A musician friend of mine called Woody Allen’s latest film, Midnight in Paris (2011), “Woody Allen light,” a perfect way to describe a film of little substance but full of longing: artistic longing. The story follows a frustrated contemporary screenwriter named Gil Pender, who is engaged to a shockingly shallow woman Inez, as they vacation with her insipid parents in Paris. One of the most beautiful, wistful, and nostalgic cities in Europe, Allen’s Paris is one that makes anyone who has ever been miss it immediately. The opening credits capture still images of dreamy cobblestone alleys that recall old Paris, Atget’s Paris, as well as the comings and goings of modern day Parisians. The film’s protagonist, Pender, is hopelessly absent from his own stifling reality, and dreams of Paris in the 1920s, when it was brimming with expats, artists, intellectuals, and writers. Lost, drunk, and alone one night, Pender is greeted by a car full of drunken strangers, who happily drive him to the 1920s at the stroke of midnight.
Art that escapes the art world and elopes with life.
Located in New York City, Escaping Artist is published by Alissa Guzman.