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We know that Woody Allen does not enjoy great prestige in their home country and it is in Europe where his cinematography has been better appreciated. The highest grossing film of the director in his country, USA, or more nominations for the Oscars is data that summarizes and explains its commercial success and can not be due to chance, but a matter of taste, overall and according to the latitudes different. The European viewer may feel a little disappointed with these last works of Allen in which his peculiar machinery does not seem so well-oiled as before. I guess he will be more difficult to recognize the genius of the New York director even though the action takes place across the Atlantic.
Few years ago, "Vicky Cristina Barcelona" i guess not coincidentally, was another significant success in the U.S.A., coming to be a kind of tribute to the spanish city, Allen in "Midnight in Paris" repeated but with the capital of the Seine. Paradoxically, his last films shooted in Europe are nearest to american tastes than the european... I think the reason is Allen also makes an investment in terms of product presentation, a tour guide working for the American viewer who has not visited the European continent. And so does taking advantage of such ignorance in reference to topics, if not entirely true, at least he channeled the movie did the well-known and trivial and commonplace. A Barcelona city of patio and guitar has replaced a Paris stamp night, very ornate, if not the abstraction of the "Roaring Twenties".
The history of wealthy american families in the french capital is the most bland and superficial, with an incredible climax to close the movie and an important summary of nonsense. As to the fable back to last night, the story improves considerably, with atmospheres "period" and a photograph in warm tones very well built. This, if we tiptoed down the list of personalities from the arts to come out of nowhere the writer protagonist of the film. It worked quite embarrassing how little of the script in this regard. The characters are linial, almost empty, in terms of personality, but will be seen a caricature, unconvincing, hard to be credible.
Another factor that makes heavier the vision of "Midnight in Paris" is the ubiquitous musical accompaniment, with a repetitive string music style of the central line "The Sting". Neither product improves the choice of its extensive showcase of actors, with the notable exception of Marion Cotillard convincing, the only one that gives authenticity to her role. The male protagonist had won a lot in the skin of the director himself, but Allen is no longer in age to young leading man roles.
In short, how sad is to recognize, always in my personal opinion, decline of this really creator who is Allen, with a world that is recognizable and proper, so characteristic. Clearly, the veteran, Allen's hand is seen in some sequences and the film never loses its interest and manages to save but his tone is low, discreet, and, worse, less and less imaginative and more focused concessions, to a large audience like that, no doubt, will not turn away. With his background and justice, recognition should never be lacking in this great filmmaker who is Woody Allen.
5/10
