2011 Alternate Oscars

Of all the people I've covered in this blog over the last fifteen years, no one has fallen farther in my esteem than Woody Allen. Not, mind you, because of the accusations against him (which may very well be true, I couldn't tell you), nor because the undisputed facts that have emerged lead one to conclude that he's, at best, creepy. Here at the Monkey — where I will happily praise the art while beating the artist with a hammer — the fact that Woody Allen might perhaps deserve to spend the rest of his life in jail doesn't mean he didn't make great movies.

No, the problem for me are the movies themselves.

The older I get, the more the "Woody Allen" character — not the screwball nincompoop of the early comedies, but the neurotic, cultured, "wise" Woody of the middle years, Manhattan especially — seems more like the kvetching of an immature, half-smart misanthrope than the epitome of New York sophistication the adolescent me (who knew nothing about nothing) seemed to think he was.

In that sense, the perfect actor to play the "Woody" character isn't Woody Allen but a young Timothée Chalamet in 2019's A Rainy Day in New York because if there's anything more annoying than listening to a teenage kid explaining the meaning of life to you ... well, it's probably reading an old man's blog complaining about teenage kids explaining the meaning of life to you.

And that's what "Woody Allen" sounds like to my ears now — snotty, self-absorbed, brimming with unearned self-confidence yet insecure as only a kid can be, and name-checking the classics without any real sense of what they're about, which can be amusing, even endearing, out of the mouth of a nineteen year old kid, but is ridiculous and sadly pathetic from a man in his forties, fifties and beyond.

Maybe that's why I've come to prefer the Woody Allen movies Woody Allen isn't in. Midnight in Paris, for example.

Gil Pender (Owen Wilson) is an American writer traveling in Paris with his fiancée (Rachel McAdams) and her rich, pompous parents (Kurt Fuller, Mimi Kennedy). Gil has romanticized notions about Paris, specifically Paris of the 1920s when Hemingway, Fitzgerald and Gertrude Stein drank absinthe in the bars and argued about art and literature. His ever practical bride-to-be has romanticized notions only about the handsome know-it-all (Michael Sheen) lecturing at Versailles.

After an argument, Gil finds himself wandering the cobblestone streets of the Latin Quarter when, at the stroke of midnight, a time-traveling Peugeot pulls to the curb and the half-drunk couple inside invite Gil to join them at a fun little party their friends are hosting.

Friends like Ernest Hemingway, F. Scott Fitzgerald, Gertrude Stein — and a beautiful French brunette (Marion Cotillard) who sparks something in Gil that his rich, stuffy fiancee never has.

Owen Wilson is the rare lead in a Woody Allen movie who doesn't play like he's doing a bad Woody Allen imitation — reportedly, Allen rewrote the part to fit Wilson when the actor came aboard, and you can tell: Wilson seems comfortable in his own skin in a way the likes of Colin Firth, Jason Biggs and Kenneth Branagh never did.

Equally good is Corey Stoll who is hilarious as Hemingway, macho and pretentious at the same time, and grumbling perfectly ludicrous Bad Hemingway to Gil's awestruck delight.

"And then the man who is brave and true looks death squarely in the face, like some rhino-hunters I know or Belmonte, who is truly brave. It is because they make love with sufficient passion to push death out of their minds until it returns, as it does to all men, and then you must make really good love again."

As a lifelong Hemingway fan, I laughed so hard every time Corey Stoll was on the screen, I thought I'd have a stroke — because let's face it, while nobody was better at conveying action through words, when he started pontificating about life, nobody was more full of shit than Ernest Hemingway.

Pitch perfect takedowns of F. Scott Fitzgerald, Gertrude Stein, Salvador Dalí, Zelda Fitzgerald, Luis Buñuel, among others, played perfectly by, respectively, Tom Hiddleston, Kathy Bates, Adrien Brody, Alison Pill and Adrien de Van.

And if that's all there was to Midnight in Paris, I'd still say it's the funniest movie Woody Allen has made since he saw his first Ingmar Bergman film.

But he also has some insightful things to say about the false promise of nostalgia and the trap of always living a life of "if only (fill in the blank), then I'd be happy."

First, be happy. Life will fill in the blanks.

Midnight in Paris is my favorite Woody Allen movie, and proof that no matter how false the artist, the art in this case is true.

My choices are noted with a ★. A tie is indicated with a ✪. Historical Oscar winners are noted with a ✔. Best foreign-language picture winners are noted with an ƒ. Best animated feature winners are noted with an @. A historical winner who won in a different category is noted with a ✱.