双语影评(午夜巴黎)

第一篇：双语影评(午夜巴黎)

这是导演艾伦写给巴黎的一封情书，它将老套的穿越桥段演绎得浪漫而不轻浮，引发了人们对于何为“美好时代”的良久思考。

对巴黎充满好感的好莱坞编剧吉尔和未婚妻伊内兹到巴黎度假。午夜钟声响起，微醉的男主角吉尔被拉上了一辆老式的古董汽车，与二十世纪二十年代的巴黎不期而遇。他以作家身份进入了以斯坦因为核心的耀眼文艺圈，穿越到了他心目中的黄金年代。

影片以风景开场，埃菲尔铁塔、塞纳河、红磨坊、香榭丽舍大街、凯旋门、卢浮宫等一系列场景一一铺陈开来，营造出了众人想象中的巴黎。而当故事开讲，第一个人物场景也安排在了莫奈的睡莲池边。影片注重对巴黎的场景描写，油画一样的画面，质朴又不失情调，每一个镜头都风情万种。

影片中的手法运用很直接，对于那些美国游客的嘲讽显而易见，他要么是关心利益且对人疑心重重的商人，或者是满口“cheap is cheap”的势利眼，要不就是忙于掉书袋的虚伪学者。他们没有对艺术的激情，也就不能感受到午夜巴黎透露出的文艺气息。他们的生活缺乏浪漫，也就没有了心中的那个“黄金年代”。

艾伦的喜剧电影往往透露着悲剧情怀。就像在这部片子里体现的，庸俗的婚姻最终因为背叛而被打败，依靠魔幻现实主义才能摆脱生活的困境。从很早以来，艾伦的电影就是这样，没有大惊大喜，却有小幽小默。他用平实的方式讲述一个故事，用轻松幽默的对话推动情节的发展，最终引发人们对于生活的思考。我觉得，电影的主题在怀旧。吉尔在追寻他心目中美好的20年代巴黎，20年代的人在追寻世纪之交的巴黎，而世纪之交的人们却在追寻更加遥远的文艺复兴。文艺界的人们似乎总是怀旧，而怀旧的又如何只是文艺界的人们？世人往往对现实不满，便寄望于怀念过去。抱定现实，或是追随“黄金年代”而去，男主与埃德瑞娜做出了不同的选择。现实的我们或许并没有选择的权利，但我们却可以选择面对生活的态度。回归理性或是沉迷过去，追求现实或是执着梦想，这是我们每个人应该去思考的问题。

巴黎的午夜像一道旋转门，能让有心人轻易到达历史舞台上任意一个时间和地址。每个人心里都有自己的“黄金年代”。总有那么一些时候，我们要试着在现实的生活里诗意地栖居。

This is a piece of love letter to Paris by Allen, who devises a novel time-travel plot, which is demonstrated in a quite romantic but not flighty way.This film has triggered audience’s further thoughts about what on earth is the Golden Age.The story takes place during the vacation, when the Hollywood scriptwriter Gill travels to the fascinating city Paris with his fiancée Inez.The moment clock struck midnight, tipsy Gill was pulled into a antique car, after which he begins his chance encounter with the Paris of the 1920s.To his amazement, this is a marvelous journey, during which he is set in a shiny circle with Stein at the core and travels back to the Golden Age, which is what he has been dreaming for.As the film opens, what comes into our sight is marvelous Eiffel Tower, Seine, Moulin Rouge, Champs Elysees, Triumphal Arch, Louvre and so on.The first scene of the story is set near Monet's water lilies pool.The film is characterized with its artistic portray of Paris scenery, which is plain but not dull at all, leaving a fascinating expression on its audience.The explicit demonstration of this film gives us a clear knowledge about its core value.The screenwriter’scriticisms on American visitors are rather sharp and direct, which attacks those venal and suspicious businessmen, donnish bookworms or snobbish ones in a quite straight way.Undoubtedly, those who lack passion in art will never sniff the unique flour of Paris in midnight, because the meager romance in their life is the contributing factor to their bloom Golden Age in their mind.As Allen’s previous comedies, this film conveys a hint of tragic color as well.Vulgar marriage dooms to end in betrayal, while magic realism is the only way to get rid of dilemmas.This is just Allen’s customary style, no surprising endings, but it is those jokes which attract you most.He is a

nice narrator who tells stories in a quite plain way, while humorous dialogues evoke people’s thoughts about their daily life.In my view, the main theme of the film is reminiscence.Gill pursues the Paris in the 1920s, while people in the 1920s long for an experience at the turn of the century and those born at the turn of century are eager for Renaissance, a much more instant time.It is said that people in art circles have a tendency of reminiscence.However, the bare fact is that all people who bear grudge to reality can’t help missing the past.Finally, Gill and Ed reyna make their own decision between clinging to the present world or following the trace of Golden Ages.Actually, we can hardly change the times we are born to, but we can choose our attitudes toward life.Keeping rational in the pursuit of our dreams or still being immersed in the past, being dedicated to the real world or obsessed with your fantasy are what we should think over.Midnight in Paris is more like a spinning door, which offers a chance for us to choose any time and any place we want back to old times.There must be one Golden Age deep in every single person’s heart, while in the meanwhile, we’d better try to dwell in real times in a poetical way.

第二篇：午夜巴黎影评

午夜巴黎电影批评

——浪漫主义手法揭示的现实主义主题 午夜巴黎是伍迪艾伦向欧洲致敬的系列中的一部，也许是其中最浪漫的一部作品，因为这部作品是关于巴黎。巴黎，这两个字看上去就无与伦比的浪漫和优雅，我在想如果当初翻译成巴里或者芭丽，我看到这个名字还会不会觉得浪漫，巴，黎，两个字，已经成为了很多人心目中浪漫的印记。

电影讲述美国好莱坞剧作家吉尔和他未婚妻一家来到巴黎，吉尔徜徉在巴黎的浪漫气息和对巴黎二十年代的向往中，而未婚妻一家人，还有未婚妻的朋友——一个爱掉书袋的知识分子保罗，却对此不以为意，他们不理解吉尔这种脱离现实的思想。吉尔偶然穿越回了他心目中的黄金时代，见到许多那个时代的艺术家，得到了他们对自己小说的指导，并且与一名魅力非凡的女子相爱，他们有着对巴黎同样的热爱，喜欢游走在巴黎的每一寸土地上。但是与吉尔不同，生活在二十年代的阿德里安那认为1890年左右的美好年代才是最好的年代。当他们一起穿越回美好年代时，发现那里的人们认为文艺复兴才是最伟大的时代。最终，吉尔回到了现实，决心面对自己真正属于的这个年代。

影片一开始就出现了伴随着音乐节奏不断切换的几十个空镜头，将巴黎的美景展示无余，那种视觉上的冲击与摄影作品不同，原因在于电影镜头记录下的一个个画面是流动的，航行中的船，行走的路人，滴落的雨和流动的河水，让我们感受到“流动的盛宴”。剧情上这部电影用了在中国电视剧中被滥用的穿越桥段，将主人公带回了他心驰神往的黄金时代。但这一手法在这部电影中丝毫不狗血，因为从影片一开始，导演就告诉观众巴黎是一个神奇的地方，任何浪漫的事情都有可能发生。穿越用得好的话是一个很好的途径将故事带入另一个时空，这样的经历放在有着黄金情节的主人公身上也是合情合理。而随着剧情的推动，当吉尔看到旧时代的人还在缅怀更古老的时代而忽略当下的美好时，他逐渐清醒过来，黄金时代之所以闪闪发光，是因为人们看到了它美好的一面而忽略了它的局限性，那里是有赫赫有名的大师，但是那里没有抗生素和麻药，而我们所认为的浮躁且缺乏想象力的当下，也许是后人眼中的黄金时代，只是我们自己不肯充满热忱的投身其中而已。影片很好地利用了电影的优势，让同一空间下的巴黎展现了不同的时代，吉尔能够见到海明威毕加索等人，阿德里安那又可以穿越回马克西姆酒吧，用古老的车子将故事带入一层又一层惊喜。而它也不露痕迹的，用浪漫主义的手法，逐渐让主人公和观众脱离浪漫主义的幻觉，直面现实，从而创造出更有意义的艺术作品。假若被虚无的浪漫主义蒙蔽了看清现实的双眼，捆绑了拥抱现实的双手，又如何能在现实中找到如同黄金时代一样的美好感受呢？

如果要说影片有什么不足之处，我认为主要有两点。保罗在故事中令人生厌的掉书袋行为，其实影片安排大量艺术大师出场与这个行为别无二致。如果不是字幕的介绍，普通观众大约只能认识这些大师中的三分之一，而吉尔代表导演，对这些大师如数家珍，这实在是中产阶级自我感觉良好的另一种体现，观众在一头雾水的情况下有种被艺术圈隔离的感觉。另外，这虽然是一部美丽吸引人又引人思考的影片，但实在算不上一部向城市致敬的影片，因为影片是以游客的身份看巴

黎，开篇的几十个空镜头仿佛明信片一般将巴黎的美景尽收眼底，主人公也向往漫步于塞纳河左岸，但是关于这个城市的精神内核，仿佛还隔了一层，毕竟如果只将巴黎视为浪漫而璀璨的宇宙焦点还是太表象了。我认为影片大概是你触及巴黎生活的预备阶段，真正的巴黎也许在吉尔定居巴黎之后才会慢慢体会更深。

无论如何，这是一部引人思考又带来感官上美感的影片。我将这部影片描述为用浪漫主义的手法讲述一个放弃浪漫主义的故事。而细细思索下，浪漫主义是什么，村上春树说是向万事万物的存在状态的挑战，比如你不接受当下而追求黄金时代。但是一个艺术家的角色绝非向绝望低头，而是寻找对抗空虚存在的解药，吉尔最终回到现实，向已知的并不完美的现实挑战，其实难道不是另一种浪漫主义吗？

第三篇：影评《午夜巴黎》

评《夜巴黎》

《夜巴黎》是由知名好莱坞导演伍迪·艾伦拍摄的影片，讲的是一家美国人因为公务和生意的原因去巴黎旅行,其中有一对已经订婚的青年情侣。在巴黎的清晨和白天,情侣的爱意愈发地浓厚,他们恨不得马上就举行婚礼。浪漫之都巴黎的“催情”作用不可小觑。不同时间的巴黎,有着不同的“个性”:巴黎早上很漂亮,下午充满魅力,夜晚让人心醉;而午夜之后的巴黎则具有魔力,它既浪漫又神秘;既让人神往又叫人心情起伏。年轻的男子似乎受到了某种情绪的“蛊惑”屡屡于午夜做出一些“出格”的举动。在经历了种种与过去的生活差异巨大的新鲜体验之后,他开始思考“究竟什么才是更好的生活”。在爱上了巴黎以及巴黎的生活之后,他不禁开始幻想和憧憬起自己的未来,只是他和未婚妻的爱情,还能回到从前么? 通过主人公的经历，让我们去思考自己的人生，我们的人生又是怎么样的。巴黎的美好，让我们体会生活的多彩，但是巴黎的梦幻，也让我们思考生活的现实。

先介绍这部电影的导演——伍迪·艾伦，原名艾伦·斯图尔特·科尼斯本，1935年12月1日生于纽约布鲁克林一个贫穷的犹太家庭。伍迪在本地的米德伍德中学毕业，虽然也曾经在纽约大学和纽约市立学院读过几天书，但均被开除。15岁的时候，伍迪就开始写俏皮话，开始用伍迪·艾伦的名字给一些报纸的专栏作家投稿，据说还为鲍勃·霍普当过枪手，后来被这些专栏作者推荐担任专为广播电台写广告中的俏皮话。1969年，随着伍迪电影经验的日趋成熟，舞台剧的成功也侧面刺激了伍迪·艾伦的电影兴趣，电影商人们也纷纷对这个

满脑子精灵古怪想法的犹太小个子发出邀请，于是伍迪自导自演了一部《拿了钱就跑》，正式开始了电影之路。从很早以来，伍迪的作品就已经基本成型了，大惊大喜没有，小幽小默不断，他的作品早已培养出一批独特的观众群，他和这些老观众交流，就像是和邻里邻居楼上楼下的老朋友们聊聊天、打打牌、逗逗嘴，在日趋平静的生活中找点乐子。说平静，生活还挺平静，可人人都觉得自己活着够累：没老婆的要找老婆，有了老婆又不安生；没有孩子想要孩子，要了孩子也不踏实；没有名的想出名，还没出名就觉得累；没有钱想要钱，有了钱又不习惯；看着电影里面什么都好，可自己遇到的都是倒霉事，人生本来就是一出时时幕起、时时幕落、杂乱喧闹、无奈又无聊的喜剧大杂烩。这种独特的电影风格也导致他的电影适合的人群不是大众，是知识分子。说起这位鼎鼎大名的导演，影迷们大多只是用“天才”、“牛”，甚至“大师”来表达他们的尊敬，然后多半就缄口不言。对于一位美国犹太知识分子，我们显然还很难彻底了解他的思想脉络和文化背景，从而他的作品显露出的特质和优异之处，我们很多时候也只是感觉到，而恐怕也不能象艾伦在美国犹太知识分子圈内的那些忠实观众一样能够会心一笑。

作为“继卓别林后最杰出的喜剧天才”，伍迪·艾伦以其独有的喜剧才能在影坛上纵横数十年而长盛不衰，恐惧于不可避免的死亡、充斥着背叛的爱情徒劳无用、魔幻现实主义化解生活困境则构成了伍迪·艾伦喜剧电影中 “三位一体” 的悲剧意识的表现形式。今天看到的电影《夜巴黎》就充分体现了伍迪·艾伦喜剧电影中“三位一体”的悲剧意识的表现形式，但是也不乏伍迪· 艾伦不断的小幽默，时时幕起、时时幕落、杂乱喧闹、无奈又无聊，很具有代表性。

伍迪·艾伦拍摄的电影，从伦敦到巴塞罗那再到巴黎，这几年伍迪艾伦一直转战于欧洲几大城市，此次在充满浪漫气息的巴黎完成与历史上的文化名人的伟大穿越之旅，依旧有其标志性的大量对白，不过胜在轻松有趣。每个人都有自己的“黄金时代”，但是上一个时代过去了，新的时代来了，我们还能回到那一个“黄金时代”么？答案是否定的，伍迪·艾伦用轻喜剧告诉我们，活在当下是最明智的。

艾伦用“穿越剧”的老套形式把现在的巴黎和“黄金时代”的巴黎拼接在一起。也许，在艾伦的感受中，巴黎的魅力之处正在于她被自己悠久、优雅的历史所层层包围，她同时是现在的和历史的。巴黎的午夜正像一道旋转门，能让有心人轻易到达历史台历上的任何一个时间和地址。艾伦显然不够浪漫，不会天真地、简单地肯定自己的“黄金时代”的美好和独一，而是把它相对化、虚化。艾伦几乎是在用一种通俗而幽默的语调在说：每个现在都有自己的黄金时代，也许每个人都是面向过去、后退着走到现在，并走进未来的。艾伦看到了文化乡愁（幻象）既虚幻又真实的本性。真实之处在于，幻象总是暗暗地修正着现实，就像吉尔从20年代“回到现实”后，虚幻的经历最终让他避开了一段庸俗的婚姻，偏离了原来的生活轨道，留在了雨中的巴黎。就《午夜巴黎》而言，也许我们可以说，在巴黎这个酒杯中，伍迪·艾伦尝到的不是怀旧的文化乡愁，而是“迷惘”。迷惘，正是那种笼统地被他称为“20年代”（或者，按照菲兹杰拉德的说法，“爵

士乐时代”）的滋味的本质。斯坦因说过，你们这些在大战中服过役的年轻人都是“迷惘的一代”，“你们对什么都不尊重。你们总是喝得酩酊大醉„„”后来，经过海明威的传播，“迷惘的一代”成为一代作家的历史标签。20年代处在一战之后和大萧条之前，那是一个虚无感的刺痛和创造力的喷薄并存的“超现实”年代，其精神核心正是确定性的消失。

“巴黎印象”原本是用滥了的标签，艾伦只用了开头一组“明信片”镜头，就勾勒了出来。背景音乐的贴切，甚至超过了法国电影。至于在今天的巴黎，“文化气质”还剩几何，伍迪·艾伦不置可否。“导游”卡拉·布吕尼的拘谨，她那句“爱两个人”台词的稚嫩，丝毫解不了小布尔乔亚的惑。科斯托尔和歌迪亚的表演实在是太过抢眼，海明威的“霸气外露”正好衬托出了威尔逊的唯唯诺诺。他更需要阿德里亚娜这样的女人，柔情、聪慧、性感，能同莫迪利亚尼、毕加索一起为之倾倒，吉尔恨不得多穿越几次，从“爵士年代”到“美好时代”，甚至是更为奢华的路易十四时期，体验生命的无限可能性。毫无疑问，《午夜巴黎》是一部专属于知识分子的电影，它巧妙地剖开了他们的灵魂，再装入到幻想的躯壳里，扔到巴黎小巷去游荡。

影片中，主人公吉尔与教授保罗是一组对位关系，可以说保罗是另一个吉尔，是以前的那个吉尔，那个能让伊内斯爱慕的吉尔。以前的吉尔是一位好莱坞剧作家，一个社会精英、成功人士，能写卖座的电影剧本，能得到大众的认可。现在的吉尔则是一位作家，他渴望真正的、充满激情的创作，想写一部属于自己的、表达自己生命体验的作品，而不是总写那些程式化的、讨好观众口味的快餐之作。所以他想放弃好莱坞的一切，在巴黎重新开始。但是伊内斯不能接受吉尔从一名成功人士“堕落”为一个无名作家，与之发生众多争执。

保罗则是一位知名教授，在他们一起游览巴黎名胜古迹的时候，他滔滔不绝地卖弄自己的“博学多才”。保罗表面热爱艺术，实则对艺术毫无知觉，他缺乏对艺术的激情，因而那些艺术作品无法撞击到他的灵魂，他不能从内心理解和感悟那些作品，而只满足于描述书本上习得的专业知识，所以，他和一位与艺术有着巨大鸿沟的“专家”。

保罗不仅是艺术品专家，还是红酒专家、舞蹈专家，而影片对保罗的这种“专家”身份进行了三次幽默的嘲讽，第一次是在“沉思者”面前，保罗卖弄知识时错把卡米拉当做罗丹的妻子，当他被导游指出错误时，他矢口否认，坚定地保持着自己不可侵犯的权威性。第二次是伊内斯对保罗说吉尔在进行文学创作，保罗提出他可以帮吉尔写评论来吹捧吉尔的作品，在“事业”上助吉尔一臂之力，他完全背叛了文学批评的原则。第三次则是参观毕加索的画作时，他仅按书本知识讲述毕加索的画作，而巧合的是，吉尔在前一晚穿越中正好见到毕加索创作完这幅画之后，其同代人批评该画充满庸俗的性欲而没有表现出毕加索情人的真正迷人之处，是一次失败的尝试之作。当吉尔说出了对毕加索此画的评价后，其他人则因吉尔对艺术大师的“大不敬”而瞠目结舌。

吉尔与保罗的最大区别，就是激情，那种对艺术的激情，那种艺术家身上的酒神精神。巴尔扎克说：伟大的激情与杰作一样寥寥无几。

在艺术领域中，与艺术家相伴的总是激情。而影片也借海明威之口阐释了激情的意义：“他们的爱具有足够的激情，才能将死神从头脑中驱逐。”而这样的人才是海明威心目中能战胜虚无与死亡的英雄。

在吉尔的世界里，“没有巴库斯（酒神的名字）的成份，生活便会没有趣味（罗素语）”，但在伊内斯的世界里，“有了巴库斯的成份，生活便是危险的（罗素语）”。伊内斯对吉尔这种脱离生活“正道”的“危险性”心知肚明，因此她对吉尔越发不能容忍，而渐渐青睐保罗。因此，在现实领域里，吉尔输给了保罗，但在艺术领域里，保罗输给了吉尔。

保罗是吉尔的“旧我”，人有了激情，就会有撕裂感，就期待脱离这个不完美的此岸去追寻那个完美的彼岸，就想把因循守旧、乏味空洞、刻板无聊的“旧我”撕裂出去，把他丢给外面的世界，腾出空间让自己找寻内心的真正欲求，找寻诗意的存在、梦境的显现。就这样，吉尔在午夜窥见到了心中的彼岸，那个富有诗意的梦幻彼岸。

在影片中，伍迪·艾伦更是探讨了诗意栖居的问题。我们总说，现实生活泯灭了我们的诗意，但看完这部影片之后，我们不得不问，究竟是现实生活泯灭了我们的诗意，还是我们泯灭了现实生活的诗意。

第四篇：午夜巴黎影评

3210007981 李美珍 10Trade4 Comment on film “Midnight in Paris”

“Midnight in Paris” is shoot by the famous Hollywood director woody Allen, talking about Gil Pender accompanied with his fiancée, Inez, father-in-law and mother-in-law to Paris on vacation.He wants to stay in Paris to finish his first novel, but Inez and its parents firmly opposed.At a dinner, Inez met a former classmate Paul couples, they travel together.Paul show off everywhere, and chatter with guide, which made Gil Pender disgust.At midnight, he walked alone in the streets of Paris, but was attracted by a passing carriage.He as the carriage came to a party, a wrong met Fitzgerald, Ernest Hemingway, Picasso, Dali, stein, and he is smitten by Picasso's Adriana lover.He diligently through and the resultant all let him hopelessly in love with the city of Paris.Gil Pender and professor Paul in the film, the hero is a set of opposite relationship, we can say that Paul is another Gil Pender, who can let the love inside before.Gil Pender is a Hollywood screenwriter, a social elite, successful people, can write blockbuster movie script, which can gain mass appeal.Now, Gil Pender is a writer, he is eager to real, passionate, creative, wanted to write a belongs to own, express their life experience, rather than always writing those stylized, to please the audience taste of fast food.Hollywood so he wanted to give up everything and start again in Paris.But he can't accept Gil Pender from a successful “degenerate” for an anonymous writer, with the occurrence of numerous disputes.Paul is a well-known professor, in Paris, together they visit places of interest, he poured to show off his “Renaissance”.Paul surface love art, but it is unconscious in art, his lack of passion for the arts, and the work of art cannot hit to his soul, he can't who works from inner understanding and comprehension, and described the book only meet in the acquisition of professional knowledge, so, he and a “experts” with art has a huge gap.Paul is not only an art expert, or a wine expert, dance, and film for Paul the “experts” identity on three humorous satire, is for the first time in front of “meditation”, Paul show off knowledge regards Camilla as Rodin's wife, as he is the guide pointed out a mistake, he denied that maintained their inviolable authority firmly.The second time is in Iraq said to Paul gill in literary creation, Paul, he can write the comments for Gil Pender to flatter gill's work, helped Gil Pender on “career”, he completely betrayed the principles of literary criticism.The third is the visit of Picasso's paintings, his only according to the book knowledge about Picasso's paintings, and coincidentally, Gil Pender I saw in the previous night through after Picasso created this painting, his contemporaries criticized the painting full of vulgar sexual desire without showing Picasso's really fascinating, is a failed attempt.When spoke after evaluation of Picasso painting, others for Gil Pender to master of art “offensive”.Gil Pender and Paul, the biggest difference between, is the passion, the passion for the art, the artists of the Dionysian spirit.Balzac said: great passion with as few masterpieces.In the field of the arts, is always accompanied by artists.We nostalgia, not because we really wasted, not because of how the old well, maybe it's just we want to change the way of life, maybe just we feel lonely.

第五篇：《午夜巴黎》的英文影评

《午夜巴黎》的英文影评

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.(ZZ from IMDB)