizes James Joyce and even knows the writer’s private eccentricities. Wilson’s look is California surfer dude, and he has done a number of films that help make this impression stick. But as the Allen voice, he is surprisingly good. His performance is subtle, and even underplayed in a few scenes. Allen does not go for big laughs here. His aspirations run more to contented smiles and a few well-placed chuckles. In Wilson’s Gil, viewers see a man who is about to be married to a woman who is clearly wrong for him, sharing few of his passions and dwelling on his shortcomings rather than inspiring his strengths. He is somewhat lost in his 21st century world, feels restless, and longs for a bygone era where he feels he would fit in perfectly. On the other hand, McAdams’ Inez is a cartoon-like harridan flitting from one Paris location to another while taking in little of its significance or history and falling under the charms of a boorish know-it-all. The idea that Gil could have fallen for such a shallow person in the first place is a stretch, but Allen uses Inez as a counterpart to Adriana (Marion Cotillard), a young woman Gil encounters during his walks through nighttime Paris. Cotillard is a great beauty with a delicate face the camera Owen Wilson and Marion Cotillard succumb to the charms of the city in ‘Midnight in Paris.’ by Dennis Seuling In a lengthy pre-credit sequence in “Midnight in Paris,” viewers see Parisian streets, cafés, and landmarks in sunny weather and in the rain. These shots set the mood for what will be a valentine to the city where romance is inevitable. Gil (Owen Wilson) is a highly-paid, in-demand Hollywood screenwriter attempting a write a serious novel. He is in Paris with fiancée Inez (Rachel McAdams) and her parents (Kurt Fuller, Mimi Kennedy). Gil is enamored with 1920s Paris, where his author heroes F. Scott Fitzgerald and Ernest Hemingway attended lavish parties and exchanged witty banter with Gertrude Stein and critiqued the latest absolutely loves. Allen showcases her in exquisitely shot sequences with soft, romantic light, while Inez is generally seen in harsh lighting. Adriana is everything Inez is not: She listens to Gil, finds him fascinating, enjoys his company, and likes him for who he is, not for what he has the potential to be. Cotillard’s French roots contribute to her character’s believability. Sheen provides some laughs as the pompous Paul. Because Sheen plays the role straight, Paul is all the more ridiculous. Everyone has known people like him, so viewers tend to resent him and are encouraged to root for Gil. This contemporary, educated man is a fool, whereas Gil craves greater inspiration. Kathy Bates and Adrien Brody appear in small, but memorable, roles, with several fine French actors rounding out the cast. Anne Siebel’s art direction and production design, Helene Dubreuil’s set decoration, and Sonia Grande’s costumes contribute enormously to the charm of this film. There is a Yellow Brick Road-type journey in “Midnight in Paris” in which Gil’s affection for another era gets the acid test. Just as Dorothy had to discover the value of home and hearth, Gil has to appreciate the here and now. It is the journey that leads to the realization. Rated PG-13, “Midnight in Paris” is a welcome alternative at this time of year to teen sex flicks, action pictures, and superhero adventures. Sit back, relax, and savor the work of a filmmaker who knows how to assemble a movie that entertains, has a message, and features first-rate performances.