Can’t afford to pack your bags and embark on a vacation adventure in an exotic foreign land? No problem, just travel vicariously at the multiplex. Many different genre films have more than a bit of “travelogue” in them (one of the staples of “golden age” moviegoing was the double feature with several short subjects: cartoons, newsreels, comedy “two-reelers”, and the travelogue, sandwiched between the main films). One type of story often set in “faraway places’ is the “rom-com”. Oh, and a frequent star of such flicks is this film’s leading lady, Diane Lane (UNDER THE TUSCAN SUN, NIGHTS IN RODANTHE). Yes, we’re talking about Superman’s Earth mum (we’ll see her again in the role soon in JUSTICE LEAGUE). These stories and many other recent Lane films concern her character re-discovering love and desire, usually after a long-standing relationship has gone “phhfft”. Now she’s on the road to romance once more, this time directed by a member of a lauded cinema dynasty in her narrative film debut. Here, the “city of lights” is the final destination, but we must take our time, since PARIS CAN WAIT.
The story begins in another French destination, Cannes, at the height of the famed annual film festival. High profile American movie producer Michael Lockwood (Alec Baldwin) frantically tries to pack for a quick business flight to Budapest. Since he’s constantly barking into his cell phone, most of the work is done by his faithful wife Anne (Lane), despite a painful ear infection. Outside the hotel, past the buxom starlets, is Michael’s producing partner, native son Jacques Clement (Arnaud Viard). Jumping into his driver’s vehicle, the group heads to the airport, but not without some detours for ear medicine (for Anne), along with fresh fruits and cheeses. When they reach the private jet hangar, the pilot advises Anne that the pressure could be quite painful for her condition. Anne says that she’ll beg off the work flight to Budapest and take the train to Paris, where Michael will join her in a couple of days. Nonsense, Jacques interjects. He has business in Paris, so she can join him as he motors there in his vintage (barely functioning) Peugeot. She hesitantly agrees as Michael flies away. But this “free spirit” is in no hurry as the usual seven hour ride turns into a multi-day adventure/ tour of the French countryside, complete with gourmet meals and expensive local wines. As they drive, eat, drink, and chat the two very different personalities (she’s pragmatic, he’s impulsive) begin to form a bond. Is it friendship or something deeper?
So who wouldn’t want to take a leisurely drive with the radiant Ms. Lane? Now in her fifth (!) decade as a film actress, she exudes a relaxed charm with a “down to Earth” attitude. There’s no movie star gloss about her. When the camera goes in tight for a reaction shot, there’s no fuzzy distortion or hazing. She’s comfortable with her maturity, flashing a smile that seems “earned’ by time. She shows us that Anne doesn’t quite know what to think of her “travel buddy”, but we see her slowly warm to him. Anne may be at a crossroads, but Lane’s confident performance is the film’s greatest strength. But talk about charm, Viard has tons (or barrels like wine) to spare. This Gaillec”smoothie” has an infectious appreciation of everything. Jacques denies himself no pleasure, even munching on plants pulled right from the forest (“A little salt, pepper, and a dash of oil…”). Though he frustrates Anne with his delays (“Ah, but it is truffle season!”), he really listens to her, and by the last miles (thanks to her detour) they form an emotional connection. It’s no wonder Michael is a touch worried (he’s only half-joking). Baldwin’s quite believable as the driven movie “big wig”, still smitten with Anne, but more than a bit distracted (almost neglectful). While Jacques is his “work partner”, she’s his “home partner”, their ardor now a tad cooled. It’s hoped he slows down and takes a lesson or two from Jacques.
Oh, that cinema dynasty I referred to? This is written and directed by Eleanor Coppola (wife of Francis Ford), making her narrative debut at age 80 (guess it’s never too late to try something new, another one of the story’s themes). Like her male lead, Coppola lets the film glide along with an unhurried pace. She allows us to drink in the gorgeous setting (expertly shot by cinematographer Crystel Fournier) from ancient architecture to opulent museums, the green flowing hills to the swankiest hotel rooms and restaurants. The meals are presented so lushly we almost expect the camera to pan over to another table occupied by Steve Coogan and Rob Brydon, the stars of the cinematic cuisine “crawls”, THE TRIP, THE TRIP TO ITALY, and the upcoming (hooray!) THE TRIP TO SPAIN. This breezy flick takes a turn into some dark dramatic territory in its final act, but its last moments are full of whimsy (the “fourth wall” is chipped, but not really broken). Everything’s not quite wrapped up with a dainty bow which may frustrate some, while giving some hope for a follow-up (where could they go next?). Sure it’s somewhat slight, but for those wanting a charming road trip without hitting the highway (or dealing with the airport), relax for a neat 90 minutes because PARIS CAN WAIT.
3 Out of 5
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