Director Billy Wilder salutes his idol, Ernst Lubitsch, with this comedy about a middle-aged playboy fascinated by the daughter of a private detective who has been hired to entrap him with ... See full summary »
Princess Anne embarks on a highly publicized tour of European capitals. When she and her royal entourage arrive in Rome, she begins to rebel against her restricted, regimented schedule. One night Anne sneaks out of her room, hops into the back of a delivery truck and escapes her luxurious confinement. However, a sedative she was forced to take earlier starts to take effect, and the Princess is soon fast asleep on a public bench. She is found by Joe Bradley, an American newspaper reporter stationed in Rome. He takes her back to his apartment. The next morning Joe dashes off to cover the Princess Anne press conference, unaware that she is sleeping on his couch. Once he realizes his good fortune, Joe promises his editor an exclusive interview with the Princess. Written by
The original writer, Dalton Trumbo, was blacklisted as one of the legendary Hollywood Ten, and therefore could not receive credit for the screenplay, even when it won the Academy Award for Best Screenplay. Instead, his friend, Ian McLellan Hunter, took credit for the story and accepted the Oscar. Trumbo's wife, Cleo, was finally presented with the award in 1993, long after his death in 1976. The Oscar she received was actually a second one, because Hunter's son wouldn't give up his father's Oscar. Thus, two awards for Best Screenplay of 1953 exist. The story credit was corrected to credit Trumbo when the restored edition was released in 2002, nearly fifty years after the original release. See more »
When we see for the first time the truck where the princess is escaping the palace, there is a Cinzano box inside. But when Anne climbs into the back of the truck the brand "Cinzano" is not seen any more and another brand appears instead. See more »
Paramount News brings you a special coverage of Princess Ann's visit to London, the first stop on her much-publicized goodwill tour of European capitals. She gets a royal welcome from the British, as thousands cheer the gracious young member of one of Europe's oldest ruling families. After three days of continuous activity and a visit to Buckingham Palace, Ann flew to Amsterdam, where Her Royal Highness dedicated the new international aid building and christened an ocean liner, ...
See more »
This charming comedy is justly famous as the film that made the whole world fall in love with Audrey Hepburn and half the world want to run out and buy a Vespa scooter. Hepburn was always beguiling, but in some of her later roles she tended to overplay the winsomeness. Here every note she hits is just about perfect.
And speaking of notes, pay special attention to the score by the great Georges Auric. If the film had been produced in the manner of modern romantic comedies, the sound track would have been larded with pop hits by Perry Como, Dinah Shore, and Frankie Laine, which would have done an awful lot to destroy the magic. Instead Auric's complex, vibrant, evocative music complements the story's inherent lyricism without upstaging it. In an era of bombastic film scoring, this seems a miracle.
Someone once said that Audrey Hepburn's was the beauty of possibility and transformation -- she was always in motion, always becoming something else. "Roman Holiday" is very much of a piece with that notion. On the surface, the film is about a princess who disguises herself as a "commoner". But in truth she's actually pretending to be a princess, at least at first. She finally becomes authentic -- is transformed and prepared to deal with her destiny -- only through the ennobling power of love and sacrifice. That's one heck of a mythic subtext and does a lot to explain "Roman Holiday's" enduring power.
89 of 110 people found this review helpful.
Was this review helpful to you?