Skip to main content

Diane Lane Delivers in Sleepy Charmer "Paris Can Wait": Review

Film Review: Paris Can Wait

Image result for paris can wait
"Are you at peace with your life?"

That's one of several questions Diane Lane mulls in the new movie Paris Can Wait. Written and directed by Eleanor Coppola, the film marks Coppola's fiction film debut, as she joins the family business (her husband, daughter, son, and granddaughter are all filmmakers) at the age of 81. In Paris Can Wait, Lane plays Anne, the wife of a film producer (played by Alec Baldwin) whose drive from Cannes to Paris with Jacques (Arnaud Viard), a business partner of her husband's, turns into a two day road trip of the finest dining, views, and sights that central France has to offer. 

The film is light and breezy, in a very appealing way. It moves along at a sleepy pace, providing a veritable feast of gorgeous locales and delicious food. Anne has recently closed her dress shop and isn't finding fulfillment in her marriage. She's itching for a creative outlet, as evidenced by the pictures she takes with her digital camera. As she grows closer to Jacques, she begins to examine her life, her marriage, her choices. It's a movie about the quiet disappointments of a marriage, a woman's longing for fulfillment outside of her family, about rediscovering life's simple pleasures. Adult topics for a movie about adults. 

None of this would work without a compelling central performance, and, thankfully, Lane is up to the task. I was nervous before seeing the film, having seen her give a lifeless, truly awful performance in The Cherry Orchard on Broadway last fall. With Paris Can Wait, Lane officially put any concerns I had about her acting ability to rest (well, screen acting at least), delivering an unadorned, understated performance. No affectations like a silly accent or heavy makeup or anything like that, just a character that feels real and an actor that portrays her with ease. It recalls the charm Lane exuded in her film debut, 1979's jubilant A Little Romance, which was also partially set in France. 

Stylistically and structurally, Paris Can Wait is simple and straightforward. Those looking for something more along the lines of the similarly-themed Two for the Road will probably be disappointed. I found it delightful, but certainly fleeting. More of an appetizer than a filling meal. Although, it is full of amusing touches. I died laughing when Anne plugs in her phone to play a song by a French band her daughter introduced her to and the song is by Phoenix (the lead singer of which is, of course, Thomas Mars, Coppola's son-in-law). While it definitely won't be enough to keep everyone interested, it was enough for me. 

What did YOU think of Paris Can Wait? Let me know in the comments below! 

Comments

Popular posts from this blog

"My Mind Turns Your Life Into Folklore": Why Taylor Swift's "Gold Rush" Is a Song About Songwriting

"My mind turns your life into folklore." That line, from the song "Gold Rush," is the only time the word "folklore" is spoken on either of Taylor Swift's 2020 records, Folklore and Evermore , the latter of which is where the song appears. The presence of the line indicates that "Gold Rush" is a pivotal song not only in Swift's lockdown duology, but in her maturation as a songwriter.  Swift's early albums often drew heavily from her own experiences, with fans and the media scouring her lyrics for clues as to which ex-boyfriend her numerous breakup songs referred. Her tumultuous dating life made as many headlines as her music, in part because it informed so much of the music. The discourse was often ridiculous and reductive, and thankfully, that period of her career is over (Swift has been in a relationship with the actor Joe Alwyn since 2016).  Both of her 2020 albums have their fair share of autobiographical songs, but they also see

Netflix vs. HBO Max vs. Disney+ vs. Hulu: Streaming Services Ranked

The entertainment industry is at a moment of change. Resources that were once spent on TV networks and theatrical releases are being funneled into streaming services, as media conglomerates race to catch up with game-changing, industry-revolutionizing Netflix. The "streaming wars", the competition between the studios to sure up talent and content deals as they ask audiences to buy their monthly subscriptions, is in full swing.  One day, a book will be written about the streaming wars and it'll include a clear picture of which services crashed and burned and which ones emerged victorious. I look forward to reading that book and looking back on this moment in time with hindsight, but until that day, all I can do is offer my opinion on each service and say which ones I feel are worthy of your money and time. I'm only going to talk about the services that are directly vying to be the new Netflix, not niche ones like Shudder or the Criterion Channel. Also, a proper ranking

Vanessa Redgrave in "Camelot": Review

Classic Film Review: Camelot (1967) The following post is a part of the 2017 TCM Summer Under the Stars blogathon, hosted by  Journeys in Classic Film . In celebration of Vanessa Redgrave day on TCM (which will be showing her movies all day long August 14th), I decided to revisit one of my all time favorite movies, Camelot . The 1967 film is an adaptation of the 1960 musical of the same name by Alan Jay Lerner and Frederick Loewe. The musical, which was based on T.H. White's retelling of the Arthurian legend The Once and Future King , which was a huge box office success and won four Tony Awards. The original cast recording was the best selling record in the country for over a year. A movie version was inevitable.  That movie came seven years later. Directed by Joshua Logan, Camelot starred Richard Harris as King Arthur, Vanessa Redgrave as Guenevere and Franco Nero as Lancelot. When the King of England decides to use might for right and establish a new order of chival