Posted on 6/28/11 03:39 PM
To call "Midnight In Paris" beautiful is an understatement; the film is perhaps the best crafted French film made by an American ever to be captured onto celluloid. I.E., The form. The function is that of an effervescent traipse between romanticizing the nostalgia of what might have been with the ohh-to-real uncertainty of the present. Safety versus potentiality.
Owen Wilson has never seemed so comfortable on screen. His character Gil is barely indistinguisable from his roles in "Wedding Crashers" and "Hall Pass," that of a persona bordering on sophomoric yet at the core, a guy who's entirely relateable and sincere. The description is also apt for Gil, yet add in a playful naivety and Owen Wilson's character transcends safe/mediocre and becomes something more, he becomes the embodiment of the human condition to marvel at beauty, be awed by the mysticism of nostalgia, and fall in love with the lore of indelible aesthetic. Gil is a kid in a candystore: eyes as wide as saucers trying to take in anything and everything. it's hard to deny the authenticity of his genuine awestruck veneer.