Woody Allen has created a school. It is easy to find characters and plots inspired and inevitably influenced by the paranoia of the Manhattan director and his verbiage. With Paris-Manhattan, the French Sophie Lellouche wanted to show that she is part of that school, in addition to using Allen as a spiritual guide of her main role.
In her first feature film, Sophie Lellouche takes on a romantic comedy, following the guidelines of the North American cinema, and she also becomes endearing to Allen, who lends her voice (and something more) to the film. And all this, without losing an iota of her Parisian identity.
Alice is a beautiful and young single pharmacist who feels an unusual fascination for Woody Allen. Although she isn't worry for her bachelor, her family is obsessed with finding her a partner, although she has always thought that the perfect man is her sister's husband. As in all love stories, Victor appears in Alice's life without warning, to install an alarm in her pharmacy. He will have it clear from the start, but he will have to fight to make her see, with the help of Woody Allen's imaginary advice, that love has knocked on his door.
Paris-Manhattan is cheesy and predictable but also has that strange charm of this New York comedies that together with the bohemian French charm gets its plot something taken to the extreme and caricatured works in a practical way and without great pretensions, like everything what is sought for those Sunday afternoons with little to do.
Alice uses phrases and dialogues from several movies of the New Yorker, adapting them to the existential and love problems of this young woman. As well as the clandestine video store that hides in the shelves of his pharmacy, full of the movies of the director and of great North American classics that she prescribes to her clients. All this is, perhaps, the most interesting of the film, along with the short and predictable cameo of Woody Allen himself and the chemistry and charm of its protagonists, Alice Taglioni and the mythical Patrick Bruel.
Despite its lack of depth, simplicity and predictability, Paris-Manhattan ends up being a light romantic comedy that we do not think has more interest and objective than to make your Sunday afternoon more enjoyable with a little cinephile reference.