DID YOU READ

“Midnight in Paris” and the Summer of Nostalgia Movies

“Midnight in Paris” and the Summer of Nostalgia Movies (photo)

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The following post contains SPOILERS for “Midnight in Paris.”

Woody Allen’s “Midnight in Paris” isn’t just the director’s funniest and most charming film in years, if not decades. The damn thing is relevant too, a movie all about modern movie culture. Given “Midnight in Paris”‘ subject — a man so obsessed with the past he finds a way to travel back into it — that sounds ironic. But no one and nothing is more obsessed with the past than Hollywood these days, which makes Allen’s wistful, sweet-tempered rebuke to nostalgia a perfectly timed antidote to the summer movie season of 2011.

Yes, of course, Hollywood has mined our shared cultural past for sequels and remakes since before most of us were born. But Hollywood’s summer 2011 slate takes that impulse to an almost comical extreme: practically every movie this summer is based on something from the childhoods of self-obsessed thirtysomething man-children like myself. You can take your pick from movies based on cartoons (“The Smurfs”) or toys (“Transformers”) or theme park rides (“Pirates of the Caribbean: On Stranger Tides”) or long dormant film series (“Rise of the Planet of the Apes”) or comic books (“X-Men: First Class,” set in the past for double nostalgia). Practically the only part of my youth that hasn’t been strip-mined for recycle cinematic content are breakfast cereal mascots; can a Trix Rabbit live action feature be too far behind? (Please God. Say that it can.)

Even this summer’s original-looking movies from bonafide auteurs are baked in nostalgia; J.J. Abrams’ “Super 8” is designed as homage to old Steven Spielberg movies. So was Greg Mottola’s “Paul” a few months before that. David Gordon Green’s “Your Highness” was indebted to the R-rated sword-and-sandal fantasy films of the same era. You could even argue that “The Tree of Life” represents the artiest side of the same impulse, as Sean Penn’s character spends the entire movie waxing nostalgic about his childhood in rural Texas, one apparently fashioned on writer/director Terrence Malick’s own.

Just as we’re all drowning in this ocean of nostalgia, Woody Allen throws us a life jacket called “Midnight in Paris.” Its hero is Gil Pender (Owen Wilson), a Hollywood hack screenwriter vacationing in Paris with his fiance Inez (Rachel McAdams) and her parents (Kurt Fuller and Mimi Kennedy). Gil has grown tired of the Hollywood grind and is working on his first novel, a piece about a man who works in a “nostalgia store” — which, come to think of it, would be an appropriate nickname for any multiplex this summer. Nostalgia is a subject that holds particular appeal for Gil, who’s described by his friends as someone who was born in the wrong time period. Lucky for Gil, Woody Allen’s Paris is a magical place. Every night at the stroke of midnight, an old Peugeot appears to transport Gil back to the 1920s, where he gets to interact with artistic and literary titans like Ernest Hemingway (Corey Stoll), F. Scott Fitzgerald (Tom Hiddleston), and Salvador Dali (Adrien Brody). Faced with a skeptical fiance and her dreadful friends and family (including a hilarious Michael Sheen as the arrogant intellectual to end all arrogant intellectuals), Gil finds himself increasingly looking forward to his nightly trips back in time, where Gertrude Stein (Kathy Bates) encouragingly critiques his work, and one of Picasso’s former lovers (Marion Cotillard) finds him witty and innocent and romantic.

I have warned you I am going to SPOIL the end of this movie, so now all bets are off. To this point “Midnight in Paris” sounds guilty of the same nostalgic pandering as every other movie cited in this piece. But Gil eventually learns the ultimate danger of nostalgia: it paralyzes the artist’s mind and calcifies their work into irrelevance. While Gil envisions 1920s as “The Golden Age of Paris,” Cotillard’s Adriana thinks the city’s greatest days are already behind it in 1920; she prefers the Belle Epoque. When another magical cab, this one horse-drawn, gives Adriana the chance to live her Golden age fantasies, she decides to take it, with or without Gil. The film’s finale sees Gil break it off with Inez, not to live in the past with Adriana, but to live in the present without either, content in the knowledge that Paris still looks dazzlingly beautiful in 2011, and that the time he lives in may be less of the root cause of his unhappiness than the company he chooses to keep.

I don’t know how many movies Woody Allen watches these days. I don’t know if he cares about what’s going on in Hollywood. I do know that Allen has, in the past, made some very nostalgic movies like “Broadway Danny Rose” and “Everyone Says I Love You.” So something has changed in Allen’s mind about the subject of nostalgia. Maybe it’s the wisdom of age. Maybe it was sparked by being fed up with all the movies other people are making. Whatever the reason, “Midnight in Paris” feels like it was made by a director in dialogue with his contemporaries. Allen’s not scolding them though. He’s merely illuminating the flaw in their art, if not their business model.

Gil is a very successful screenwriter of crappy movies; I think you can very easily argue that his nostalgic (and financial) obsessions make him exactly the sort of guy who’d make his living writing a movie based on a breakfast cereal mascot. All that’s changed by the end of the film. Allen wants the audience to share Gil’s creative epiphany, and to find art that speaks to who they are now, not the kids they were in 1982. If you walk out of one of these other nostalgia movies feeling unsatisfied, here’s my advice: make it a double feature with “Midnight in Paris.” It’s the perfect amuse-bouche for the rest of the movies out in theaters right now.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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