Midnight in Paris: Better living through better longing

Nostalgia is longing for a past that cannot be returned to—it’s passed. The word is used a lot in Woody Allen’s Midnight in Paris, whose protagonist, Gil Pender (Owen Wilson), a dissatisfied Hollywood screenwriter, is writing a novel about the owner of a so-called nostalgia shop and wants to move to Paris so as to bask in a dream of what it would have been like to be a writer in Paris in the 1920s. The word nostalgia has also been used, and will be used plenty more, in all the exegesis surrounding the film. But in every case it’s used incorrectly.

My point here isn’t semantic; what I want to say is that Midnight in Paris, a great Woody Allen movie, is about something different and, in this context, more interesting than nostalgia, something that seems especially personal to Allen. It’s at the root of some of Allen’s most enduringly charming work, such as The Purple Rose of Cairo (1985), and if one were inclined, if could be suggested as the root of Allen’s attraction to much younger women both onscreen, as in the magisterial Manhattan (1979), and off. Midnight in Paris is about fantasy, about the life or the youth or the love you never had at all, yet somehow seems to be slipping away from you with every moment. What Gil longs for never existed, and when he somehow slips away into some realm where his fantasy’s made real, his passage from one place to another is delightfully left unexplained. What makes this very funny film resonate, what imbues its whimsy with wisdom, is its understanding that even in fantasy our longing for that distant, obscure thing must reach its terminal point, and we have to start again, negotiating with the real world, or some rough approximation of it.

Gil is engaged to Inez (Rachel McAdams). They’re “doing” Paris with her parents, and will be unexpectedly joined by Inez’s pedantic former professor Paul (Michael Sheen). Each of these characters are pragmatists who condescendingly dismiss Gil’s impulse to leave both the US and the movie business, and while they’re at it they dismiss his novel too. One night Gil goes off alone to wander the Paris streets. On a particularly lonesome bend, at the stroke of midnight, he’s picked up by a passing car and taken to someplace where everyone parties like its 1922. He’s repeatedly told he “looks lost,” so it seems he’s found the right generation. He meets Zelda and F. Scott Fitzgerald, Hemingway and Gertrude Stein, and eventually Man Ray, Buñuel, and Salvador Dalí, (Adrien Brody, who wipes the floor with Robert Pattinson and is wildly funny as he arbitrarily obsesses over the image of a rhinoceros). Gil also meets Adriana (Marion Cotillard), who wants to go into fashion, is mistress to the likes of Picasso and Braque, and seems drawn to Gil’s odd sort of melancholy cheerfulness (a combination perhaps only Wilson can conjure so naturally). Like Gil, she also idealizes the past—her belle époque is his 1920s. So their hypothetical romance has a hitch: neither is living in the present.

Wilson is wonderful, emotionally dexterous and taking full ownership of what might otherwise be just another Woody surrogate. Cotillard is deeply alluring. The only weak link is McAdams, though I’d guess it’s entirely Allen’s fault since he’s written Inez far too flatly, telegraphing her obvious incompatibility with Gil from scene one… Well, not quite scene one: Midnight in Paris opens with a lovingly prolonged series of images of the Paris, shot by Darius Khondji, set to Sidney Bechet’s ‘Si tu vois ma mére’, with no close-ups of faces and, highly uncharacteristically for Allen, no voice-over. This lovely foyer to the narrative is all about place, about senses and seduction, about how time just keeps passing us by, and about projecting fantasy onto reality. Which, sometimes, is the best way to remind yourself where you really are.

Three fiery, famous lives, under-examined, overcooked, burnt to a crisp: Little Ashes

In 1933, while visiting Buenos Aires, the Spanish poet and playwright Federico García Lorca gave a lecture on the aesthetic properties of duende, a force that can be located in certain works of art or folkloric traditions, such as flamenco, yet resists clean, orderly explanation. It has something to do with the abyss, with a deeper sadness that speaks from experience, with a strangeness that shakes loose unexamined fragments from the firmament of the unconscious, with an inescapable connection to one’s roots, with a sensuality never entirely distanced from the diabolical, with earthiness and desire and death. (Trying to define duende can be a bit like trying to define film noir; sometimes it’s simply whatever makes something otherwise routine, such as a crime drama, or a poem mediating on loss, into something rich, chilling, and mysterious in ways that extend far beyond the solving of a mystery.) Little Ashes is a movie about García Lorca as his formative youthful encounters with filmmaker Luis Buñuel and painter Salvador Dalí, and, let me tell you, does it ever not have even a drop of duende.

Though made, perhaps, with commendable intentions, Little Ashes, written by Philippa Goslett and directed by Paul Morrison (Solomon and Gaenor), effectively takes three of the 20th century’s more incendiary artists and tames their shared youthful reveries into something grotesquely bland and safe, an assembly of biographical conjecture in which the term “outrageous” is most firmly kept within quotation marks, and annoying affection, rather than artistic revelation, is celebrated. It’s like the worst thing Christopher Hampton never wrote. More earnest and awkwardly acted even than the Hampton-scripted Arthur Rimbaud-Paul Verlaine movie Total Eclipse. It goes to show that there’s nothing, not surrealism nor sadism, not dada nor death metal, that cannot be appropriated and converted into stuffy museum pieces, sordid soap opera, or soul-deadening muzak. My recoil exacerbated by the fact that at least one of the three figures in Little Ashes is among the artists whose work I treasure more than any other, I’m fighting the temptation to call the movie an abomination, because that word just sounds a little too exciting to be applied to what’s found here.

It starts in 1922, when the soon-to-be dark luminaries García Lorca (Javier Beltrán), Buñuel (Matthew McNulty) and Dalí (Robert Pattinson) converge at university in Madrid. Much ostensibly iconoclastic wankerspeak about revising the values of art is tossed about in mealy-mouthed Castellano accents, since, unfortunately, the proceedings are largely to be spoken in English by one Spaniard and two Brits. Dalí upsets the status quo with his foppish ruffled shirts, giddy non sequiturs (“I would love an enema!”), and advanced talents, arousing the admiration of Buñuel and the erotic desire of García Lorca, whose quiet homosexual longings find an eager receptacle in Dalí’s sexual ambivalence and overriding urge to be adored.

The development of artistic vision in Little Ashes is largely reduced to shallow manifesto spouting. To be fair, the story’s emphasis is meant to be on the peculiar and fragile dynamic of the relationships, yet here too, despite a valiant and genuinely sexy supporting turn from Marina Gatell as the sole woman to intrude on this very male milieu, we’re asked to be satisfied with boilerplate conflicts that depend on our acceptance that Lorca was a sensitive saint cursed by an oppressive culture, Buñuel a belligerent homophobic thug with, most astonishingly, no sense of humour, and Dalí a poncy, profoundly pretentious idiot. Now, I’m not trying to suggest that Dalí wasn’t, too a depressingly large extent, a poncy, profoundly pretentious idiot, since there’s an awful lot of evidence to support this characterization. But it is the most essential business of biopics to transcend the superficial depiction of their subjects, because otherwise what’s the point? I doubt that Little Ashes would have ever got any sort of theatrical release at all were it not for Twilight star Pattinson’s sudden stardom, but it surely won’t do his career any favours to be found hamming it up wincingly, playing a public figure all too large for life to begin with. Of the central trio only Beltrán can muster up any emotional integrity from the material, so Lorca, at least, might not be rolling in his grave.

Dalí, José Moreno Villa, Buñuel, García Lorca, José Rubio Sacristán

Busting up the boys, singing those skeletal blues, a MacGyver of improvised bikinis: the inimitable Ida Lupino graces two of the finest Fox noirs

Man, oh man, Ida Lupino. Just one of her loaded little wordless hms is worth more than reams of dialogue from most other actresses. She was born in Brixton, schooled at RADA, but like so many of the elements that fed the best of American movies of the 1940s, and film noir in particular, her outsider's, specifically European perspective seemed only to heighten her contribution to the deep, strangely poeticized Americaness of her on-screen presence. Émigrés helped nurture what would eventually be tagged—the by French, of course—as the noir sensibility, its fatalism and chiaroscuro stylistic economy, but Lupino never seemed less than American in her toughness and resilience, her fundamental vulnerability and make-due-with-what-you-got glamour. If you didn’t know better, you’d believe that she, Gloria Grahame and Barbara Stanwyck all came from the same little town—and all three of them anxious to escape.

Moontide (1942), one of three new releases in the ongoing ‘Fox Noir’ series, and a major discovery for most of us, was a proto-noir especially informed by European tastes. Fritz Lang was its first director before the more utilitarian Archie Mayo took over, and Lang’s moody aesthetics remain very much intact. The film was the US debut of French superstar Jean Gabin, familiar to contemporary cineastes, if not the average American moviegoer, from his roles in films by Jean Renoir, who’d also crossed the Atlantic to work in Hollywood. Ever vigilant regarding his image, Gabin was exactingly involved in the script’s development, and apparently much to the project’s betterment. There was also a delirium sequence initially designed by Salvador Dalí, though it seems little of his ideas made it through the censors. But perhaps the most European thing about Moontide had nothing to do with the personnel at all: after the Japanese attack on Pearl Harbor, the West Coast location shoot was cancelled and the production moved into the studios, where the luminous artificiality of the sets, the foggy docks especially, endowed the film with its sublimely dreamlike atmosphere, which only increased the story’s already considerable air of dread and romance.

Based on actor Willard Robertson’s pulp novel, deemed unfilmable by many on account of its being too sordid, and adapted by novelist John O’Hara, Moontide begins with a night of expressionistic alcoholic oblivion, with dockworker and working class bon vivant Bobo (Gabin) emerging from his ominous blackout in front of a bait shack. A murder’s been committed, and Bobo can’t be completely sure he didn’t do it. Bobo’s pal Tiny (Thomas Mitchell), to be found that morning, get this, snapping towels against the naked ass of the flamboyantly monikered Nutsy (Claude Rains in an interesting but smallish role), suggest the pair skip town, but Bobo’s usual wanderlust is suddenly overwhelmed by his fascination with Anna (Lupino), a waif with a background too painful for her to share. He fishes from the sea one night during a suicide attempt, keeping the fuzz at bay by pretending to be her husband. Anna threatens to domesticate Bobo and bring his alliance with Tiny, apparently forged in blackmail and repressed homosexuality, to a grinding, ugly halt.

Moontide is drenched in neurosis, swarming with damaged psyches and astoundingly loopy romantic gestures—at one point Bobo gives Anna a prostitute’s dress as a symbol of his affection—yet its never less than buoyant thanks to the profound charisma of its leads: Gabin’s sensuous gaze, his easy, gypsy hedonism and rather chauvinistic optimism—he has a magnificently callous speech where he extols the virtues of breakfast as a balm for suicidal depression—matched by Lupino’s aching sense of weary regeneration, her unspoken recesses of darkness and immensely touching surrender to love, at one point caressing Gabin's fleshy face like a precious stone. The film in its way looks forward to In a Lonely Place (50), one of my all-time favourite noirs, in its tender, brooding study of a fragile connection between a younger, secretive woman and an older, violent man that no one seems entirely safe around.

If Moontide has spent most of its cinematic life unknown or under-appreciated, Road House (48) has remained something of a legend, rather difficult to see but now finally appearing on DVD, only months after the death of the great Richard Widmark, whose appearance here formed yet another triumphant follow-up to his unforgettable debut in Kiss of Death (47). Curiously, it finds Lupino again coming between a seemingly untamable virile type and a seemingly more civilized, well-heeled associate, oddly matched male buddies whose friendship is tainted by compromise. When Midwestern rural roadhouse proprietor Jefty (Widmark) comes back from his travels with “a new attraction from Chicago” named Lily (Lupino, suddenly blonde though looking only more like some strange creature from elsewhere), his intentions are clearly more than professional. But Lily, the picture of feminine independence, seems utterly disinterested in romance, her response to all of Jefty’s increasingly intense come-ons being little more than barely softened brush-offs or some variation of those wonderful little shrugging hms of hers. She remains impenetrable until she suddenly sets her sights on Jefty’s manager Pete (Cornell Wilde), and that's when all hell breaks loose.

Watching Lily and Pete’s courtship shift from mutual antipathy to desire—he’s anal about tidiness while she chain smokes and leaves her butts burning everywhere—is supremely pleasurable, even sort of surprising despite the conventions. It's nearly as pleasurable and surprising as Lily’s debut as the road house chanteuse. As Lupino unceremoniously plunks herself down at her mini-upright we hear bowling balls still knocking about in the background. But by the time she starts singing her stark blues number in that seductive, gravelly, idiosyncratic voice—has Cat Power, a.k.a. Chan Marshall, seen this movie?—there isn’t a single person in the joint who isn’t under her peculiar spell. The scene is magic, visibly stoking a flame within both the already swooning Jefty and the much cooler Pete.

The love triangle as originally conceived in the first versions of the script, something much discussed in the disc's supplements, strikes me as the source material for Blood Simple (84), though I've never heard the idea brought up elsewhere. But the story as it emerges here is at once more conventional and more emotionally pointed that was originally intended, building up to a last act that bristles with betrayal, manipulation and Jefty’s masochistic, maybe even suicidal mania. Indeed, Widmark steals the show in the final scenes, though there would arguably be no scenes to steal without Lupino’s  singularly beguiling presence charging every scene with attitude, conflicted desire and on-the-spot ingenuity—you’ll be amazed at what she can do with a few scarves during the scene where they go to the beach sans bikini. All of these qualities would come to shape Lupino’s groundbreaking work as a director: she was one of the first women in Hollywood to bust up the boys. But, as is evidenced in these films, she had already been rehearsing for that job for years.