MIDNIGHT IN PARIS

Woody Allen’s comedy is a refreshing, beautifully playful trip through Paris and the artistic world of the 1920s. Owen Wilson’s Gil is an unfulfilled screenwriter who longs to write a great novel, and the film has fun surrounding him with famous writers and artists. The actors, especially those playing historical figures, clearly enjoy the material.

The cost is substantial for families. The story treats romantic freedom and promiscuity lightly, includes cheating and hiding the truth, and features sexual dialogue, brief foul language, plenty of social drinking, and smoking. Its worldview is Romantic rather than Christian, and a few political jokes target “right-wing Republicans” and the Tea Party.

Adults who can engage those ideas with discernment may find this a delightful, inventive comedy. It is not a family movie for children or young teens. For discerning adults, this is worth the trip; for families with younger viewers, choose something else.

Gil, a successful but unfulfilled screenwriter, visits Paris with his fiancée, Inez, and her parents. He is captivated by the city’s history, especially its 1920s literary and artistic scene.

One night, while walking alone, Gil encounters a luxurious 1920s-era car that carries him into a circle of famous writers and artists. As he keeps returning at midnight, his fascination with the past begins to affect his relationship with Inez and his hopes for the future.

Four stars means this is a highly entertaining comedy with a distinctive premise and a great deal of charm. The film makes imaginative use of Paris and has fun with famous literary and artistic figures. The actors have a blast with their roles, especially the performers portraying those celebrated figures.

It is a refreshing soufflé of a comedy, though its appeal is likely strongest among older bohemians rather than mass audiences and younger viewers. The movie’s sexual references and innuendos are relatively innocent compared with others in the genre, but the story’s treatment of promiscuity keeps the entertainment from being suitable for the whole family.

MIDNIGHT IN PARIS is built around a Romantic worldview. Gil is dissatisfied with the present and fascinated by an idealized artistic past. The film invites viewers to enjoy the freedom, beauty, and excitement of that world, while treating romantic relationships as fluid and personal. Promiscuity is condoned, cheating and hiding the truth are part of the story, and social drinking and smoking are frequent.

The fantasy element allows Gil to meet famous writers and artists from the 1920s. The film’s humor also includes a couple of jokes against “right-wing Republicans” and the Tea Party, though Republican characters respond with funny reactions of their own. The movie celebrates artistic longing and romantic freedom more than biblical faithfulness, truth, or sexual restraint. Its worldview is Romantic, not Christian.

The desire to find a more meaningful life is real, but the film places that meaning in artistic romance and an idealized past. Scripture gives a deeper explanation for humanity’s longing: “He has also put eternity into man’s heart” (Ecclesiastes 3:11).

MIDNIGHT IN PARIS is a sparkling, inventive comedy with a strong cast and a memorable fantasy premise. Its Romantic worldview, sexual themes, drinking, smoking, and treatment of cheating make it unsuitable for children and young teens. For discerning adults who can engage those concerns thoughtfully, it is WORTH THE TRIP — ADULTS ONLY.