Bonjour Anne

Paris Can Wait is absolutely a great comedy-romance movie from the talented director Eleanor Coppola.

It is an entertaining movie from the beginning to the end. Great scenery of Paris ,amazing acting, enchanting romance,delicious French food and stunning direction.

Rated PG and suitable for all children .Adults would definitely enjoy it especially when they learn that this movie was screened in the Special Presentations section at the 2016 Toronto International Film Festival.

God Bless The Amazing Eleanor Coppola (The Wife Of The Great Director Francis Ford Coppola).

Indeed:" Behind A Great Man There Has To Be A Great Woman.

Diane Lane is married to Alec Baldwin, a successful movie producer. They have a successful marriage and a daughter in her second semester at college. They are at Cannes when word comes that a movie in Budapest needs him on the scene. When Miss Lane's ear infection makes the pilot ground her, they agree she will meet her husband in Paris; his European partner, Arnaud Viard, is driving there anyway, and will take her. So, with misgivings about leaving his wife in the hands of a single Frenchman, Baldwin is out of the movie (except for a few phone calls) and Lane & Viard are off on a road trip. Of course, Viard offers a Cook's Tour of the regions they are passing through, complete with Roman remnants and far more food than anyone can eat, the perfect wines to accompany the food, and remain as photogenic as these two.

It's a chick flick, pure and simple, meant for middle-aged and older women. The food is photogenic (Miss Lane takes photos that would grace the pages of BON APPETIT) and everyone knows Viard, including the manageress of the Lumiere Museum in Lyon. It's a movie about the glories of French Cuisine and Diane Lane, and if it remains PG-rated at all times, there is the offer of a meeting at a well-known clam bar in San Francisco and a jaunt up the Californian coast and Miss Lane staring thoughtfully into the camera after Viard has left.

The director is Eleanor Coppola, the wife of Francis Ford Coppola (it's an American Zoetrope production) and if she waited until she was 80 to make her feature film debut, it makes one wonder how autobiographical a trifle (to borrow a cooking term from another cuisine) this pleasant, minor film is.

There is no escaping the three pillars of movie-making: they have always been narrative, cinematography and emotion. If any pillar is weak, the movie struggles but if all three are weak the movie doesn't have a chance. With an appealing plot, a favourite actress, and a road trip across France, how could Paris Can Wait (2016) not succeed?

A story of an unhurried drive through France is full of promise. Neglected wife Anne (Diane Lane) and movie mogul husband Michael (Alec Baldwin) have been in Cannes and about to board a flight to Paris for a long-awaited holiday. At the last minute, she is advised not to fly because of an ear infection and agrees instead to be driven to Paris by her husband's French business associate Jacques (Arnaud Viard). What was expected to be a few hours drive becomes a two-day road trip, meandering into places Anne would never have seen without Jacques' knowledge of local attractions. Jacques is a gourmand who knows every good restaurant along the way and Anne allows him to show off his taste for fine food, French wines and other hidden cultural treasures. The trip is punctuated by long and luxurious meals, and frequent commentary on local history, architecture and customs. Despite Jacques' flirtations, they stay in separate rooms while Anne dutifully stays in touch by phone with her by-now anxious husband and daughter. By the time they arrive in Paris, Michael is showing his wife more attention than he has for years.

For this story to work, it needs rising romantic tension, some surprising revelations or narrative twists, or at least a sense of excitement about possibilities lying in wait. Instead it is two days of small talk punctuated by Anne's photo-taking: even when each reveals an emotional event in their lives it quickly dissolves into banal conversation without impact on their relationship or how we see them. The idea that Jacques' flirtations might succeed with Anne is deflated by his encounters with girlfriends along the way. Even the gastronomic feasts fall flat as visual treats: one plate of something delicious quickly loses its appeal when the plates just keep coming. The photographic delights of countryside France are captured inelegantly through car windows or in other uninspiring ways, and Jacques' informative tour-guide commentary has the tonal enthusiasm of someone reading from a travel brochure. The mediocre script is made worse by dialogue delivered as if Anne and Jacques were paced by a metronome, each taking turns to speak with the same pause between sentences. This lack of spontaneity carries throughout their journey except when Jacques' car breaks down and he immediately springs into picnic mode, grabbing a basket of goodies, and spreading a blanket alongside a lake in a scene that is pure Monet. That's what you do when your car breaks down in the middle of nowhere, isn't it?

Given its quality ingredients this film should have worked. If the story represents a personal journey of self-awareness its revelations remain obscure. As it is based on the director's real-life experience, perhaps reality got in the way of creative filmmaking. Whatever the reason, the delicious promise embedded in the wonderful title Paris Can Wait does not even come close to fulfilment.

I don't get the low rating for this film. As a man, I can understand how it would be borderline boring, but still it is a good movie, with good acting and very beautiful content. I went through a trip in France, with the great lighting and the great food and the beautiful countryside and I can tell you it's truly what women want. My wife was happy for months. And this is the film adaptation of such a trip, written and directed by Eleanor Coppola.

There are two problems with this film. One is that this is about rich people traveling through France and getting the best of the best from fancy restaurants and places for the in-people. That can annoy some folk. The other is that there really is no story. There's just a French guy trying to woo a beautiful American married woman.

One can learn a lot from this film, too. Basically, the writer says "hey, men that take their wives for granted! Your women want romance!". OK, that can be annoying, too, but also serves as a manual on how women would like to be made to feel.

Bottom line: a true romantic road trip movie, with no pointless comedy or drama added. Refreshing and inspiring.

I expected a lot after reading the synopsis but was highly disappointed after watching the movie. There was an excellent story-line and beautiful landscapes with possibly romantic sequences but despite Diane's good performances, the movie doesn't inspire anything substantial. Main reason is the absence of that spark between the two. Diane is a lovely actress and I would always love to see her in any character which she always does well. But something was missing and she doesn't get the same enthusiasm from the opposite character to show the vibrancy of their connection. Viard is a charming actor and tries hard but he doesn't have the so called Frenchman's sexual flare! He rather looks like an average bus driver to me, not an eager, romantic and intimate kind of a person. I would have expected them to have an intimate relationship halfway through the movie but both looked like not having enough energy or that spark to get intimate.

I wouldn't say I wasted my time but expected more and got disappointed would be more accurate to put it in a nutshell.