Not being a New Yorker, I always figured I wasn’t the kinda girl who would dig Woody Allen. There were a few movies I’d liked, like Shadows and Fog, Match Point and Purple Rose of Cairo (which this film resembles a bit in it’s fantasy aspects)…but for the most part he was an enigma. A director that seemed a bit too far above my tastes to really resonate. With Midnight in Paris, I’m now a believer. Midnight is a delight from beginning to end, and it shows that Woody Allen can do so much more than write celluloid love songs to New York. C’est si bon!

Poor Gil has a rough life. As a much sought-after Hollywood screenwriter, he makes good money, lives well in the lap of California luxury and has an absolutely stunning fiance. Doesn’t sound so rough? Gil thinks so; his only wish is to move to Paris and work on his novel, because as he sees it, Paris is the very best place in the world to be a writer. Sadly he missed out on the heyday of Paris in the 1920’s, but late one night he gets gets into a gorgeous antique car and has a peek at what it must have been like…firsthand. Is this the magical opportunity of a lifetime, or is he just going crazy?

Owen Wilson is the perfect New Millenium version of Woody; his Gil is nasal, twitchy, seemingly unable to make even the simplest decisions without completely freaking out, and utterly believable. And it’s so much fun to watch him go through the paces here. Needless to say when Gil meets his literary heroes from the past, it’s all he can do not to run screaming or faint from the shock; his first meeting with Ernest Hemingway — with Corey Stoll (Salt) doing a hilariously deadpan version of Poppa — is a back-and-forth that is as charming as it is funny. But Gil does get the hang of things after awhile, and decides to immerse himself in his nightly “travels”. Through his eyes we see many great artists of that age, including Cole Porter, Joséphine Baker, Alice B. Toklas, Pablo Picasso and Man Ray. The characters that really stand out are Stoll’s Hemingway, Alison Pill’s chaotic and adorable Zelda Fitzgerald, Adrien Brody’s delightfully eccentric Salvador Dali and Kathy Bates, who turns Gertude Stein into a character so believable that you expect her to walk right off the screen. Wouldn’t surprise me a bit if there was Oscar buzz for one or more of these actors come award season.

As Gil becomes immersed in the life and times of 1920s Paris, he meets the beautiful Adriana, who is Picasso’s lover but is coveted by all the other single fellas in her orbit, including Gil. Marion Cotillard is perfect casting, not just for the obvious reason (hey, she is French), but because she gives a certain je ne sais quoi to the role (sorry, couldn’t resist, but it’s true.) Her Adriana is winsome and delicate, but underneath she’s nobody’s fool.

Gil’s time in current day Paris seems drab by comparison, and it’s a shame for the actors stuck in that time.  Michael Sheen is a hoot as a know-it-all snob that has something to say about everything (50% of it actually true), and Carla Brunei has a cameo as a museum guide that helps Gil out more than once.  It’s Rachel McAdams’ Inez, Gil’s fiancée, that suffers the most from the contrast of present day and the 1920s.  McAdams gives a easy, believable performance that harkens back to Woody Allen’s female leads of the past, like Diane Keaton’s Annie Hall.  And like Annie, Inez’s wardrobe has an easygoing chic look that may catch on.  (I know I’ll be shopping for linen shirtdresses; sadly, no Chanel jacket for me though.)

Less than halfway through the movie I figured out the theme, and though it’s a pretty bloody obvious one I won’t reveal it here so as not to spoil the surprises in the film. I will say that even with the in-your-face of the message, it’s still a captivating story. As Woody’s tale unfolds, I couldn’t help but follow along eagerly, like a puppy begging for a scrap of croissant. This fantasy has wonderful surprises at every turn, and I couldn’t keep myself from bouncing up and down with excitement every time a new artistic icon brought to life. Which is probably Woody’s intention; seeing this through Gil’s eyes makes the movie a more personal one, and it’s as if Woody really wants you to take the film’s message to heart.

A word of warning, however. If you’ve never been to Paris, you’ll want to go. If you’ve already been to Paris as I have? You’ll feel a pull to pack your bags and head back. Immediately.   The shots of Paris, from the Moulin Rouge and Sacré-Cœur to the Eiffel Tower and La Rive Gauche are simply lovely. Sun or rain, dark or light, it’s all shot with such an evident love of the city you can’t help but be pulled in. Like Woody’s New York movies, Paris is a character in Midnight in Paris, and perhaps it’s biggest star.

Midnight in Paris is a lovely, airy confection of a film. And just like a perfect croissant, it’s a lovely way to enjoy a bit of your day. Magnifique!