Paris Can Wait
This leisurely trip through the French countryside is a Francophile's dream, but has little of substance to offer.
Overview
Early in Paris Can Wait, Anne (Diane Lane) and her busy film producer husband Michael (Alec Baldwin) take a start-stop ride to the Cannes airport. The sun streams down as they coast through the seaside town, but their driver, Michael's sometimes business partner Jacques (Arnaud Viard), keeps pausing to buy bread, sausage and strawberries for their flight. It's a kind gesture, and just the type of thing you'd expect holidays in France to include. Alas, they feel like frustrating interruptions for the visiting Americans. Far from improving their trip, the nitty gritty of actually embracing their surroundings gets in the way.
Like characters, like filmmaker, like film. Jumping wholeheartedly into the narrative side of the family business by making her first non-documentary feature at the age of 81, writer-director Eleanor Coppola fills Paris Can Wait with detours and diversions. Unfortunately, they're unable to boost the final product, which is affectionately shot but uninspiringly scripted and assembled. While the film's premise revolves around an extended jaunt that takes its time to get to its eventual destination, tripping over cliches causes the leisurely romantic drama to stumble.
A middle-aged woman doing some unexpected soul-searching, a connection arising out of nowhere, and broken-down cars prolonging the journey: Coppola throws them all in, along with long-held regrets, new awakenings and the difficulties of long-distance love. Inevitably they all arise as Anne treks across the country, not with Michael, who is always barking orders about his latest movie into his phone, but with the much more laid-back Jacques. The pair become unlikely road trip companions after an earache stops her getting on the plane, but their odd-couple awkwardness doesn't last long. He's a suave and shameless flirt fond of wining, dining and straying off the beaten path. Set free from her usual life, she soon finds her defences beginning to crumble.
As a scenic travelogue complete with stopovers for picturesque picnics, swanky restaurant dinners and a visit to the Lumiere brothers museum in Lyon, Paris Can Wait is a Francophile's fantasy. If France's lavender fields and other rustic highlights weren't already on your must-visit bucket list, they will be after you've watch this film. Indeed, Coppola demonstrates a feel for both the road and for her locations, which is hardly surprising given that Paris Can Wait was inspired by her own post-Cannes Film Festival adventure back in 2009 (her husband Francis Ford Coppola had a feature screening at the festival that year).
If only the story she spun had the same authenticity. Coppola might've taken the broad gist of the movie from her experiences, but the on-screen details prove disappointly stock-standard. And, if only her casting choices weren't so obvious. Lane is subtle and effective in rehashing territory that she previously played with in Under the Tuscan Sun. Baldwin, on the other hand, who is heard more than he's seen, may as well be playing Jack Donaghy from 30 Rock. Still, there's one area where choosing the easy option works, and it's one we'll choose to believe really is a case of art imitating life. As a soundtrack to her trip, Anne keeps listening to Phoenix. It's fitting: not only does the band's melodic pop-rock suit the mood of the film, but, thanks to her daughter Sofia, their frontman is Coppola's son-in-law.
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