Woody Allen's latest film "Midnight in Paris" is a wardrobe tour de force -- three very different characters with three very different styles captivate the viewer in this love letter to the French capital.

The director has had his fair share of muses -- and we were reminded of past on-screen fashions while watching the flick:

Rachel McAdams as Inez vs. Diane Keaton in "Annie Hall"
Diane Keaton's roll in "Annie Hall" launched legions of menswear-inspired styles, and Inez -- a terribly fashionable and beautiful wife, who is just plain terrible -- has obviously taken a cue from the borrowed-from-the-boys trend. Her traveling wardrobe consists of belted shirtdresses with seductive slits, tweed jackets and a lust-worthy collection of designer handbags -- Chanel, Hermès and Dior to name a few. It's apparent that the American -- who couldn't fathom relocating to the City of Light -- has an idea of French style and emulates the look with the same laissez-faire attitude Annie Hall embodied, but with modern touches.

Carla Bruni a as museum guide vs. Mariel Hemingway in "Manhattan"
In real life, the French first lady -- a musician and a former supermodel -- always keeps things stylish. But as a soft-spoken tour guide, Bruni has a certain je ne sais quoi about her in baggy button-down tops and jeans. Her hair -- pulled back in an unkempt bun -- lets the viewer know that this museum employee would rather have the tourists gawk at the art than her beauty. Her understated and classic approach to dressing reminded us of Mariel Hemingway's portrayal of Tracy -- a high school student with a penchant for button-down shirts and prepster styles.

Marion Cotillard vs. Uma Thurman in "Sweet and Lowdown"
Cotillard plays Adriana, a seductive woman-about-town who wouldn't be caught dead sans cigarette holder and flimsy, chain-mail purse. She sports flapper-influenced frocks that feature dropped waists and playful embellishment. (All the better to dance in!) Uma Thurman's character, Blanche, is a socialite and aspiring writer and dresses to the nines in the Depression-era film. In one scene, she sports a turban and a bow tie, in another she sits along the train tracks in a patterned dress, leather gloves and fur shawl thrown lackadaisically on her shoulders. Both girls know how to make an entrance, and are ultra alluring to men (and women) in of-the-moment pieces.