Paris in the early 1920s was one of the 20th century's most famous 'scenes', attracting many famous writers and artists to its cafés and galleries, especially expatriate Americans such as Hemingway and Henry Miller. Circulating amongst the luminaries, wannabes and hangers-on is an unsuccessful artist (Keith Carradine), struggling to keep afloat his marginal career, who encounters a former flame (Linda Fiorentino), now married to a thuggish social-climber (John Lone). The potential for story, period and character interest is there as conflict and an intrigue involving forged paintings soon follow and lead ultimately to tragedy, but little such interest is actually evoked. Paris itself looks dusty and old and a little run down, and little effort is made to make the viewer aware just WHY the city at this time was such a magnet. Indeed, thanks to some amber tinting in the cinematography that gives everything a harsh sun-washed look, Paris is deliberately portrayed like the urban equivalent of an ageing courtesan under unflattering lighting. The story that plays out comes off more tawdry than tragic and the characters are so selfish and bland as to evoke little sympathy or interest with the audience. I was hoping to get a better sense from the film as to why Paris had such a special attraction at this time, especially since, sadly, this world is no more, as much of the Montmartre has been razed and replaced by office towers.
Review of The Moderns
