Director:
Woody AllenGuión:
Woody AllenCámara:
Darius KhondjiReparto:
Owen Wilson, Rachel McAdams, Marion Cotillard, Kurt Fuller, Mimi Kennedy, Michael Sheen, Alison Pill, Adrien Brody, Sonia Rolland, Léa Seydoux, Kathy Bates (más)Streaming (1)
Sinopsis(1)
Ambientada en París, narra la historia de una familia que viaja a esta ciudad por motivos de trabajo, así como la de dos jóvenes prometidos que se casarán en otoño. Las experiencias que tienen en la capital francesa cambiarán sus vidas. Cuenta el gran amor que siente un joven por una ciudad, París, y la ilusión que tiene la gente de creer que una vida diferente a la suya sería mucho mejor. (Alta Films)
(más)Videos (9)
Reseñas (14)
Así se budu opakovat, ale Woody Allen je genio. Půlnoc v Paříži jsem v krátkém časovém rozmezí viděl podruhé a po druhém zhlédnutí jsem si ji posunul do své osobní desítky. Dokonalé propojení přítomnosti a minulosti, o což se mnozí čeští i zahraniční tvůrci marně snaží, potvrzuje, že Woody má bohatou fantazii a bohatý všeobecný přehled, což vyžaduje rovněž od diváka. Pokud divákovi nic neříkají jména Fitzgerald, Steinová či Buńuel, nemá vůbec smysl, aby na tenhle film chodil do kina. A především chytne za srdce snílky a romantiky, kteří by se chtěli vrátit do dob minulých a plkat s Dalím o nosorožcích a rozteklých hodinách, diskutovat s Hemingwayem o smrti či se přít s Gaugainem, zda to bylo v Paříži lepší v 19. století nebo v renesanci. Nakonec však nejspíš všichni dospějí k podobnému závěru, jako hlavní hrdina. Woody na nás chrlí jeden vtip za druhým, především z úst Owena Wilsona, jenž podle mě je nejlepším ztělesněním postavy, kterou obvykle hraje sám Woody, jinými slovy je to nejlepší "NeWoody". Owen Wilson zkrátka předvedl nejlepší výkon své kariéry, za což si vysloužil mj. nominaci na Zlatý globus. Z celého srdce mu tu cenu přeji, jakož samozřejmě i Woodymu za režii a především za scénář. Ještě dlouho budu vzpomínat na vtípek o Kublajchanovi či vylévání srdce surrealistům. Bravo, bravo, bravo!
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Like all Woody Allen films, Midnight in Paris has its own unmistakable charm. I became convinced of this with the initial montage of shots of Paris. Owen Wilson, whom I didn't find too convincing at first, pleasantly surprised me. The interweaving of today with the 1920s is fantastic and I think both eras were captured perfectly. I feel like I've returned from a lovely walk through Paris, which I hadn't experienced in this light before. Nice, 4 stars.
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Woody Allen is a magician. As a lover of Paris and an admirer of times past, I got lost somewhere between the opening titles and the first dialogue. Not that I expected anything else after a discreet whisper announcing a minor masterpiece, but the dreamy atmosphere, the sexy Marion Cotillard, and Owen Wilson made in the image of a young Allen? This is how to take the breath away from your devoted fans. Manhattan at last has an equally fascinating sequel after more than thirty years.
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As Woody Allen sees it, walking and lounging around in Paris is mainly a pleasant experience. Fortunately without unbearable sweetness and with a willingness to admit that the appealing genre veneer merely provides refuge for a sabre-toothed bitch called life. A declaration of love for the former intellectual and artistic heart of Europe, Midnight in Paris begins with a picture-postcard prologue that inspires comparisons to Manhattan, which of course was filmed at a time when Allen’s jokes were more polished and the conclusions he arrived at were more sceptical. Together, the two films are able to make you take this idealised portrait of the big city as your own and, particularly in this case, declare “Paris, je t'aime“ after the closing credits have rolled. Owen Wilson “became” Allen unexpectedly smoothly; in line with the comedic potential of his face, he toned down the intellectualism and added some – reasonably subdued – grimaces. Unlike flowing romantic comedies, Midnight in Paris is more deliberate and restrained in terms of style (the actors walk nicely in long shots), only reinforcing my fears that Allen has either definitively given up on trying to make a more ambitious film with more layers of meaning and a more sophisticated narrative or he has simply run out of themes that could be developed beyond a pleasant anecdote. 80% Appendix: I most enjoyed the encounter with the surrealists (the charmingly excited Brody) and the affirmation that it took Buňuel just as long to digest the initial situation of The Exterminating Angel (roughly 30 years) as it will take an unprepared viewer to understand its satire.
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A commercial for Paris. The Paris of dreamers and incorrigible romantics; so the absolute opposite of the real Paris. But so what? Woody manages to intoxicate us with the almost melancholic atmosphere of the “city of love" so much that it gets you wanting to go there... And add to this the outstanding Owen Wilson (who gives a better performance of Woody than Woody himself), the again cute (and again in a completely different way) Marion Cotillard, all the scenes with the big names of surrealism “rhino-Buñuel-Dalí-Man Ray-rhino", the playfulness (that’s right, Allen steals from himself; and so what?) and the overall relaxed atmosphere showing that “we all had a great time" which comes across wonderfully to the viewer. Which doesn’t always necessarily happen.
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