第一篇：午夜巴黎影評

午夜巴黎電影批評

——浪漫主義手法揭示的現實主義主題 午夜巴黎是伍迪艾倫向歐洲致敬的系列中的一部，也許是其中最浪漫的一部作品，因為這部作品是關于巴黎。巴黎，這兩個字看上去就無與倫比的浪漫和優雅，我在想如果當初翻譯成巴里或者芭麗，我看到這個名字還會不會覺得浪漫，巴，黎，兩個字，已經成為了很多人心目中浪漫的印記。

電影講述美國好萊塢劇作家吉爾和他未婚妻一家來到巴黎，吉爾徜徉在巴黎的浪漫氣息和對巴黎二十年代的向往中，而未婚妻一家人，還有未婚妻的朋友——一個愛掉書袋的知識分子保羅，卻對此不以為意，他們不理解吉爾這種脫離現實的思想。吉爾偶然穿越回了他心目中的黃金時代，見到許多那個時代的藝術家，得到了他們對自己小說的指導，并且與一名魅力非凡的女子相愛，他們有著對巴黎同樣的熱愛，喜歡游走在巴黎的每一寸土地上。但是與吉爾不同，生活在二十年代的阿德里安那認為1890年左右的美好年代才是最好的年代。當他們一起穿越回美好年代時，發現那里的人們認為文藝復興才是最偉大的時代。最終，吉爾回到了現實，決心面對自己真正屬于的這個年代。

影片一開始就出現了伴隨著音樂節奏不斷切換的幾十個空鏡頭，將巴黎的美景展示無余，那種視覺上的沖擊與攝影作品不同，原因在于電影鏡頭記錄下的一個個畫面是流動的，航行中的船，行走的路人，滴落的雨和流動的河水，讓我們感受到“流動的盛宴”。劇情上這部電影用了在中國電視劇中被濫用的穿越橋段，將主人公帶回了他心馳神往的黃金時代。但這一手法在這部電影中絲毫不狗血，因為從影片一開始，導演就告訴觀眾巴黎是一個神奇的地方，任何浪漫的事情都有可能發生。穿越用得好的話是一個很好的途徑將故事帶入另一個時空，這樣的經歷放在有著黃金情節的主人公身上也是合情合理。而隨著劇情的推動，當吉爾看到舊時代的人還在緬懷更古老的時代而忽略當下的美好時，他逐漸清醒過來，黃金時代之所以閃閃發光，是因為人們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師，但是那里沒有抗生素和麻藥，而我們所認為的浮躁且缺乏想象力的當下，也許是后人眼中的黃金時代，只是我們自己不肯充滿熱忱的投身其中而已。影片很好地利用了電影的優勢，讓同一空間下的巴黎展現了不同的時代，吉爾能夠見到海明威畢加索等人，阿德里安那又可以穿越回馬克西姆酒吧，用古老的車子將故事帶入一層又一層驚喜。而它也不露痕跡的，用浪漫主義的手法，逐漸讓主人公和觀眾脫離浪漫主義的幻覺，直面現實，從而創造出更有意義的藝術作品。假若被虛無的浪漫主義蒙蔽了看清現實的雙眼，捆綁了擁抱現實的雙手，又如何能在現實中找到如同黃金時代一樣的美好感受呢？

如果要說影片有什么不足之處，我認為主要有兩點。保羅在故事中令人生厭的掉書袋行為，其實影片安排大量藝術大師出場與這個行為別無二致。如果不是字幕的介紹，普通觀眾大約只能認識這些大師中的三分之一，而吉爾代表導演，對這些大師如數家珍，這實在是中產階級自我感覺良好的另一種體現，觀眾在一頭霧水的情況下有種被藝術圈隔離的感覺。另外，這雖然是一部美麗吸引人又引人思考的影片，但實在算不上一部向城市致敬的影片，因為影片是以游客的身份看巴

黎，開篇的幾十個空鏡頭仿佛明信片一般將巴黎的美景盡收眼底，主人公也向往漫步于塞納河左岸，但是關于這個城市的精神內核，仿佛還隔了一層，畢竟如果只將巴黎視為浪漫而璀璨的宇宙焦點還是太表象了。我認為影片大概是你觸及巴黎生活的預備階段，真正的巴黎也許在吉爾定居巴黎之后才會慢慢體會更深。

無論如何，這是一部引人思考又帶來感官上美感的影片。我將這部影片描述為用浪漫主義的手法講述一個放棄浪漫主義的故事。而細細思索下，浪漫主義是什么，村上春樹說是向萬事萬物的存在狀態的挑戰，比如你不接受當下而追求黃金時代。但是一個藝術家的角色絕非向絕望低頭，而是尋找對抗空虛存在的解藥，吉爾最終回到現實，向已知的并不完美的現實挑戰，其實難道不是另一種浪漫主義嗎？

第二篇：影評《午夜巴黎》

評《夜巴黎》

《夜巴黎》是由知名好萊塢導演伍迪·艾倫拍攝的影片，講的是一家美國人因為公務和生意的原因去巴黎旅行,其中有一對已經訂婚的青年情侶。在巴黎的清晨和白天,情侶的愛意愈發地濃厚,他們恨不得馬上就舉行婚禮。浪漫之都巴黎的“催情”作用不可小覷。不同時間的巴黎,有著不同的“個性”:巴黎早上很漂亮,下午充滿魅力,夜晚讓人心醉;而午夜之后的巴黎則具有魔力,它既浪漫又神秘;既讓人神往又叫人心情起伏。年輕的男子似乎受到了某種情緒的“蠱惑”屢屢于午夜做出一些“出格”的舉動。在經歷了種種與過去的生活差異巨大的新鮮體驗之后,他開始思考“究竟什么才是更好的生活”。在愛上了巴黎以及巴黎的生活之后,他不禁開始幻想和憧憬起自己的未來,只是他和未婚妻的愛情,還能回到從前么? 通過主人公的經歷，讓我們去思考自己的人生，我們的人生又是怎么樣的。巴黎的美好，讓我們體會生活的多彩，但是巴黎的夢幻，也讓我們思考生活的現實。

先介紹這部電影的導演——伍迪·艾倫，原名艾倫·斯圖爾特·科尼斯本，1935年12月1日生于紐約布魯克林一個貧窮的猶太家庭。伍迪在本地的米德伍德中學畢業，雖然也曾經在紐約大學和紐約市立學院讀過幾天書，但均被開除。15歲的時候，伍迪就開始寫俏皮話，開始用伍迪·艾倫的名字給一些報紙的專欄作家投稿，據說還為鮑勃·霍普當過槍手，后來被這些專欄作者推薦擔任專為廣播電臺寫廣告中的俏皮話。1969年，隨著伍迪電影經驗的日趨成熟，舞臺劇的成功也側面刺激了伍迪·艾倫的電影興趣，電影商人們也紛紛對這個

滿腦子精靈古怪想法的猶太小個子發出邀請，于是伍迪自導自演了一部《拿了錢就跑》，正式開始了電影之路。從很早以來，伍迪的作品就已經基本成型了，大驚大喜沒有，小幽小默不斷，他的作品早已培養出一批獨特的觀眾群，他和這些老觀眾交流，就像是和鄰里鄰居樓上樓下的老朋友們聊聊天、打打牌、逗逗嘴，在日趨平靜的生活中找點樂子。說平靜，生活還挺平靜，可人人都覺得自己活著夠累：沒老婆的要找老婆，有了老婆又不安生；沒有孩子想要孩子，要了孩子也不踏實；沒有名的想出名，還沒出名就覺得累；沒有錢想要錢，有了錢又不習慣；看著電影里面什么都好，可自己遇到的都是倒霉事，人生本來就是一出時時幕起、時時幕落、雜亂喧鬧、無奈又無聊的喜劇大雜燴。這種獨特的電影風格也導致他的電影適合的人群不是大眾，是知識分子。說起這位鼎鼎大名的導演，影迷們大多只是用“天才”、“牛”，甚至“大師”來表達他們的尊敬，然后多半就緘口不言。對于一位美國猶太知識分子，我們顯然還很難徹底了解他的思想脈絡和文化背景，從而他的作品顯露出的特質和優異之處，我們很多時候也只是感覺到，而恐怕也不能象艾倫在美國猶太知識分子圈內的那些忠實觀眾一樣能夠會心一笑。

作為“繼卓別林后最杰出的喜劇天才”，伍迪·艾倫以其獨有的喜劇才能在影壇上縱橫數十年而長盛不衰，恐懼于不可避免的死亡、充斥著背叛的愛情徒勞無用、魔幻現實主義化解生活困境則構成了伍迪·艾倫喜劇電影中 “三位一體” 的悲劇意識的表現形式。今天看到的電影《夜巴黎》就充分體現了伍迪·艾倫喜劇電影中“三位一體”的悲劇意識的表現形式，但是也不乏伍迪· 艾倫不斷的小幽默，時時幕起、時時幕落、雜亂喧鬧、無奈又無聊，很具有代表性。

伍迪·艾倫拍攝的電影，從倫敦到巴塞羅那再到巴黎，這幾年伍迪艾倫一直轉戰于歐洲幾大城市，此次在充滿浪漫氣息的巴黎完成與歷史上的文化名人的偉大穿越之旅，依舊有其標志性的大量對白，不過勝在輕松有趣。每個人都有自己的“黃金時代”，但是上一個時代過去了，新的時代來了，我們還能回到那一個“黃金時代”么？答案是否定的，伍迪·艾倫用輕喜劇告訴我們，活在當下是最明智的。

艾倫用“穿越劇”的老套形式把現在的巴黎和“黃金時代”的巴黎拼接在一起。也許，在艾倫的感受中，巴黎的魅力之處正在于她被自己悠久、優雅的歷史所層層包圍，她同時是現在的和歷史的。巴黎的午夜正像一道旋轉門，能讓有心人輕易到達歷史臺歷上的任何一個時間和地址。艾倫顯然不夠浪漫，不會天真地、簡單地肯定自己的“黃金時代”的美好和獨一，而是把它相對化、虛化。艾倫幾乎是在用一種通俗而幽默的語調在說：每個現在都有自己的黃金時代，也許每個人都是面向過去、后退著走到現在，并走進未來的。艾倫看到了文化鄉愁（幻象）既虛幻又真實的本性。真實之處在于，幻象總是暗暗地修正著現實，就像吉爾從20年代“回到現實”后，虛幻的經歷最終讓他避開了一段庸俗的婚姻，偏離了原來的生活軌道，留在了雨中的巴黎。就《午夜巴黎》而言，也許我們可以說，在巴黎這個酒杯中，伍迪·艾倫嘗到的不是懷舊的文化鄉愁，而是“迷惘”。迷惘，正是那種籠統地被他稱為“20年代”（或者，按照菲茲杰拉德的說法，“爵

士樂時代”）的滋味的本質。斯坦因說過，你們這些在大戰中服過役的年輕人都是“迷惘的一代”，“你們對什么都不尊重。你們總是喝得酩酊大醉??”后來，經過海明威的傳播，“迷惘的一代”成為一代作家的歷史標簽。20年代處在一戰之后和大蕭條之前，那是一個虛無感的刺痛和創造力的噴薄并存的“超現實”年代，其精神核心正是確定性的消失。

“巴黎印象”原本是用濫了的標簽，艾倫只用了開頭一組“明信片”鏡頭，就勾勒了出來。背景音樂的貼切，甚至超過了法國電影。至于在今天的巴黎，“文化氣質”還剩幾何，伍迪·艾倫不置可否。“導游”卡拉·布呂尼的拘謹，她那句“愛兩個人”臺詞的稚嫩，絲毫解不了小布爾喬亞的惑。科斯托爾和歌迪亞的表演實在是太過搶眼，海明威的“霸氣外露”正好襯托出了威爾遜的唯唯諾諾。他更需要阿德里亞娜這樣的女人，柔情、聰慧、性感，能同莫迪利亞尼、畢加索一起為之傾倒，吉爾恨不得多穿越幾次，從“爵士年代”到“美好時代”，甚至是更為奢華的路易十四時期，體驗生命的無限可能性。毫無疑問，《午夜巴黎》是一部專屬于知識分子的電影，它巧妙地剖開了他們的靈魂，再裝入到幻想的軀殼里，扔到巴黎小巷去游蕩。

影片中，主人公吉爾與教授保羅是一組對位關系，可以說保羅是另一個吉爾，是以前的那個吉爾，那個能讓伊內斯愛慕的吉爾。以前的吉爾是一位好萊塢劇作家，一個社會精英、成功人士，能寫賣座的電影劇本，能得到大眾的認可。現在的吉爾則是一位作家，他渴望真正的、充滿激情的創作，想寫一部屬于自己的、表達自己生命體驗的作品，而不是總寫那些程式化的、討好觀眾口味的快餐之作。所以他想放棄好萊塢的一切，在巴黎重新開始。但是伊內斯不能接受吉爾從一名成功人士“墮落”為一個無名作家，與之發生眾多爭執。

保羅則是一位知名教授，在他們一起游覽巴黎名勝古跡的時候，他滔滔不絕地賣弄自己的“博學多才”。保羅表面熱愛藝術，實則對藝術毫無知覺，他缺乏對藝術的激情，因而那些藝術作品無法撞擊到他的靈魂，他不能從內心理解和感悟那些作品，而只滿足于描述書本上習得的專業知識，所以，他和一位與藝術有著巨大鴻溝的“專家”。

保羅不僅是藝術品專家，還是紅酒專家、舞蹈專家，而影片對保羅的這種“專家”身份進行了三次幽默的嘲諷，第一次是在“沉思者”面前，保羅賣弄知識時錯把卡米拉當做羅丹的妻子，當他被導游指出錯誤時，他矢口否認，堅定地保持著自己不可侵犯的權威性。第二次是伊內斯對保羅說吉爾在進行文學創作，保羅提出他可以幫吉爾寫評論來吹捧吉爾的作品，在“事業”上助吉爾一臂之力，他完全背叛了文學批評的原則。第三次則是參觀畢加索的畫作時，他僅按書本知識講述畢加索的畫作，而巧合的是，吉爾在前一晚穿越中正好見到畢加索創作完這幅畫之后，其同代人批評該畫充滿庸俗的性欲而沒有表現出畢加索情人的真正迷人之處，是一次失敗的嘗試之作。當吉爾說出了對畢加索此畫的評價后，其他人則因吉爾對藝術大師的“大不敬”而瞠目結舌。

吉爾與保羅的最大區別，就是激情，那種對藝術的激情，那種藝術家身上的酒神精神。巴爾扎克說：偉大的激情與杰作一樣寥寥無幾。

在藝術領域中，與藝術家相伴的總是激情。而影片也借海明威之口闡釋了激情的意義：“他們的愛具有足夠的激情，才能將死神從頭腦中驅逐。”而這樣的人才是海明威心目中能戰勝虛無與死亡的英雄。

在吉爾的世界里，“沒有巴庫斯（酒神的名字）的成份，生活便會沒有趣味（羅素語）”，但在伊內斯的世界里，“有了巴庫斯的成份，生活便是危險的（羅素語）”。伊內斯對吉爾這種脫離生活“正道”的“危險性”心知肚明，因此她對吉爾越發不能容忍，而漸漸青睞保羅。因此，在現實領域里，吉爾輸給了保羅，但在藝術領域里，保羅輸給了吉爾。

保羅是吉爾的“舊我”，人有了激情，就會有撕裂感，就期待脫離這個不完美的此岸去追尋那個完美的彼岸，就想把因循守舊、乏味空洞、刻板無聊的“舊我”撕裂出去，把他丟給外面的世界，騰出空間讓自己找尋內心的真正欲求，找尋詩意的存在、夢境的顯現。就這樣，吉爾在午夜窺見到了心中的彼岸，那個富有詩意的夢幻彼岸。

在影片中，伍迪·艾倫更是探討了詩意棲居的問題。我們總說，現實生活泯滅了我們的詩意，但看完這部影片之后，我們不得不問，究竟是現實生活泯滅了我們的詩意，還是我們泯滅了現實生活的詩意。

第三篇：雙語影評(午夜巴黎)

這是導演艾倫寫給巴黎的一封情書，它將老套的穿越橋段演繹得浪漫而不輕浮，引發了人們對于何為“美好時代”的良久思考。

對巴黎充滿好感的好萊塢編劇吉爾和未婚妻伊內茲到巴黎度假。午夜鐘聲響起，微醉的男主角吉爾被拉上了一輛老式的古董汽車，與二十世紀二十年代的巴黎不期而遇。他以作家身份進入了以斯坦因為核心的耀眼文藝圈，穿越到了他心目中的黃金年代。

影片以風景開場，埃菲爾鐵塔、塞納河、紅磨坊、香榭麗舍大街、凱旋門、盧浮宮等一系列場景一一鋪陳開來，營造出了眾人想象中的巴黎。而當故事開講，第一個人物場景也安排在了莫奈的睡蓮池邊。影片注重對巴黎的場景描寫，油畫一樣的畫面，質樸又不失情調，每一個鏡頭都風情萬種。

影片中的手法運用很直接，對于那些美國游客的嘲諷顯而易見，他要么是關心利益且對人疑心重重的商人，或者是滿口“cheap is cheap”的勢利眼，要不就是忙于掉書袋的虛偽學者。他們沒有對藝術的激情，也就不能感受到午夜巴黎透露出的文藝氣息。他們的生活缺乏浪漫，也就沒有了心中的那個“黃金年代”。

艾倫的喜劇電影往往透露著悲劇情懷。就像在這部片子里體現的，庸俗的婚姻最終因為背叛而被打敗，依靠魔幻現實主義才能擺脫生活的困境。從很早以來，艾倫的電影就是這樣，沒有大驚大喜，卻有小幽小默。他用平實的方式講述一個故事，用輕松幽默的對話推動情節的發展，最終引發人們對于生活的思考。我覺得，電影的主題在懷舊。吉爾在追尋他心目中美好的20年代巴黎，20年代的人在追尋世紀之交的巴黎，而世紀之交的人們卻在追尋更加遙遠的文藝復興。文藝界的人們似乎總是懷舊，而懷舊的又如何只是文藝界的人們？世人往往對現實不滿，便寄望于懷念過去。抱定現實，或是追隨“黃金年代”而去，男主與埃德瑞娜做出了不同的選擇。現實的我們或許并沒有選擇的權利，但我們卻可以選擇面對生活的態度。回歸理性或是沉迷過去，追求現實或是執著夢想，這是我們每個人應該去思考的問題。

巴黎的午夜像一道旋轉門，能讓有心人輕易到達歷史舞臺上任意一個時間和地址。每個人心里都有自己的“黃金年代”。總有那么一些時候，我們要試著在現實的生活里詩意地棲居。

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.

第四篇：午夜巴黎影評

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》的英文影評

《午夜巴黎》的英文影評

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)