Regina Lampert, a Paris based American, has decided to divorce her Swiss husband, Charles Lampert, because of the secrets and lies that have pervaded their marriage, she coming to the conclusion that she no longer loves him and really knows nothing about him. Before she can make that request to Charles, he is found dead, seemingly pushed off a Paris to Bordeaux train. While Regina was on holiday in Megève, Charles sold all their possessions making $250,000 in the process, and seemed to be on his way to the coast to leave the country for South America probably for good. The money, however, was not among his possessions on the train, those possessions which are returned to Regina. Regina further learns from Hamilton Bartholomew of the CIA that they were after him, Charles Lampert only the primary alias he has been using of late. During WWII, Charles, a member of the Office of Strategic Services (OSS), absconded with $250,000 worth of their gold bars that were destined for the French ... Written by
Cary Grant initially turned down the movie because he felt that, at almost 60, he would seem too much of a predator, chasing the much-younger Audrey Hepburn. (Ironically, Hepburn was several years older than some actresses who had already played Grant's love interests in the 1950s, such as Sophia Loren and Jayne Mansfield.) In a last-ditch attempt to convince Grant to play the role, screenwriter Peter Stone worked all night on the script and presented it to Grant to look over just once more. Grant happily accepted the role, prompting producers to demand to know what Stone had done. Stone had simply moved all of the romantically aggressive lines from Grant's character to Audrey Hepburn's, making her the pursuer. See more »
When Audrey Hepburn and Cary Grant arrive at the stamp market, workers on ladders can be seen starting to put a new cover on the completely roofless Berkeley Café in the background. However a few minutes later, when Grant runs to catch a cab, the building is directly behind him, and the new roof is long since complete. See more »
Don't tell me, you didn't know it was loaded. Sylvie! Oh. Can't he do something constructive, like start an avalanche or something?
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I have found many films just aren't as good as I remember seeing as a kid. A wide-eyed youngster gaping at a big silver screen at the theater can be more memorable than a middle-aged guy seeing that film decades later on a small television.
However, here is one film that is EVEN BETTER than I remembered it. Yeah, it's a little dated here and there, but not much, just mainly Audrey Hepburn's dialog. However, the story with all its twists is just as suspenseful and fun to watch as it was over 50 years ago. I've seen this three times in the last two years, after that long, long absence. (Tip: spend the extra money to get the Criterion DVD disc. It is the only clear, sharp copy of this film I have seen.)
The story's strength lies in getting the viewer involved. One never knows whether Gary Grant is a good guy or a bad guy. The dialog between Grant and Hepburn is very entertaining as the latter tries to figure out the same thing. There are lots of good lines, particularly by Grant. That in itself makes this film fun to watch multiple times. The pacing of this story also is good; the film moves fast and spaces the action out smartly.
This has to be one of the best movies ever to come out of the 1960s. I have never known anyone who didn't like this film.
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