Ühe tuttava arvuist saadud film ja mõtlesin, et võiks ära vaadata.
Directed: Woody Allen
Produced: Letty Aronson, Stephen Tenenbaum, Jaume Roures
Starring: Kathy Bates, Adrien Brody, Carla Bruni, Marion Cotillard, Rachel McAdams, Michael Sheen, Owen Wilson
Cinematography: Darius Khondji
Editing: Alisa Lepselter
Studio: Gravier Productions, Mediapro, Televisió de Catalunya (TV3), Versátil Cinema
Distributed: Sony Pictures Classics
Release dates: May 11, 2011 (Cannes), May 13, 2011 (Spain), May 20, 2011 (United States)
Running time: 94 minutes
Country: United States, Spain
Language: English
Gil Pender on edukas Hollywoodi stenarist ning on koos oma kihltatu Ineziga Pariisis puhkusel koos naise vanematega. Gil on hädas oma esimese novelli lõpetamisega, ideest kus mees töötab nostalgia poes, kuid selle asemel et aidata mehel ideid saada või kuidagi lohutdada, pole Inez mehe unistamise ja novelli kirjutamisega eriti nõus ning tahab et mees teeks korralikku tööd. Gil plaanib ja tahaks Pariisi kolida aga Ineze ideed on ainult Malibusse kolimise poolt. Pariisis kohtuvad nad Inezi sõbra Pauliga ning mehest saab nende Pariisi giid Rodini Muuseumi ning räägib Rodini suhetest rohkem ja arvab teadvat rohkem kui tõeline Pariisi giid. Mees hakkab oma tarkusega Inezele silma.
Ühel õhtul jääb Gil purju ning eksib Pariisi linnas ära. Täpselt südaööl saabub 1920date Peugeot Type 176 auto ning selles kannavad grupp inimesi ka 20date riideid ja kutsuvad Gili endaga peole. Peol kohtub Jean Cocteauga ning Gil mõistab et ta on sattunud aastasse 1920. Ta kohtub selliste inimestega nagu: Cole Porter, Alice B. Toklas, Josephine Baker, Zelda and F. Scott Fitzgerald. Viimased viivad Gili kokku Ernest Hemingwayga ning Gil ei suuda seda uskuda. Hemingway on nõus näitama Gili novelli Gertrude Steinile ning Gil läheb oma novellile hotelli järgi. Kohe kui ta lahkub, satub ta aastasse 2010.
Gil tahab Inezt ka kaasa võtta ning läheb naisega samasse kohta. Inez ei viitsi oodata ja lahkub just enne kui kell lööb südaööd ja auto saabub. Seekord on Hemingway autos. Ta viib Gili Steini juurde ja too on nõus novelli käsikirja lugema. Seal kohtub ta Picassoga ning kauni Adrianaga. Adriana tunneb huvi Gili raamatu vastu ning teatab et talle meeldib ajastu 1890. Nii veedabki Gil järgmised õhtud nende seltsis ja kogub raamatu jaoks inspiratsiooni. Mehe hilised väljaskäimised aga ei meeldi Inezile ning ta isa palkab üldse saladektektiivi meest jälgima.
Gil aga veedab üha enam aega Adriana seltsis, kes jättis Picasso ning lahkus koos Hemingwayga. Gil avastab et on naisesse armumas. Siis aga kohtub mees selliste tegelaste nagu Salvador Dalí, Man Ray, and Luis Buñuel. Kui Inez otsib antiikmööblit, kohtub Gil Gabriellega, kes müüb antiikseid ja vanade meistrite plaate. Hiljem leiab Gil Adriana päeviku 1920date raamatupoest ning avastab et naine on temasse armumas. Ta loeb sealt et Adriana looodab saada kingiks kõrvarõngaid ja veeta mehega öö ning Gil võtabki Inezi kõrvarõngad aga jääb vahele, kuna Inez saabub oma reisilt varem koju.
Gil siiski kingib ühed kõrvarõngad naisele ning nad suudlevad ja jõuavad aega 1890. See on naise lemmikaed ning ta nimetab seda kuldajastuks. Nad kohtuvad selliste tegelastega nagu Henri De Toulouse-Lautec, Paul Gauguin ja Edgar Degas ning Gil uurib mis on nende kuldajastu ning meeste meelest pole muud kui Renesanss. Mehed pakuvad Adriannale tööd, valmistada baletti kostüüme ning Adrianna tahab sellesse aega jääda aga Gil püüab teda ümber veenda. Naine aga tahab jääda ja nad lähevad lahku.
Olles oma novelli esimesed peatükid uuesti ümber kirjutanud, viib Gil need taas Steini juurde kes kiidab mees edenemise puhul ning teatab et Hemingwayle meeldib ka see raamat. Kuid lisab et Hemingway küsis miks peategelane ei ole siiani aru saanud,et tema kihlatul on otse tema nina all afäär tolle pedantliku mehega, kellena on Pauli kujutatud. Gil läheb tagasi aastasse 2010 ning küsib Inezilt afääri kohta. Naine ajab algul tagasi aga siis kinnitab et tal oli jah midagi Pauliga. Gil jätab Inezi maha ning otsustab üksi Pariisi kolida. Inezi isa tunnistab tütrele et lasi dektetiivil meest uurida aga peale seda on uurija teadmata kadunud, selgub et too sattus 18dasse sajandisse.
Gil kõnnib mööda Pariisi ja kohtub Gabriellega ning hakkab sadama. Nad jalutavad vihmaga koos koju ning selgub et Gil pole ainus kes arvab et Pariis on vihmaga eriti ilus.
Gil: Would you read it?
Ernest Hemingway: Your novel?
Gil: Yeah, it’s about 400 pages long, and I’m just looking for an opinion.
Ernest Hemingway: My opinion is I hate it.
Gil: Well you haven’t even read it yet.
Ernest Hemingway: If it’s bad, I’ll hate it because I hate bad writing, and if it’s good, I’ll be envious and hate all the more. You don’t want the opinion of another writer.
Paul: Nostalgia is denial – denial of the painful present… the name for this denial is golden age thinking – the erroneous notion that a different time period is better than the one one’s living in – it’s a flaw in the romantic imagination of those people who find it difficult to cope with the present.
Ernest Hemingway: No subject is terrible if the story is true, if the prose is clean and honest, and if it affirms courage and grace under pressure.
Ernest Hemingway: I believe that love that is true and real, creates a respite from death. All cowardice comes from not loving or not loving well, which is the same thing. 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.
Gertrude Stein: We all fear death and question our place in the universe. The artist’s job is not to succumb to despair, but to find an antidote for the emptiness of existence.
Gil: That’s what the present is. It’s a little unsatisfying because life is unsatisfying.
Inez: You’re in love with a fantasy.
Gil: I’m in love with you.
Ernest Hemingway: Picasso only thinks that women are to sleep with, or to paint.
Adriana: I can never decide whether Paris is more beautiful by day or by night.
Gil: No, you can’t, you couldn’t pick one. I mean I can give you a checkmate argument for each side. You know, I sometimes think, how is anyone ever gonna come up with a book, or a painting, or a symphony, or a sculpture that can compete with a great city. You can’t. Because you look around and every street, every boulevard, is its own special art form and when you think that in the cold, violent, meaningless universe that Paris exists, these lights, I mean come on, there’s nothing happening on Jupiter or Neptune, but from way out in space you can see these lights, the cafés, people drinking and singing. For all we know, Paris is the hottest spot in the universe.
Gil: These people don’t have any antibiotics!
Adriana: What are you talking about?
Gil: Adriana, if you stay here though, and this becomes your present then pretty soon you’ll start imagining another time was really your… You know, was really the golden time. Yeah, that’s what the present is. It’s a little unsatisfying because life’s a little unsatisfying.
Adriana: That’s the problem with writers. You are so full of words.
Adriana: That Paris exists and anyone could choose to live anywhere else in the world will always be a mystery to me.
Gil: You’re very kind, but I wouldn’t call my babbling poetic. Although I was on a pretty good roll there.
Gil: You can fool me, but you cannot fool Ernest Hemingway!
Gertrude Stein: Hemingway did have one plot suggestion – he doesn’t quite believe that the protagonist doesn’t see that his fiancée is having an affair right before his eyes
Gil: I’m a huge Mark Twain fan. I think you can make the case that all modern American literature comes from Huckleberry Finn.
Ernest Hemingway: Do you box?
Gil: No. Well… Not really, no.
Helen: We saw a wonderfully funny American film last night.
Inez: Who was in it?
Helen: Oh, I don’t know. I forget the name.
Gil: Wonderful but forgettable. It sounds like a film I’ve seen. I probably wrote it.
Ernest Hemingway: Have you ever made love to a truly great woman?
Gil: Actually, my fiancé is pretty sexy.
Ernest Hemingway: And when you make love to her you feel true and beautiful passion. And you for at least that moment lose your fear of death.
Gil: No, that doesn’t happen.
Ernest Hemingway: I believe that love that is true and real creates a respite from death. All cowardice comes from not loving, or not loving well, which is the same thing. And when the man who is brave and true looks death squarely in the face like some rhino hunters I know, or Belmonte, who’s truly brave. It is because they love with sufficient passion to push death out of their minds, until the return that it does to all men. And then you must make really good love again. Think about it.
Gil: Yes, but you’re a surrealist! I’m a normal guy!
Paul: Sex and alcohol. Fuels the desire kills the performance, according to the Bard.
Ernest Hemingway: You’ll never be a great writer if you fear dying, do you?
Gil: Yeah, I do. I would say it’s my greatest fear.
Gil: You know how I think better in the shower, get all those positive ions flowing.
Adriana: Let’s go!
Ernest Hemingway: One of these days I plan to steal you away from this genius, who’s great… But… he’s no Miro.
Gil: I’m having trouble because I’m a Hollywood hack who never gave real literature a shot.
Gil: What is it with this city? I need to write a letter to the Chamber of Commerce.
Inez: Gil, just pay attention. You might learn something.
Gil: That was Djuna Barnes? No wonder she wanted to lead.
Gil: 500 francs for a Matisse? Yeah I think that sounds fair! You know, I wonder if actually I can pick up 6 or 7?
Adriana: I’m from the ’20s, and I’m telling you the golden age is la Belle Epoque.
Gil: This is unbelievable! Look at this! There’s no city like this in the world. There never was.
Inez: You act like you’ve never been here before.
Gil: I don’t get here often enough, that’s the problem. Can you picture how drop dead gorgeous this city is in the rain? Imagine this town in the ’20s. Paris in the ’20s, in the rain. The artists and writers!
Inez: Why does every city have to be in the rain? What’s wonderful about getting wet?
Ernest Hemingway: I think a woman is equal to a man in courage. Have you ever shot a charging lion?
Adriana: Never.
Ernest Hemingway: Would you like to know how that feels?
Adriana: I don’t think so.
Ernest Hemingway: You ever hunted?
Adriana: No.
Ernest Hemingway: You?
Gil: Only for bargains.
10/7 (Ütleme nii, et alguses tundus see film ikka väga igav. Peast käis mõte, et igavamat filmi pole näinud aga samas leian peale filmi lõppu, et tegelikult polnud häda midagi, ainus mis mind häiris ongi need vanad ajastud, need 20dad ei ole minu stiil.. kohe üldse mitte 🙂 Ja seetõttu ehk mulle see film ei istunudki nii väga, kuid muidu idee ja teostus oli tore ja hea ning Owen on ka suhteliselt okei näitlja. )
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