A Spoon Alongside Forks.

Most directors, writers or producers, they are forks, all similar and all rather pedestrian to that extent; they are a fork, all very straight and being within the lines.

However, there is a spoon amongst these forks that defies the norm and can make a movie with a true and noble meaning, one not suffocated by commercial pressure.

That spoon is Woody Allen.

As a director, and writer his movies are witty, sharp and engaging, but above all, appealing. As an actor, he is excitable and warm, quickly nailing on the head he is an all rounder. A pearl in a sea of empty oyster shells left behind by the past.

In his latest offering, Midnight In Paris (starring Owen Wilson, Rachel McAdams and Michael Sheen) follows a couple of contrasting differences, one (Wilson) enamoured by the dripping charm of Paris, and its past glories as a capital of Art in every sense of the word. His fiancée (McAdams) would rather be in Malibu, and shops around Paris for this purpose, ignorant of the charm that the French Capital has.

Essentially the movie illustrates Wilson’s character’s desire to return to that era (1920’s) to relive the old glory days, which in the magic art of filmmaking does occur, and will have many of the audience recalling and spotting the famous art person, from Gauguin to Hemingway, Allen does not fail to exclude any of Paris’ art history.

It is a fantastic film, witty in spots and all round sentimental, its scenery and montage at the beginning of the film will surely get our wanderlust ready, and raring to go.

And that in itself is the magic that comes with Allen being the spoon in forks, such films as this do not come around often.