Thursday 20 August 2020

Paris Can Wait (2016 Eleanor Coppola & scr)

Film producer Alec Baldwin leaves his wife Diane Lane in Cannes to be driven to Paris by business associate Arnaud Viard, who's obsessed by food to the point of boredom. Danger signals arrive when he tells Lane they are stopping off at a hotel, and he needs her credit card to book a room. (At that point we would have said 'No - I'll make my way to Paris on my own, thank you.') 

Thus it continues, food, unexpected diversions, Lane taking pictures of things, he vaguely trying to seduce her (but, it seems, bopping an old flame at the Lumiere museum en route). Saying it's Brief Encounter for foodies and culture hounds would be being too complimentary.

Didn't know Crystel Fournier on camera, though did recognise sound designer Richard Beggs.

So, no, Mrs. Coppola, it doesn't work, particularly the ending to-camera look, which is painfully embarrassing.

We did, though, get to hear Trenet's 'Que Reste-t-il de Nos Amours' for the second day in a row, which you can hardly argue about.

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