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There's something about the midnight hour, something special, mystical, and magical. In the case of this marvelous movie, its impact is fully realized, as we see our protagonist suddenly realize that he has the opportunity to face that which he truly admires, treasures, and dreams about. In the opening scenes, he expresses his desire to settle in the city of lights, and we know it's not going to be an easy thing to do. His girlfriend and he are quite different in their appreciation of what being in Paris means. She understands it's special, maybe from an aristocrat's point of view. He might be looking at it, as the dream place for an artist to find aspiration to fulfill his artistic goals.
One night, he wanders into the streets of Paris and finds himself lost, only to find himself rescue by a party of night socialites who turn out to be quite famous in some literary circles. Soon, the screenwriter/aspiring writer has an opportunity to see himself living one of his dreams as well as slowly come to some surprising epiphanies as he discovers more and more who his new acquaintances might truly be, and most important what their dreams really are.
The film is set in several time periods, and Paris glows intensely and seductively in everyone of those. From its overcast skies and reflective streets, showing lovely architectural details and its magnificent landmarks to the superb and lovely recreations of older time periods, one can't help being seduced, charmed, and inspired to find a way to show what a special place, and consequently what a truly magical film this might be.
Performances are outstanding all around, with Cotillard once again stealing every second she is on the screen. Through her eyes and carefully delivered lines, we understand what attracts us to this special time and place. She is a gorgeous and very talented performer, one who might be truly aware of her standing, yet she doesn't dwell on it. She attracts many types, but her philosophy is unique, move on, enjoy, live the moment. In a way, she is like the city that has inspired Allen, and many others before him. Paris as a place might not be aware of its magnetism, its beauty, and its power. Cotillard's muse is the perfect human equivalent, a dazzling and potent woman, who moves from man to man, place to place, time to time, and who surprises us with her own wishes near the end of the story.
Wilson inhabits the Allen persona, and he does a very good job, not creating a tired imitation, an annoying cliché that could have ruined the perfect balance of sight, sounds, and insightful dialog, keeping this masterpiece way ahead of the best Allen has offered before. For those of us who gasped during the fantasy sequences of "The Purple Rose of Cairo", the marvelous recreations of the stage in "Bullets Over Broadway", the dissection of relationships in many of his best films, get ready to see it all finally come together, as he picks from the best, and adds his personal touch, with many a funny and clever observation, uttered by Wilson with a honest and complete sense of wonder. Unlike many of his leading men, Wilson displays an innocence which allows him and us to see his adventures in a fresh light.
"Midnight in Paris" is a beautiful display of what movie magic can truly create, a sense of wonder long gone from contemporary cinema; This is a movie that entertains, teaches, and wears each one of its elements, like Paris bewitches us with every light, every facade, and every heartbeat of its music.
白天不懂夜的美
2011-05-14 06:02:17 来自: Adam (http://t.sina.com.cn/adamcd)
Midnight in Paris / 午夜巴黎的评论 4
首先请允许我用很牙尖的语气向正在北京实习的TORO VAN DARKO童鞋汇报《午夜巴黎》观后感：哎呦，不错哦！
电影一开始那段《巴黎风景介绍集》来的很讨喜，虽然无台词，无演员，仅仅是随着音乐画面不断的变化，也让人觉得很舒服，很自然的被带进电影中去，前面那些巴黎的风景对我来说可能不能用“美”来形容，毕竟那些画面出现的地方已经见过很多次了，都有点审美疲劳，但在伍大师镜头下，我还是感到一丝莫名的温暖。有种“风景若只如初见”的感觉。这部戏是伍迪艾伦写给巴黎的情书，不过作为中产阶级美国人的伍迪艾伦，看到的巴黎是最美丽的一面，自然而然给我们展现出来的也是各种曼妙韵味，如果把巴黎比喻成女人，伍迪艾伦看到的是女人在白天的风情万种，他当然不会，也不想知道她晚上回家卸了妆的样子，要想知道一个真实，完整的巴黎，建议去13区和北部神灯聚集的地方踩下点，顺便别忘了地上的狗屎和鸟粪。。。。不管怎样，美好的东西值得我们去刻画，突出，这点上伍迪艾伦做的已经足够好了。
电影结构很巧，穿越题材已经被用烂了，但作为编剧的伍迪艾伦并没有主流性的一穿到底，反而是利用白天和夜晚的交替来讲诉这段故事，即使重点全部放在了午夜，白天和歌迪亚的对手戏比重不多的情况下，我们依然能够通俗易懂的明白两人的感情纠葛，一切都那么真实，自然。只是可惜了大美女麦克亚当斯在戏中表演，前段还很正常，后来基本都是咆哮戏了。但话又说回来，这样的出轨真的让人哭笑不得。其实关于男猪脚GIL夜晚的奇遇，至少在我看来真的很精彩，说实话有点话唠的台词让我很多地方都没看很明白，不过一点都不破坏整体效果，这些全部要归功于伍迪艾伦对艺术和文学的造诣。片中影帝布罗迪饰演的达利很给力，满口西班牙语腔的法语（不知道原版是否为西语腔的英文）让人眼前一亮，居然最后还出现了RAY MAN！！这个确实让我感到很意外。其实我也在担心一个问题，要是对艺术这类不太热衷的观众，可能会找不到Gil和艺术家们对话的笑点所在。。。
关于电影情节就不需要讲述太多，我肯定还会看第二遍，不过我应该会在电影快完的时候关掉，因为最后Gil跟唱片店女人牵手在雨中的情节个人觉得没有这个必要，就保持之前的那种感觉，很好了。
值得一提的是法国第一夫人布吕尼也客串了一把罗丹美术馆工作人员，身段优雅，动作矜持，萨科奇面子十足！
这部片延续了伍迪艾伦的个人风格，文艺气息很重，幽默与小资齐飞，镜头和剪辑并存。先不论电影内容，只看形式基本上就可以从2分开打（当然，有特殊癖好和共鸣点的观众当我这句话放屁），正提着大刀一心搜寻并试图消灭黑水党的《关二哥》看到这个起始分不知道心中会不会觉得苦逼。
伍迪艾伦一生吃下各种艺术，文学方面的知识，于是放了个屁，不过我们闻着也是香的更多精彩文章及讨论，请光临枫下论坛 rolia.net
There's something about the midnight hour, something special, mystical, and magical. In the case of this marvelous movie, its impact is fully realized, as we see our protagonist suddenly realize that he has the opportunity to face that which he truly admires, treasures, and dreams about. In the opening scenes, he expresses his desire to settle in the city of lights, and we know it's not going to be an easy thing to do. His girlfriend and he are quite different in their appreciation of what being in Paris means. She understands it's special, maybe from an aristocrat's point of view. He might be looking at it, as the dream place for an artist to find aspiration to fulfill his artistic goals.
One night, he wanders into the streets of Paris and finds himself lost, only to find himself rescue by a party of night socialites who turn out to be quite famous in some literary circles. Soon, the screenwriter/aspiring writer has an opportunity to see himself living one of his dreams as well as slowly come to some surprising epiphanies as he discovers more and more who his new acquaintances might truly be, and most important what their dreams really are.
The film is set in several time periods, and Paris glows intensely and seductively in everyone of those. From its overcast skies and reflective streets, showing lovely architectural details and its magnificent landmarks to the superb and lovely recreations of older time periods, one can't help being seduced, charmed, and inspired to find a way to show what a special place, and consequently what a truly magical film this might be.
Performances are outstanding all around, with Cotillard once again stealing every second she is on the screen. Through her eyes and carefully delivered lines, we understand what attracts us to this special time and place. She is a gorgeous and very talented performer, one who might be truly aware of her standing, yet she doesn't dwell on it. She attracts many types, but her philosophy is unique, move on, enjoy, live the moment. In a way, she is like the city that has inspired Allen, and many others before him. Paris as a place might not be aware of its magnetism, its beauty, and its power. Cotillard's muse is the perfect human equivalent, a dazzling and potent woman, who moves from man to man, place to place, time to time, and who surprises us with her own wishes near the end of the story.
Wilson inhabits the Allen persona, and he does a very good job, not creating a tired imitation, an annoying cliché that could have ruined the perfect balance of sight, sounds, and insightful dialog, keeping this masterpiece way ahead of the best Allen has offered before. For those of us who gasped during the fantasy sequences of "The Purple Rose of Cairo", the marvelous recreations of the stage in "Bullets Over Broadway", the dissection of relationships in many of his best films, get ready to see it all finally come together, as he picks from the best, and adds his personal touch, with many a funny and clever observation, uttered by Wilson with a honest and complete sense of wonder. Unlike many of his leading men, Wilson displays an innocence which allows him and us to see his adventures in a fresh light.
"Midnight in Paris" is a beautiful display of what movie magic can truly create, a sense of wonder long gone from contemporary cinema; This is a movie that entertains, teaches, and wears each one of its elements, like Paris bewitches us with every light, every facade, and every heartbeat of its music.
白天不懂夜的美
2011-05-14 06:02:17 来自: Adam (http://t.sina.com.cn/adamcd)
Midnight in Paris / 午夜巴黎的评论 4
首先请允许我用很牙尖的语气向正在北京实习的TORO VAN DARKO童鞋汇报《午夜巴黎》观后感：哎呦，不错哦！
电影一开始那段《巴黎风景介绍集》来的很讨喜，虽然无台词，无演员，仅仅是随着音乐画面不断的变化，也让人觉得很舒服，很自然的被带进电影中去，前面那些巴黎的风景对我来说可能不能用“美”来形容，毕竟那些画面出现的地方已经见过很多次了，都有点审美疲劳，但在伍大师镜头下，我还是感到一丝莫名的温暖。有种“风景若只如初见”的感觉。这部戏是伍迪艾伦写给巴黎的情书，不过作为中产阶级美国人的伍迪艾伦，看到的巴黎是最美丽的一面，自然而然给我们展现出来的也是各种曼妙韵味，如果把巴黎比喻成女人，伍迪艾伦看到的是女人在白天的风情万种，他当然不会，也不想知道她晚上回家卸了妆的样子，要想知道一个真实，完整的巴黎，建议去13区和北部神灯聚集的地方踩下点，顺便别忘了地上的狗屎和鸟粪。。。。不管怎样，美好的东西值得我们去刻画，突出，这点上伍迪艾伦做的已经足够好了。
电影结构很巧，穿越题材已经被用烂了，但作为编剧的伍迪艾伦并没有主流性的一穿到底，反而是利用白天和夜晚的交替来讲诉这段故事，即使重点全部放在了午夜，白天和歌迪亚的对手戏比重不多的情况下，我们依然能够通俗易懂的明白两人的感情纠葛，一切都那么真实，自然。只是可惜了大美女麦克亚当斯在戏中表演，前段还很正常，后来基本都是咆哮戏了。但话又说回来，这样的出轨真的让人哭笑不得。其实关于男猪脚GIL夜晚的奇遇，至少在我看来真的很精彩，说实话有点话唠的台词让我很多地方都没看很明白，不过一点都不破坏整体效果，这些全部要归功于伍迪艾伦对艺术和文学的造诣。片中影帝布罗迪饰演的达利很给力，满口西班牙语腔的法语（不知道原版是否为西语腔的英文）让人眼前一亮，居然最后还出现了RAY MAN！！这个确实让我感到很意外。其实我也在担心一个问题，要是对艺术这类不太热衷的观众，可能会找不到Gil和艺术家们对话的笑点所在。。。
关于电影情节就不需要讲述太多，我肯定还会看第二遍，不过我应该会在电影快完的时候关掉，因为最后Gil跟唱片店女人牵手在雨中的情节个人觉得没有这个必要，就保持之前的那种感觉，很好了。
值得一提的是法国第一夫人布吕尼也客串了一把罗丹美术馆工作人员，身段优雅，动作矜持，萨科奇面子十足！
这部片延续了伍迪艾伦的个人风格，文艺气息很重，幽默与小资齐飞，镜头和剪辑并存。先不论电影内容，只看形式基本上就可以从2分开打（当然，有特殊癖好和共鸣点的观众当我这句话放屁），正提着大刀一心搜寻并试图消灭黑水党的《关二哥》看到这个起始分不知道心中会不会觉得苦逼。
伍迪艾伦一生吃下各种艺术，文学方面的知识，于是放了个屁，不过我们闻着也是香的更多精彩文章及讨论，请光临枫下论坛 rolia.net