Fashion photographer Dick Avery, in search for an intellectual backdrop for an air-headed model, expropriates a Greenwich Village bookstore. When the photo session is over the store is left in a shambles, much to salesgirl Jo Stockton's dismay. Avery stays behind to help her clean up. Later, he examines the photos taken there and sees Jo in the background of one shot. He is intrigued by her unique appearance, as is Maggie Prescott, the editor of a leading fashion magazine. They offer Jo a modeling contract, which she reluctantly accepts only because it includes a trip to Paris. Eventually, her snobbish attitude toward the job softens, and Jo begins to enjoy the work and the company of her handsome photographer. Written by
The Audrey Hepburn character was inspired by Suzy Parker, who made a fashionable cameo appearance in the film (her first film) in the "Think Pink" sequence. See more »
When Dick leaves the first meeting with Duval to fetch Jo from the café, he says he will have her there at 10 o'clock the next morning. He later tells Jo that she needs to be there at 10:30, which would make her late twice in a row. See more »
Lettie, take an editorial! "To the women of America...!" No, make it to the women everywhere. "Banish the black, burn the blue, and bury the beige. From now on, girls, think pink!"
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This is a rare bird indeed, a Hollywood musical that succeeds as parody as well as musical entertainment, featuring the best song and dance man of all time, Fred Astaire, and the Hollywood establishment darling, Audrey Hepburn, who was always magnificent despite being pampered and fawned over by the media moguls. Unlike Gene Kelly, Fred Astaire's dancing seemed natural. Astaire spent as much time learning his steps as Kelly, but the viewer always got the idea that Kelly had learned the steps whereas Astaire appeared to be inventing as he shuffled along. Astaire's early movies were made during the age of the crooner, yet his singing could not be pigeonholed into that category. Like his dancing, his singing flowed naturally and freely.
The story to "Funny Face" is a simple one, a musical variation on Shaw's Pigmalion which was already a hit musical "My Fair Lady," turned into another Audrey Hepburn vehicle a few years after "Funny Face." What makes this movie stand out is the spellbinding choreography by Astaire, Et.Al., Ray June's cinematography, George Gershwin music, such as the title song, the direction of Stanley Donen, and the Paris fashions by Hubert de Givenchy. The colors are breathtaking. Note the incredible images of the opening dance "Pink." The sights of Paris have never appeared more intriguing. And who would have thought a song and dance in a photographer's dark room could be so delightful?
One of my favorite numbers from "Funny Face" is the hilarious yet imaginative parody of modern dance performed by Audrey Hepburn in a Paris cabaret. The parody can also be interpreted as poking harmless fun at Gene Kelly's ballet-style dancing in "An American in Paris." This scene shows the versatility of the multi-talented Hepburn. Teaming her with the also multi-talented Astaire makes for a winning combination. Why the hoopla about their age differences? Do film reviewers not live in the real world anymore?
This is a much better musical than many of the more touted ones of the 1950's. If you're not careful, this little screen gem may slip past you.
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