Podcast: "Midnight in Paris" and Oscar's New Rules
Sunday, June 19, 2011 at 7:30PM 
Since I never officially reviewed Woody Allen's Midnight in Paris, I thought we'd have to at least cover it in discussion form. So for the newest podcast, Kurt from Your Movie Buddy and first-time guest Mark Blankenship from The Criticial Condition joined me to discuss Woody Allen's biggest hit in some time as well as Oscar's new "up to 10 nominees for Best Picture" ruling, which I recently discussed with Katey for her Kino Katey podcast.
But, you know, we can't ever shut up about Oscar, can we?
Other topics: Best Original Song and first and favorite Woody Allen pictures seen. Two articles that you might want to read that we mention are Fandor's list of movies about movies and Mark's investigation of the 1980s in the Best Original Song category.
As always please join the conversation in the comments.
Marion Cotillard, Midnight in Paris, Oscars (11), Podcast, Woody Allen in Podcast
Reader Comments (11)
I thought Midnight in Paris was brilliant, but I'm also a Modernism/interwar avant-garde obsessive. I'm very familiar with the artists and writers in the film and thought the characters were supposed to be derived entirely from their fictional or artistic output. I highly doubt that Papa actually spoke in the gruff, percussive style of his writing, but Gil would imagine that's how he would talk and that becomes reality. Cotillard's Adriana would be a better developed character because she was created from scratch to be an art obsessive.
I even thought the future in-laws were so flat because Gil only cared about writing and art. They didn't produce or know anything about it, so he didn't care enough to pay attention. The museum guide, the show off guy, and even the girl at the record shop were cultured enough to be more developed characters to Gil.
But a best picture nominee with the new rules? No chance. It's too light, fluffy, and insulated to get 5%.
Robert G -- well, it's not as if "light"movies have never made it in. We shall see. I still think it's in the best position of anything released thus far (which i realize is not saying a lot)
Sorry, Nathaniel, but I tend to agree with Robert on this. Not that the movie isn't deserving--I definitely think it is--but I just don't see it getting 5% of the votes for the #1 slot. I could see it being in a lot of voters' top 10, but not very many at #1, and that's what maeks the difference under the new system. I do, however, think that a Best Original Screenplay nod is pretty much assured.
Nathaniel - The Wrestler song (if I'm not mistaken) was ineligible.
And, you like ...Cairo more than Sunset Boulevard?!
Nice podcast!
No, the song was eligible. As a closing credits track, it was just at a disadvantage under the new voting system, where songs are judged by the clips they appear in.
Such a fun podcast, guys -- and so nice to hear Mark's voice. I side with Nathaniel on his problems with Midnight in Paris, principally the film's failure to challenge Owen Wilson's protagonist on the decision front. And as depressingly one-dimensional as Rachel McAdams' micromanaging shrew is, the artsy Parisienne dreamgirls who pull him away from her are no more interesting or fully formed -- wouldn't it be great if Lea Seydoux's character could actually go toe-to-toe with him on the intellectual front? Isn't that what he really needs? (Plus, what's up with the way Allen completely abandons Carla Bruni's character after she makes this grand emotional declaration?)
It's an attractive and inoffensive film, but the idea of it becoming a Best Picture nominee (which I don't think it will) where so many richer Allen films have failed doesn't give me much pleasure.
^Agreed with everything Guy said. Midnight in Paris is an OK movie that only looks better than that in comparison with Allen's dreadful output of the last couple of years.
Agreed on the Academy's overall taste being a median between that of critics and general audiences. But I would add with the exception of genre bias. Look at 2008, the year that had arguably the most influence on the change in total nominees to begin with..
Also, love the point on trying to avoid watching movies you love with those that probably won't appreciate. Made that mistake far too many times.
Nathaniel, I want it nominated. I highly doubt any other film can come out this year and pander to me so perfectly. They even chose my favorite Cole Porter song to use as the recurring theme in the film and that's one of his fluffiest. But I also know I left the theater thinking it was the sweetest little well-made uneventful movie since The Prize Winner of Defiance, Ohio. Lighter films can make it, yes, but those light films are usually broader in their comedy and a bit more universal in message. I'm struggling to see how anyone short of a die-hard Allen or Modernism/Surrealism/Tin Pan Alley fan would rank it at the top of their ballots.
LOL I love how it ends with some awesome Mamma Mia jabs and the Sidney Bechet song playing.
I just love these podcasts, their only downside is they're so infrequent. But if that's the only problem, I guess I'll be fine.
I echo nearly all the valid points made by the nominee discussion bit (I'll find it incredibly exciting to try to guess who they love and who they REALLY love and why this was snubbed and that didn't have enough passion, it's all very mysterious until late Jan of next year so that should be a hoot) and especially the general annoyance of the Original Song category. Talk about a wonky category.
Midnight in Paris was fun, rather harmless fluff with some clever performances, priceless moments and a nice sense of melancholy and nostalgia that doesn't suffocate you. Plus, it ends sweetly. I rather enjoyed myself. Am very surprised, like everyone else, to see it be such a success, though Americans do famously love the cultured romanticism of Paris.
MOIRA Good is good, but better carries it.-Roger Dubuis Easy Diver watches in uk
I love how there is a stealth text under the radar. Could a Franco-phile film have been allowed to be so popular back just a few years ago when french fries were forbidden and the French were snubbed at the expense of a decent celebration of the anniversary of the Louisiana Purchase? You go, Woody, all power to you Mr. Allen, our national taste for high brow is not dead.