Midnight in Paris (short review)

Midnight in Paris Midnight in Paris is a very good light-hearted entry from director Woody Allen and starring Owen Wilson. The film begins with Wilson and his fiance, played by Rachel McAdams, visiting Paris. Wilson is a screenwriter struggling to write his first book. Wilson loves Paris and longs for the literary Paris of the past, and then his desire to live in the past comes true. One night, after he gets lost walking back to his hotel, he ends up back in the 1920s where he encounters F. Scott and Zelda Fitzgerald, as well as other artists from that era. After the night’s adventure, he goes back to his hotel and the twenty-first century, but he plans to visit his friends from the 1920s again the next evening. What will he see and what will he learn from his trips to the romantic 1920s?

I realize different people have different feelings about films directed by Woody Allen. Some adore most or all of them while others are not fans, perhaps because they feel his life has tainted the films, as in a topic we discussed last week. Critics often like Allen’s films more than viewers, as shown by the current Rotten Tomatoes rating for Midnight in Paris (92% critics; 77% audience). By way of disclosure, I like most of Allen’s films; I love several of them; and there is one that I would probably list among my top twenty films of all time (Crimes and Misdemeanors).

While it is unfortunate that Allen’s films often have to compete with each other, it it is fair for viewers to consider how a new film ranks within Allen’s canon of films. Considering Midnight in Paris in that context, it is not his best work ever, but it is certainly very good. And, more fairly, considering the comedies usually released during the summer, it is more enjoyable and thoughtful than most of them. The lines are witty, the background is beautiful, the story is interesting, and the movie features fine acting from Wilson in “the Woody Allen role” as well as other actors in the ensemble like Kathy Bates and Marion Cotillard.

Since Allen has started making several films in cities outside New York, he has used the camera to make these other cities characters in his films the way he once made New York a character in films like Manhattan. And Midnight in Paris certainly makes one desire to walk the streets of Paris and live a rich lifestyle there, beginning with the opening several minutes devoted to various scenes around the city.

Another feature of Allen’s films is that he often addresses serious themes about life and death, and he does so in Midnight in Paris. For many years Allen has noted that he has been influenced by Ernest Becker’s book The Denial of Death, which is about how our fears affect the way we live. Some of those themes are touched on in this film, as are themes about nostalgia and longing for the past. The themes of nostalgia are reminiscent of Allen’s excellent movie The Purple Rose of Cairo. Although the resolution of these themes in Midnight in Paris is fairly predictable, one may not mind the ride because the journey is so scenic.

What is your favorite Woody Allen film? Leave a comment.

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    Listen My Children and You Shall Hear Inaccuracies About Paul Revere

    On June 2, 2011, while traveling on a tour of U.S. historical sites, Sarah Palin sparked interest in Paul Revere because of her claim that the famous rider warned “the British that they weren’t gonna be takin’ away our arms. . . by ringing those bells.” I suppose how one feels about her statement about Paul Revere — who actually rode to alert the Americans about the approaching British and who did not use bells — may depend on pre-existing feelings about the speaker. So, we will leave the debate about her statement and her continued claims t

    hat she was correct to the political commentators and others, including those attempting to rewrite Revere’s Wikipedia entry. But the interest in the historical event is a good side effect of her statement.

    Revere’s Famous Ride
    Paul Revere Picture Book
    Revere made his famous ride near Boston on the evening of April 18, 1775.  The British were on the move to seize military stores in Concord. According to the excellent one-volume history of the U.S., A History of the United States by Alan Nevins and Henry Steele Commager:

    “Patriots were on the watch and a lantern in the tower of North Church flashed word to Paul Revere beyond the Charles River, who galloped off to arouse the countryside. The embattled farmers gathered at dawn with their muskets . . . There was a brief skirmish, eight Americans fell dead, and the Revolution was under way. Sam Adams was not far away, and as he heard the rattle of the guns, he exclaimed: ‘What a glorious morning is this!'”

    To give Palin some credit, she did recall correctly that the ride was prompted by the British plan to seize weapons. I suspect some of her critics did not recall that part of the story themselves. Further, she is not the first to make historically inaccurate statements about the ride.

    Henry Wadsworth Longfellow’s Version

    In Henry Wadsworth Longfellow’s famous poem, “The Midnight Ride of Paul Revere,” he exaggerated Revere’s role by ignoring the other riders. And Longfellow’s poem inaccurately claimed that Revere made it all the way to Concord.  In fact, British soldiers captured him and took away his horse.

    But Longfellow’s goal was to tell a tale about a national hero, not to teach history. Hence we have the term, “poetic license.” Still, the famous opening lines of the poem make it easy for one to remember the correct date of the ride:
    Paul Revere and the Raiders
    Listen, my children, and you shall hear
    Of the midnight ride of Paul Revere,
    On the eighteenth of April, in Seventy-Five;
    Hardly a man is now alive
    Who remembers that famous day and year.

    Paul Revere and the Raiders

    There is another famous “Paul Revere.” He was in Paul Revere and the Raiders, the band that had several hits in the 1960s and 1970s. Paul Revere the rider started out as a silversmith.  And the Raiders’ musician Paul Revere started out as a barber in Boise, Idaho. “Paul Revere” was his real name, although Revere was his middle name and his full name was Paul Revere Dick.

    The band’s biggest hit was “Indian Reservation (The Lament Of The Cherokee Reservation Indian),” which was written by songwriter John D. Loudermilk. Mark Lindsay, the lead singer of Paul Revere and the Raiders, was part Native American and wanted to record the song even though it was released a few years earlier by Don Fardon.

    During the summer of 1971, aided by Revere’s promotion of the song with a cross-country motorcycle ride, the Raiders version of “Indian Reservation” became the most popular tune in the U.S. and the biggest hit Columbia Records had ever released.

    “Indian Reservation” also became the most popular song in my childhood home that summer, as my older sister purchased the 45 record and played it repeatedly. Some Native Americans used the Paul Revere and the Raiders version in their struggle for civil rights.

    In addition to the version by Paul Revere and the Raiders, the song would later be covered by UK band 999 and be sampled in a Tim McGraw song.

    The Cherokee

    Like Longfellow’s poem about Paul Revere, the song by Paul Revere and the Raiders was based on historical events. In the early 1800s, Cherokee Indians lived around Georgia.  But as new pioneers came to the land with its fertile soil, conflicts soon arose. Although the tribes had built houses and settled in the area, the incoming white settlers desired more land.

    In 1838, the Federal government ordered that the Cherokee be resettled in the western United States. The Cherokee were sent from Georgia and other states along with other Native Americans, including Creeks, Choctaws, Chickasaws, and Seminoles.

    Many of the Cherokee died as they made the long trip.  They traveled largely on foot and by wagon, facing exposure, hunger, and illness. Because of the sorrow and death caused by the removal, the forced march to what is now Oklahoma became known as the Trail of Tears.

    As Paul Revere and the Raiders sang, “Cherokee people, Cherokee tribe/ So proud to live, so proud to die.” In upcoming political campaigns, all of our politicians would do well to remember these parts of American history — and perhaps visit those historical sites too — in addition to taking pride in the the glorious stories like the one about Paul Revere’s ride.

    What do you think about Paul Revere, the Raiders, the song, or the media coverage of Sarah Palin’s statement? Leave a comment.

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    Missed Movies Roundup: It’s Kind of an Unstoppable Train Edition

    Below are some links to good reviews of some good movies that we liked that you might have missed in the theater. They are now available on Blu-Ray and DVD.

    (1) It's Kind of a Funny Story Obsessed with Film gives It’s Kind of a Funny Story (2010) a mediocre review, but I kind of like its conclusion that if the movie is “taken as a light-hearted comedy that weaves in a few serious issues in along the way, then it’s not too bad.” I agree there is a lot one may criticize about the film, but if you just go with this coming-of-age story about a teen facing depression who checks himself into a mental hospital, it is an enjoyable movie. It was refreshing to see Zach Galifianakis play a more serious role than he does in movies like the Hangover films.

    (2) Unstoppable (2010) features big stars Denzel Washington and Chris Pine, so it was not under the radar when released. But like me, you may have missed it when it was in theaters. The movie, based on a true story, is about a train with nobody on board that is running on the rails through towns at high speed. The cast, including Rosario Dawson, is excellent and Washington and Pine do a great job as two regular Joe railroad workers. Unstoppable is not your typical action movie.

    Because Unstoppable is based on a true story, it is not overblown and is realistic, focusing on character as well as some excellent tense action sequences. It creates a nice balance between story and action. Big Hollywood has a good review. See the preview below.

    (3) Finally, Listal.com has a list of “The 20 Most Underrated Movies and More. . .” Most of the choices are very good, including In the Valley of Elah and A Perfect World (and I even found lesser movies like Fever Pitch entertaining). There are a few I have not seen yet, but the list makes me want to check them out.

    {Missed Movies is our continuing series on good films you might have missed because they may not have received the recognition they deserved when released.}

    What did you think of these movies? Leave a comment.

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    James Arness: 1923-2011

    Gunsmoke James Arness James Arness passed away today at the age of 88. Arness was best known for his role as Marshal Matt Dillon on Gunsmoke from 1955-1975. I remember regularly watching the show as a kid, as well as his performance in the mini-series How the West Was Won (1978-1979). Those were the days when a man was a man and we did not have politicians lying about a mistress and sending crotch shots. Oh wait, there was Watergate, and maybe some other stuff. But Arness was the real deal. For his army service in World War II, he received the Bronze Star, the Purple Heart, the European-African-Middle Eastern Campaign Medal, the World War II Victory Medal, and the Combat Infantryman Badge.

    Several websites have stories about Arness, including Entertainment Weekly’s explanation why Arness was the greatest TV lawman and E! Online’s list of 5 reasons Arness was a legend. He was so cool, he apparently had had not one but two “official” websites.

    Although the role of Matt Dillon was originally offered to John Wayne, Wayne recommended Arness. The Duke introduced the first episode in 1955 with high praise for his friend Arness.  In Wayne’s introduction, he predicts Arness will be a big star, “so you might as well get used to him.” That was pretty easy for us to do.

    What are your memories of James Arness and Gunsmoke? Leave a comment.

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    Can You Hear the Artist’s Life in the Song?

    On Sunday, May 22, 2011, Joseph Brooks — the writer of the song “You Light Up My Life” — was found dead in his Manhattan apartment, apparently having killed himself while waiting trial for the sexual assault of more than twelve women. Prosecutors claimed that he brought women to his apartment through an online ad saying he was giving auditions for a movie role, and then he allegedly drugged and raped them.

    According to some reports, he would sometimes show the Academy Award he won for “You Light Up My Life” to help gain the trust of the young women. In killing himself, the 73-year-old Brooks wrapped a plastic bag around his head and attached it to a helium tank. On top of those allegations, his son was arrested five months earlier for strangling his girlfriend to death.

    You Light Up My Life

    A jury had yet to hear the case against Brooks, so we do not know the extent of his guilt or innocence of the charges. His 3-page rambling suicide note left no clues about the alleged crimes and alluded to his health problems, as he had suffered a stroke in 2008 followed by declining health.

    For those of us who grow up hearing Debby Boone’s version of the song “You Light Up My Life,” it was a sad coda to the story behind the mega-popular song, which originally was sung by Kasey Cisyk for a movie of the same name. Actress Didi Conn lip-synced the song in the movie, which was written and directed by Brooks. The song won the 1977 Grammy for Song of the Year and an Academy Award, and Boone’s version set records as the biggest hit of the 1970s. But it was so overplayed, I doubt that many people listen to the song nowadays except at weddings.

    “You Light Up My Life” is still a very good song, but we are just sick of it, on top of the covers by LeAnn Rimes, Whitney Houston, and others. Still, I cannot help wondering how the news about Brooks will affect how people hear the song.

    In music, can you hear the artist’s life in the song? In addition to Brooks, consider producer and convicted murderer Phil Spector, and how his conviction might affect how we view the great songs he produced throughout his career. Maybe because Spector was a producer and not the performer, his troubles do not hinder my enjoyment of his songs, such as one of my favorite songs of all time, “Be My Baby” by the Ronettes. But I do sometimes think about the man when I hear the songs, wondering if the madness occasionally peeks through the swirling layered sounds.

    Brooks’s ending may tarnish “You Light Up My Life” more than Spector’s life may tarnish his songs. Spector’s work was so broad with different artists, while Brooks’s work will always be summed up with “You Light Up My Life” as his one gigantic hit song. Thus, while each Spector-produced song may carry a little part of his madness, “You Light Up My Life” bears the entire weight of Brooks’s demise. But it is also true that the relationship between the artist’s crimes and her or his music may diminish over time, such as in the case of other artists like Lead Belly or Chuck Berry.

    To a large extent, most of us probably enjoy music because we like how it sounds, not because of the life of the musicians. I enjoy music by jerks too, but when the artist is a decent person, it can add something. It may be something unconscious in the back of one’s mind, but I like to think that upon listening to the whole body of work of some artists, their decency may come through into their songs.

    For example, I feel fortunate that two of my favorite artists have been Bruce Springsteen and Steve Earle, not only because of their great music but because they have struggled to live good lives. Like all humans, they are not perfect, but I was lucky that after I was drawn to their music I later discovered their work for good causes and attempts to be decent men. You may find it in other artists you like, such as John Lennon, Emmylou Harris, Elton John, or U2, which has been involved with causes such as Amnesty International.

    Can I find the troubled mind of Joseph Brooks in “You Light Up My Life” now? I may be imagining what I hear in 2011 in the song that won the Academy Award and the Grammy so long ago in 1977. But now the sadness of the song stands out a little bit more. I hear it in Debby Boone’s recording, and I hear it in this 1979 version below by punk rocker Patti Smith on “Kids Are People Too.” In Smith’s performance, she is accompanied on piano by a young Joseph Brooks, decades before he knew how his life would end.


    At around 3:10, Smith, who also performed the song in concert, begins explaining why she chose “You Light Up My Life.” With the brilliant Patti Smith, though, one may speculate there is more to the reason she often sang the song. Brooks appears at around 3:45.

    Do you think the lives of the artists affect how you see and hear their work? Do hidden stories, like the story behind “Heartbreak Hotel” affect the music? Leave a comment.

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