Youthful Father Chuck O'Malley led a colorful life of sports, song, and romance before joining the Roman Catholic clergy, but his level gaze and twinkling eyes make it clear that he knows ... See full summary »
Weary of the conventions of Parisian society, a rich playboy and a youthful courtesan-in-training enjoy a platonic friendship, but it may not stay platonic for long. Gaston, the scion of a wealthy Parisian family finds emotional refuge from the superficial lifestyle of upper class Parisian 1900s society with the former mistress of his uncle and her outgoing, tomboy granddaughter, Gigi. When Gaston becomes aware that Gigi has matured into a woman, her grandmother and aunt, who have educated Gigi to be a wealthy man's mistress, urge the pair to act out their roles but love adds a surprise twist to this delightful turn-of-the 20th century Cinderella story. Written by
In the early scene in the park, the principal actor casts a shadow backwards (away from the viewer), while the carriages in the background cast shadows forwards (towards the viewer), revealing the production lighting. See more »
[Honore walks through Paris and greets the viewer]
Good afternoon! As you see, this lovely city all around us is Paris, and this lovely park is of course the Bois de Boulogne. Who am I? Well, allow me to introduce myself: I am Honore Lachaille. Born: Paris. When...
...not lately. This is 1900, so let's just say not in this century. Circumstances: comfortable. Profession: lover, and collector of beautiful things. Not antiques mind you, younger things.
[...] See more »
I hate this movie. I hate the way it looks. I hate the way the actors (especially Leslie Caron) sound. I hate the way it's dubbed. I hate how irrelevant it is.
Is it just me, or is there something incredibly distasteful (not to mention creepy) to see an 80-something Maurice Chevalier singing "Thank Heaven for Little Girls" while ogling them in a park? Maybe pedophilia didn't exist in turn-of-the-century Paris. I can't believe this gloopy piece of cotton eye candy came out in the same year as Orson Welles' "Touch of Evil." And don't even get me started on the fact that it won what was then a record number of Oscars (including Best Picture). If nothing else in its dubious history convinces one to ignore the Motion Picture Academy, that should.
Can anyone honestly tell me they cared at all about how this movie ended? If you can, I never want to meet you.
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