It logically must continue with the heartbreak of her discovery and the details of her trip to Africa with Hemingway which was occuring during his fourth trip. Since in that history he does not return with the earrings and she never sees him again, the book will continue until it is filled and she sets it aside.
Yet the night he gives her the earrings she changes that. They immediately leave for the past, without the journal, and she stays there. The journal is never finished and never stored wherever she originally put it. That changes the contents, and it might change the location--we know nothing of what happened to Adriana in the history in which Gil never brought her the earrings, but we know she moved about quite a bit.
The odds of the journal being in that same bin ninety years later are astronomically against. However, as noted, this is the film's remarkable coincidence, and the fact that it is the more remarkable that it should be there at the conclusion of both histories is only a matter of degree, given that it was remarkable he would find it at all.
We could only guess how it got there, who had it when, and so we cannot say it could not have come to him that way again. It is improbable but not impossible, and if it does not happen history ends when he does not take the earrings to her , and since history does not end, it must have happened.
Gil's final trip to the past is complicated in several ways. One of those ways is that he makes a nested trip, leaving with Adriana from to ; another is that a private detective attempting to follow him lands in seventeenth century Versailles. There are problems with that; but the first problem is sequencing our trips. Ignoring the detective for the moment, Gil travels from to , and begins creating the history forward toward ; this is interrupted, though, while it is still the same day , as he leaves with Adriana for Assuming that the mode of travel is not a problem, we interrupt the advance of history and scroll back to , then work forward again.
Adriana stays in which we will consider later , and Gil leaps over the history she creates to return to He finishes his work there, and goes home again to We thus have an anomaly within an anomaly, almost as if Gil traveled from to and back with layovers in Part of the problem is that we cannot say with certainty when he leaves He attempted to follow the Peugeot, but he lost it somewhere in time and traveled back further into the past.
If we are correct in our assessment of the mode of travel, the entire street by the church must have drifted back to and Gil's vehicle exited it; but the detective, holding back so as not to be seen, must have remained on the street while it continued back to the seventeen hundreds.
But we are not quite certain what happened still. If the detective left at the exact same instant as Gil, we have one anomaly. It drops Gil off in and continues to the s, then works its way forward to Then when Gil and Adriana go back to we have our nested anomaly in the second side of the bigger one, which then resolves to as Gil returns and continues to However, we have the problem that the detective was following Gil, and so, as we saw in the problem with Star Trek: First Contact , there is the possibility that he is creating a second anomaly.
In that case, things are more complicated. If the detective leaves even a fraction of a second later than Gil, we have separate anomalies: Gil travels to , stays a few hours, continues back to with Adriana, leaves her there, then jumps back to and to , history rewriting itself in his wake; at the moment he leaves for the past the anomaly resolves; but since he seems to arrive a significant time later than he departs, his return is delayed: the detective travels to the s, and all of history must resolve again, including Gil's last trip, before Gil can return to the future; any changes made by the detective thus become part of history on this last anomaly.
Those changes could be substantial. Gil and Adriana rode in period vehicles, but the detective brought a car from four centuries in the future to an era in which science is exploring new frontiers. Galileo was active as the century began, and Voltaire was born before it closed; Newcomen is alive mid-century and will build his steam engine before he dies.
Give these people an automobile from the future, and they will study it. This could advance technology drastically: light bulbs, spark plugs, and rubber tires are just the most obvious attainable new ideas. Technology leaps forward half a century or more, and the world from which Gil comes is altered so completely Gil himself probably does not exist.
Or perhaps not. Perhaps the car is mistaken for a broken abandoned carriage and hauled for scrap, leaving the universe as it is. Since history does not end, we must conclude this is what happened.
Incidentally, it appears that the detective never returned to his own time; he must have died and been buried in the past. This raises another question about time travel method which we will have to address: how does Gil return to the present? We know, as well as we need, how people travel to the past: a vehicle appears and they accept the offered ride. Yet how do they return to the future? As with most magical time travel stories, the film avoids trying to explain how it works.
We are left to examine the events and guess. At the end of his first trip, he says he is going back to his hotel to get his manuscript. He leaves the restaurant, and almost as soon as he is on the street everything returns to the future. That suggests that he has to be away from the people in the past and intending to go somewhere that only exists in the future the room containing his manuscript.
We do not see how it happens again, but we do see at the end of his second visit that he says he is going home, and thus it appears that what matters is the intent to return home, and then being away from everyone. The alternative is that the return happens at a random moment over which the traveler has no control. The first problem with this is that it never happens randomly--it always happens when Gil is done with his business in the past and wants to go back to the future.
The second problem is that if this is so, then Adriana cannot choose to stay in , and will be brought back to probably at the same moment that Gil is--which apparently does not happen, as she is not with him when he reaches the Steins' apartment.
Thus choosing to return to the time from which you left and heading for a specific location within it is what causes the return trip. Gil returns to the future whenever he chooses to do so, and Adriana remains in the past because she wants nothing from the future.
The problem arises with the detective. Doubtless driving into the seventeenth century will be disorienting, but to escape all he needs to do is decide he wants to return to the office and start in a direction he thinks might get him there.
He is lost in Versailles, and the guards have been called. Yet he never returns to his own time, which means he must have been trapped in the past, perhaps caught by the guards and imprisoned and executed. We might accept that if he were captured or imprisoned he could not attempt to walk home; yet at the moment he enters the hall, he is alone and running.
This means either our theory of how to return to the future is wrong, or he never for a moment thought, "I must get back to the office. It seems, then, that we have no reasonable answer to how this works.
It is possible to choose to stay in the past, or to choose to return to the future, but it is also possible to be trapped in the past unable to return. Thus either this aspect of the story was not fully considered, or we have been given insufficient data to resolve it. Quite a bit happens in the scene in which Gil saves Zelda, including the important moment when Adriana discovers that Gil is engaged. It is, of course, medicine from the future, a drug completely unknown in the Golden Age and common in the Modern Age.
As he is explaining this, he begins to recognize the implications of being in the past. We know he recognizes them, because when he is in La Belle Epoque with Adriana it coalesces, that to stay in La Belle Epoque means to live in a time without antibiotics, and so too to stay in the Golden Age is to lose all of modern pharmacology and modern medicine.
The past sanitized is a wonderful place; the past actualized is terrible. Life expectancy increased more in the twentieth century than in all prior recorded history, due primarily to advances in medicine and sanitation and nutrition. Life is always hard for most people, no matter when or where you live, partly because real equality is impossible: some will always have better lives than others, always on a bell curve such that most people know that there are others who live better than they do.
Everyone in the United States in lives better than anyone in the United States in , simply because of the advances we have made. The Vanderbilts and the Carnegies and the Rockefellers and other capitalist moguls had things we do not, but those did not include air conditioning, modern medicine, sewage treatment, not to mention television, computers, air travel, synthetic clothing, and plastics. It probably is not serious otherwise, though.
The fact that Zelda took one dose of a future psychiatric medication at a time when she was upset, and it helped her, might encourage her to see a psychiatrist, but psychiatric medicine in her time has nothing comparable and she will undoubtedly be disappointed. We might think she would devote some of her fortune toward the development of better medicines, but she never had much success as herself and thus has no personal fortune and her husband did not see much financial success after The Great Gatsby , so it's not as if there will be tremendous impact from this.
This also predates the age of celebrity spokespersons it begins on a small scale with radio but does not come into its own until television. Gil is not the only person to travel to the past. As we noted, a detective leaves and goes to seventeenth century Versailles.
More significantly yet, she stays. We cannot be certain that she stays. We know only that Degas knows of a job for a costume designer for the ballet, and she plans to apply for it. Her designs are bound to be avant-garde: she studied with Coco Chanel, one of the great clothing designers of the early twentieth century who in is entering her teens but whose impact will continue well into the future, revolutionizing women's clothing.
Adriana will have an eye for the designs of the future, and in a progressive era like La Belle Epoch, the age of French Impressionism, such an artist will be embraced and successful. There is the risk that she is ahead of her time, that she will fail because her designs are too futuristic.
The second is in shadow as he watches Gil climb into the back of the Peugeot, the vehicle that travels in time. Tisserant is seen following. Gil travels to the 20s again to spend time with Adriana, who is infatuated with the s, a time she thinks is really the true Golden Age of Paris.
The two share some intimacy and deeper truths. Maybe you can already guess. Tisserant seems left to the vapors. We learn that he is missing, that the detective agency reported he never returned. He is then chased out by guards of the palace, running for his life. And then. Tisserant is not seen again. The importance and impact of this moment is almost impossible to describe but perhaps most notable is its establishment of authenticity at least.
But this moment changes all that. Tisserant is in eighteenth century France and not only that, has somehow gained entrance to the seat of its government and into the dining hall of the king of France. As the movie goes along, Woody Allen uses all the resources and strategies to create an adventure across the present and the past which in the end lead to the future. All the music, costumes, languages, and settings contribute to achieve one goal: establishing the illusion of bringing what on screen into the reality.
Save my name, email, and website in this browser for the next time I comment. Dream In the Past — Analysis of Midnight in Paris What makes films so fascinating that, in its short around year history, people keep craving for more and more? References: Barsam, Richard. Similar with the first two times he travels, this time it also starts with some kind of transportation.
At the same time, the way people dress also have a dramatic change. As the storyline of the movie takes form Woody Allen uses all the resources and strategies to create an adventure across the present and the past which in the end lead to the future. All the music, costumes, languages, and settings contribute to achieve one goal: establishing the illusion of bringing what is on screen into the reality.
Chris Ward May 4, - am Reply. The name of the girl from the antique shop, the girl he walks with in the rain at the end of the movie is Gabrielle, not Adriana. Pau September 25, - am Reply. Save my name, email, and website in this browser for the next time I comment. Chris Ward May 4, - am Reply The name of the girl from the antique shop, the girl he walks with in the rain at the end of the movie is Gabrielle, not Adriana.
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