Henry is a lawyer who survives a shooting only to find he cannot remember anything. If that weren't enough, Henry also has to recover his speech and mobility, in a life he no longer fits ... See full summary »
While she was growing up, Sabrina Fairchild spent more time perched in a tree watching the Larrabee family than she ever did on solid ground. As the chauffeur's daughter on their lavish Long Island estate, Sabrina was invisible behind the branches, but she knew them all below... There is Maude Larrabee, the modern matriarch of the Larrabee Corporation; Linus Larrabee, the serious older son who expanded a successful family business into the world's largest communications company; and David, the handsome, fun-loving Larrabee, who was the center of Sabrina's world until she was shipped off to Paris. After two years on the staff of Vogue magazine, Sabrina has returned to the Larrabee estate but now she has blossomed into a beautiful and sophisticated woman. And she's standing in the way of a billion dollar deal. Written by
Cyril Morcrette <email@example.com>
When David runs into Sabrina after picking up the Picasso, you can see the door to the traffic light controller box is wide open indicating that someone is controlling the traffic for filming. (If the box was open legitimately, the operator would not leave it unattended.) See more »
Once upon a time, on the north shore of Long Island, not far from New York, there was a very very large mansion, almost a castle, where there lived a family by the name of Larrabee. There were servants inside the mansion, and servants outside the mansion; boatmen to tend the boats, and six crews of gardeners: two for the solarium, the rest for the grounds, and a tree surgeon on retainer. There were specialists for the indoor tennis courts, and the outdoor tennis courts, the outdoor...
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Tempting though it may be to compare this film to the 1954 version, you will miss the point if you do. To understand the true magic of Sydney Pollack's masterpiece, read the Samuel A. Taylor play both films were based on. While I'm sure the play was a great evening out at the theater between martinis in the 1950s, it's somewhat incredible that two film versions so profoundly translated this lightweight romantic comedy, each in its own time.
In 1954, Billy Wilder used an incredible cast to entertain. No, Bogart should never have been cast. Cary Grant might have created the dynamic relationship with Audrey Hepburn we fortunately got to see later in Charade, but if Bogart had not been cast would the film hold its classic status? Hepburn transfixed an audience and brought to the world La Vie en Rose. William Holden is period eye candy, and the film will always be fun.
Forty years later, however, Pollack made an important film. Taylor's play is, after all, just a fairy tale, and this film fully realizes it. Ormond is enchanting. Kinnear ripens the always empty David. Fanny Ardant brings a french cinema quality to the film's Paris episodes. Marchand's "I didn't teach you this" culminates what may be one of the best written scenes in American film. You can watch this scene over and over and each time gain a better understanding of how great acting can define a relationship, this one between mother and son, for an audience.
But this film should have been called Linus. Harrison Ford's tour de force performance as the greater Larrabee fulfills Pollack's mission to tell a simple story of how a king is transformed by the love of a woman.
"It was a lie, then it was a dream."
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