The ending of Before Sunset (Richard Linklater, 2004) presents a litmus test, a method for separating the romantics from the skeptics in the audience. Being a logical person, however, I have always thought Jesse’s satisfied smile as he answers, “I know” to Celine’s playful admonishment, “Honey, you’re gonna miss that plane” meant their remaining together—perhaps even in Paris—was a sure thing.
Before Sunset is one of those rare “franchise” films in that it’s actually better than the originator of the series, Before Sunrise (Linklater, 1995). The later film, edited so that Jesse and Celine’s chance reunion over the course of one afternoon unravels in approximate real-time, is wistful in tone and very adult in theme. By virtue of their having a history (and our being privy to it), it’s much more intimate than Sunrise. And who could resist the opportunity to see the idealistic twentysomethings (who, as strangers, once shared a formative romantic night together in Vienna) all grown-up and cynical, processing that rendezvous and how it has shaped their lives since. That’s why, combined with the supposed ambiguity of Before Sunset‘s conclusion, we fans have hoped that director Richard Linklater and stars Ethan Hawke and Julie Delpy would bring these vivid characters back to the big screen again.
Aside from wanting to fulfill their own creative energies and desires to shoot another picture about Jesse and Celine, I would imagine that the creators also want to please the fans who can’t let the characters go. Like many others, I have followed the possibility of a third film coming to fruition, reading everything from an online interview over here to a newspaper profile over there. Recently, everyone involved has kept the details of the (pre)production close to the vest, only ever going so far as to say something to the effect of “we’re working on it, we’re working on the script.” Well, good news, friends: they’ve done us even better by finishing the shoot just yesterday! Mike Fleming of Deadline New York reports that Before Midnight wrapped production in Greece Tuesday night (I guess Hawke’s title suggestion, Before We Go Crazy, didn’t make the cut). Fleming quotes a written statement from the co-writers, which offers nothing in terms of the story or plot of the new film. In other words, it’s still unclear if Jesse and Celine have stayed together since Paris or are reconciling yet again. Hell, they may have even dated and split up in the interim. We have to wait a little bit longer to find out.
But what a coup, huh? How marvelous that everyone managed to fool us all into thinking that the film hadn’t even gone into production yet. Here’s to a swift post-production and not-too-distant release date!
The romanticization of Paris is so much a part of our popular culture that we hardly question it. We decorate our homes with mass produced Eiffel Tower table lamps, hang black-and-white commercial photo prints of the Arc de Triomphe on our walls, and build 3D models of the Cathedral of Notre Dame. People from all over the world make the pilgrimage to the Louvre and stand in line for hours just to get a glimpse of the Mona Lisa (they will probably try to snap a photo of it, too). Known as the City of Love, Paris must also host a dizzying number of newlyweds on their honeymoons. And in what other film setting could American audiences fall in love with Woody Allen’s cinema all over again or root for an animated rat who wants to be a top chef? The movies help perpetuate this romantic notion of Paris, and I am not immune to its evocative power, either.
To mount a comprehensive list of films set in the French capital is damn near impossible and way out of bounds for Movie Travel Diary. But I have to begin somewhere. When I was a kid, my cinema diet kept Forget Paris (Billy Crystal, 1995), French Kiss (Lawrence Kasdan, 1995), and Everyone Says I Love You (Woody Allen, 1996) in heavy rotation. Surely, they weren’t the first and only views of Paris that circulated in our house, but they certainly made an impression (see the comments section of “Tell Me That One About Kenny G Again” for more information). All three of these movies traffic in what I like to refer to as “Paris porn,” travelogue shots of Parisians going about their daily lives in the picture-perfect cityscape, sometimes with landmarks like the Eiffel Tower, Arc de Triomphe, or Notre Dame in the background. In both Forget Paris and Everyone Says I Love You, a couple walks along the Seine and talks about the film that made an indelible imprint on their imaginations: Vincente Minnelli’s An American in Paris (1951), a grand MGM musical shot—of course—on sound-stages in Culver City, CA. For Billy Crystal and Debra Winger in the former and Woody Allen and Goldie Hawn in the latter, the Gershwin-tuned musical represents a romantic ideal, and finding themselves on the Seine offers them the opportunity to, respectively, sing or dance out this fantasy of being “an American in Paris.” In French Kiss, Meg Ryan doesn’t let an intense fear of flying or a prejudice against the French keep her from jetting to Paris to win back her fiance. Things don’t go according to plan, to say the least, and though the history teacher is constantly under duress, she never gets to make a comforting glance at any of the Parisian monuments reflected on glass surfaces or apparent through train windows (mainly for the benefit of the swooning audience).
This is nothing to say of the French-language motion pictures that contributed to my fascination with Paris, everything from À bout de souffle (Jean-Luc Godard, 1960) and Subway (Luc Besson, 1985) to Les amants du Pont-Neuf (Leos Carax, 1991) and—dare I say it—Amélie (Jean-Pierre Jeunet, 2001). Not long before I visited Paris with my sister in December 2006 and January 2007 (after bashing around London), I saw François Truffaut’s semi-autobiographical debut Les 400 coups (1959) for the first time. Riding the Eurostar train to Paris’s Gare du Nord from London’s Waterloo station, I was uncomfortable. Someone in our London hostel room stepped on my eyeglasses and split them in two, right at the bridge, and I feared I wouldn’t be able to read signs for information while we were in France—a logistical problem since only I could read and speak the language. I tried to relax on the train, looking out the window and recalling the opening credits sequence of Truffaut’s film: the camera seemingly takes the vantage point of a child riding in a car, gazing up at the nearby Eiffel Tower, awed (the dreamy score underlines this). Dejection may set in as the sequence draws to a close, by now the Eiffel Tower way out of sight. But like Antoine Doinel, I was going to explore Paris and make it my own, kinda.
My sister and I did do touristy things in Paris, but we also tried to mimic the locals. First we got my eyes examined and outfitted with a new pair of frames at an optical shop on the Champs-Élysées. Talk about shopping for souvenirs. Every morning, we purchased fresh baked goods from the boulangerie, and I walked around with the baguette slung under my arm, to imitate Woody Allen in Everyone Says I Love You. We rode the Métro all around town, becoming so familiar with the different lines and stations we could recite their names along with the automated conductor’s calm female voice. “Châtelet. Châtelet.”
Being cinephiles, we paid homage to Henri Langlois and his efforts to build a film archive with a visit to the Cinémathèque Française. We also went to the movies—twice. First we saw the farce Le grand appartement (Pascal Thomas, 2006) at the MK2 cinema near the Bibliothèque François Mitterrand site. It didn’t matter that the film was in a language neither one of us was fluent in; film connoisseurship being so integral to French popular culture, I suggested we see a movie as the locals do. I recommended Le grand appartement because I knew it wouldn’t get a North American release. Besides, it has one of my favorite actors in it: Mathieu Amalric. Then, to ring in the New Year later in the week, we saw Darren Aronofsky’s The Fountain (2006) at an old movie palace. Thankfully, it wasn’t dubbed in French, and I got a kick out of comparing the French subtitle translations with the actual spoken dialogue.
As tourists, we hewed to closely to the beaten path: Notre Dame, the Louvre (no Mona Lisa, though), the Georges Pompidou Centre, the Musée d’Orsay. It was difficult deciding what time of day to climb the Eiffel Tower; eventually, we opted for seeing the city lit up at night, but rain kept us from attempting the elevator ride to the top. (Later, we saw Paris from on high at the Grande Arche de la Défense). We found the place where, in the quirky romance named for its shy heroine, Nino spots a disguised Amélie for the first time through a viewfinder stationed near the summit of Sacré-Cœur in Montmartre. We snapped photos of ourselves together in front of the Arc de Triomphe, managing to get most of our heads in the frame and thus doing one better than the lovers of Forget Paris, who have a passerby act as their portrait photographer. Stopping in at Shakespeare and Company, the famously cramped but cozy English-language bookstore across from the Île de la Cité and incidentally where Celine and Jesse reconnect in BeforeSunset (Richard Linklater, 2004), I purchased a French-language daily planner to keep as my 2007 journal. Naturally, the diary carries these cinematic connotations with it. We also made a daytrip to the Château de Versailles. Months later, when I saw Sofia Coppola’s clever biopic Marie Antoinette (2006), which was shot on-location, I had an incredible sense of déjà vu. I must have driven my friend nuts, leaning over and whispering in her ear stuff like “I’ve been there!” and “It really does look like that!”
Now, this last part might sound like a cliche. It wasn’t until almost a year after my journey to Paris that I saw the film that best encapsulates my experience of the city: the omnibus Paris, je t’aime (2006). Featuring five-minute-long shorts set in eighteen of the metropolis’s twenty arrondissements by directors such as Joel and Ethan Coen, Gurinder Chadha, Sylvain Chomet, and Tom Tykwer, Paris, je t’aime is Paris porn par excellence. By virtue of containing almost two dozen love stories, the film definitely presents a hyper-stylized and hyper-real version of the city, but it doesn’t whitewash racial and economic tensions completely.
Many of the Parisian landmarks I have already discussed make appearances in the film, particularly in the transitional montages between shorts, but there are at least two more that specifically echo what we saw on our tour of Paris. I recognized the Marais district straightaway in Gus Van Sant’s contribution, with the area’s characteristic clash of cultures. Set within the historic aristocratic neighborhood are the thriving Orthodox Jewish community and dozens if not hundreds of art galleries and art printing and framing businesses, one of which is where Van Sant’s scene takes place. Given France’s history during World War II, it was pretty powerful to see up-close on our own stroll through the Marais stores proffering goods in Judaica and signs scribbled in Yiddish. Moving on, Wes Craven’s snippet, shot in Père Lachaise Cemetery, also reminded me of the Paris I came away knowing. Like Emily Mortimer’s character, we wanted to find Oscar Wilde’s grave and elaborate tombstone—but not to kiss it! Unfortunately, we weren’t successful, and we settled for Jim Morrison’s instead (which was incredibly busy at the time, of course).
But more than these, Alexander Payne’s short, which memorably concludes the film, best sums up our tourist experience in Paris, and, I suspect, that of many other visitors to the city. For his segment set in the fourteenth arrondissement is about falling in love with Paris. The criminally underrated Margo Martindale plays a mail carrier who recently took a dream vacation to Paris, seule. Payne frames her story as an essay exercise in the character’s off-screen French language course, and as she reads from it in class—with confident fluency, a heavy accent, and a mixture of simple and complex grammatical structures—we see her adventure play out on-screen. I could easily relate to her experience, everything from expecting better food to asking passersby questions in French (only to get responses in English). The ending is like a Fellini film, where she admits to feeling “joy and sadness” at the same time, as she sits on a park bench and reflects on how she came to Paris alone but felt “alive” while there. It’s worth quoting her last lines in full, uttered as the camera outwardly turns from facing her and then pensively scans the park scene from her position: “That was the moment I fell in love with Paris. And I felt Paris fall in love with me.” It really does happen like this. If you just let the city envelope you in its arms. No wonder we romanticize Paris, at once real and imagined.
Coming up: another entry of Movie Travel Diary. But let’s keep busy; tell me about your movie-related experiences in Paris. Which film(s) best sums up the Paris you know from your own adventures?