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|Index||91 reviews in total|
As I remember it, Wilder was born before WWI in Vienna, the home of
Artur Schnitzler, whose plays reflect the byways of the road to love.
"La Ronde" is probably our one exposure to these stories of
turn-of-century Vienna, but Wilder drew upon the cynical mood at
times....has any film that won an Oscar been more cynical than The
Apartment? 'Love in the Afternoon' is a total reversal of tone, perhaps
because we see the story from point of view of Ariane, the young woman
first setting out to find love. What a beautiful film, not only for its
'glorious' black and white photography, its wonderful music and its
luminous portrayal of Hepburn, but also because it tames the playboy,
the bounder and cad. Yes, Grant could have played the part but in some
ways, I doubt he had the vulnerability of Cooper in that wonderful
scene where Coop listens to the Dictaphone as Ariane recites her list
of lovers. Grant would have been Grant. He would have mugged, sputtered
'a BULLFIGHTER', and been angry. Cooper is a man growing old and
realizing he needs something in his life. He is wooden at times, and he
does look old, but how vulnerable he seems. And Cooper is better than
Grant when alone and in thought.
Watch the way Wilder uses the gypsy musicians and the servants of the hotel as a Greek chorus to comment on the progress of love. The great cradle robber did the same in 'Mighty Aphrodite' but without the subtlety of Wilder.
Chevalier and Hepburn make a lovely father/daughter. The hair washing scene where Detective Papa questions Daughter is priceless. Chevalier's deductions are worthy of the great Sherlock....blister on the palm, sleeping on the stomach.
Not every film of Wilder's is top-notch, but this surely is in his top five.
I was going through the movie channels and saw this coming on so I turned on
the old VCR and taped it. After it was over, I erased it.
What a waste of film and talented actors!! What were they thinking?? Who would ever think that Audrey Hepburn would fall in love with Gary Cooper's character. He is a slimeball. She is so cute and sweet. I know that love knows no boundries, but please, love would run and hide in this situation.
Gary Cooper is miscasted here. He just is unbelievable as this creepy casanova. He may have been this way in real life, but in the movies we all knew him for, he was never like this. I remember him for his Meet John Doe and Sargent York roles.
I can't see Audrey Hepburn's character falling for him, knowing that he is this creep. Her father should have bought a gun and run him out of town! Out of 10, I must give this film a 4. Sorry Audrey.....
Two items: a) Wilder acknowledges that the part was written for Cary Grant, but he couldn't get him to do the part. b) Wilder has mentioned in more than one interview that Cooper (in real life) could have any woman he wanted. Remember, too, that this is just a movie. The comments here by "dropus" are completely on the mark. I can only add that there are some really funny lines and situations in this film, and the liquor cart scene is pure gold. Why would Ariane go after such an older man? Perhaps the line where she says she prefers older men is a clue, plus the fact of her naivety. Sure, it's not perfect, but it is a better film (especially looking at it after 45+ years) than most of the crap out there, and one of Wilder's greatest scripts. Oh, yeah, and this is Audrey's film, NOT Gary's. So just watch it and enjoy!
The only reason I could watch this movie was the incredible cinematography by William C. Mellor. The black and white photography is so beautiful, the lighting so dramatic that I couldn't take my eyes off it until the bitter end. To suspend disbelief to this extent was as bad as "As Good As it Gets" was, with a nearly dead, nasty old man and a woman 20-30 years younger than he who, inexplicably, is madly in love with him. Somehow I can't not think of the flabby skin, the sagging jowls and the bad behavior, to top it off, as rather unattractive. I guess we are to suppose money makes a man sexy. To me, that means the woman is a prostitute. Ah, Hollyweird. Audry Hepburn was exquisitely photographed and looked like a work of art in this film.
This movie sickened me. I've always liked Gary Cooper, but he is
horribly miscast as the aging, corrupt Don Juan, Flanagan. The sight of
him pawing Audrey Hepburn, who doesn't look a day over 16 is not
Maurice Chevalier, who plays Audrey's father,(who I have never liked) actually does an adequate job.
The movie takes place in France, but Chevalier is the only one who has a French accent.
I think this movie was supposed to make us laugh. It just made me disgusted.
Not recommended. 3/10
I was very Disappointed with the movie. It is possible that I had high
expectations. It was to the point, that I didn't care what the ending
scene would be. Would he take her along or would he not? My vote would
be a 4. 6, like the earlier reviewer, would be too kind.
I wish Cary Grant had accepted the role. He would have been a better fit. I have a feeling, that with Cary the chemistry would have been better.
Audrey Hepburn's performance as usual was good. She really acted the part of a person who has fallen in love for the first time. The story was different and therefore the disappointment with the end result.
Who else is better to play a lovesick and inexperienced girl than
Audrey Hepburn. Especially in 1957 when she was actually 28, but looked
closer to 18. Unfortunately, her leading man is an aging Gary Cooper
who at 56 years old looks more like 70. I don't mind age differences in
so much as the characters seem well matched. The pairing of Hepburn and
Cooper just wasn't right. Audrey (Ariane) is delightful as always and
portrays a naive girl with real panache, grace and style. Poor Cooper
(Flanagan) looks like he's about to croak any minute. Cooper looks
awkward mostly, but manages to achieve a cute grin and innuendo of
playboy. The plot just seems to drag as they both meet every afternoon
without him knowing her identity. I felt like, let's get on with it and
pick up the pace. But it just drags and meanders as they meet, talk and
dance to Flanagan's Gypsy musical quartet. Watching Maurice Chevalier
dip his scone in his coffee and then chomping on it was a visual I
could have done without. Also, the thought of pretty little Audrey with
the aging Cooper gave me the jeeves.
But don't despair, because the ending is very good and as Hepburn (Ariane) runs along side the moving train with tears in her eyes, explaining to Cooper that there will be plenty of boys, it's all too sweet and good.
This film by Billy Wilder features beautiful B&W photography. Gary
Cooper stars as a supposedly smooth womanizer (Frank Flannagan) who
cares little for the women he beds. Audrey Hepburn plays a younger
woman (Ariane Chavasse) who is intrigued by his intrigues and becomes
Shot in France, the film conveys a cosmopolitan air that almost sells the idea that these two might connect emotionally. But Cooper is not smooth enough to pull if off (no surprise) and the relationship between the two does not convince. It's not an issue of age; it's about chemistry and personality. Bogart in "Sabrina" offered the same problem, though less so. As an example of another pairing that worked well despite a sizable age difference, consider Stewart and Kelly in "Rear Window".
Frankly, I'm surprised that such obviously poor pairings plague numerous films, but apparently some believe that box office draws can overcome such issues.
This charming movie has an utterly ridiculous premise and an ending as
implausible as it is predictable, and yet it works quite well.
In the film, Audrey Hepburn is a young woman who lives with her private- detective father and is fascinated by his sordid cases, finding the affairs and suicides wildly romantic. She becomes involved with a particularly notorious playboy, Gary Cooper.
People object to Cooper/Hepburn's 30-year age difference, but I think the problem is more Cooper than the age difference. Director Wilder originally offered the part to Cary Grant, who was only 3 years younger than Cooper and who played opposite Hepburn quite successfully a few years later in Charade.
I think people would have been far less bothered with Grant in the role, both because he was a better actor than Cooper, who had limited range, and because Cooper seems somewhat weak and ill; apparently he had health problems. Even then, I didn't find him as awful as some did; he still had a certain folksy charm, even when playing a cad.
The story is not, I think, entirely unrealistic. Hepburn's character was full of a foolish romanticism and Cooper's character fascinated her before they even met. If you can accept that a woman would be intrigued by an inveterate player (and ultimately there are women who are attracted to Casanovas), then Hepburn's fascination and dissembling make perfect sense, at least when aided by Hepburn's beautifully tuned performance. Young beautiful women do sometimes fall in love with powerful, much older men, even if it seems nuts that they do.
Throughout the movie, I was worried that I would be aggravated by the ending I expected, but while I got pretty much that ending, I thought it actually worked well. Somehow Wilder waded into the absurdity so slowly and smoothly, and Hepburn and Chevalier as her father were so dead on, that I could believe the whole, ridiculous thing.
This is also a beautifully directed movie. While it's a very slight comedy, there is a lovely formal structuralism to it. It is a movie that is clearly by a talented director, yet not a movie that is trying to show off those talents. The scene with the liquor tables is beautiful but also practical and unshowy. Everything is like that; nothing is extraneous.
There is a lot to object to in this movie, particularly the rather indulgent view the film takes toward Cooper's unsavory character and the utter silliness of the whole thing. Yet Hepburn's radiance, Wilder's brilliance, and an amusing script make the movie far more enjoyable than it has any right to be.
Parisian private detective Claude Chavasse (Maurice Chevalier) finds
evidence of a woman cheating with the infamous American womanizer
millionaire Frank Flannagan (Gary Cooper). The husband Mr. X (John
McGiver) threatens to kill Flannagan. Claude's daughter Ariane (Audrey
Hepburn) overhears the threat and calls the cops. When they won't help,
she goes to warn Frank herself. She saves the day by pretending to be
his date and falls for the older man. The next day, she returns
pretending to be a nameless socialite with many lovers. He leaves Paris
continuing his womanizing ways. After some time, he runs into the
mysterious girl at a concert and she lies to him with a long list of
former lovers. He hires Claude to investigate her.
It's a charming rom-com by the great Billy Wilder. Audrey Hepburn is adorable. Perhaps Cary Cooper is a little bit too old and not up to the standard at the time. It's more than the age difference. He's a little bit stiff and not that debonair. His character is quite cold and unromantic. The problem is that the older Cooper fits and it's harder for him to grow out of that cold character. It doesn't help that he's getting ill which would eventually kill him a few years later. However the list is hilarious and Hepburn is so very adorable with her fake french accent. She is so funny. It's a nice rom-com with a couple of really good laughs.
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