7.3/10
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Love in the Afternoon (1957)

Not Rated | | Comedy, Crime, Drama | 30 June 1957 (USA)
A middle-aged playboy becomes fascinated by the daughter of a private detective who has been hired to entrap him with the wife of a client.

Director:

Billy Wilder

Writers:

Billy Wilder (screenplay), I.A.L. Diamond (screenplay) | 1 more credit »
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Nominated for 3 Golden Globes. Another 3 wins & 1 nomination. See more awards »

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Cast

Complete credited cast:
Gary Cooper ... Frank Flannagan
Audrey Hepburn ... Ariane Chavasse / Thin Girl
Maurice Chevalier ... Claude Chavasse
John McGiver ... Monsieur X
Van Doude ... Michel
Lise Bourdin ... Madame X
Olga Valéry Olga Valéry ... Hotel Guest with Dog (as Olga Valery)
The Gypsies The Gypsies ... Themselves
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Storyline

In Paris, detective Claude Chavasse is hired to follow a wife suspected of infidelity with the notorious American libertine Frank Flannagan. When the husband learns that his suspicions are accurate, he tells Claude of his plan to kill Flannagan. Claude's daughter Ariane overhears the threat and warns Frank of the coming trouble. She then plays the part of a worldly socialite with a list of conquests as long as Flannagan's. The bemused ladies' man returns to America the next day and Ariane, completely in love, follows his romantic escapades in the news. She sees him again in Paris the following year, and resumes her worldly guise, telling tales of former lovers when they meet at his hotel in the afternoon. Frank, amazed by the mystery girl and surprised to find himself jealous of her past, hires Claude to uncover more information about her. When the detective realizes what has happened, he asks Frank not to break his daughter's heart. Written by filmfactsman

Plot Summary | Add Synopsis

Taglines:

An oh-so-very shy young girl (but she lists 20 men in her past!) See more »

Genres:

Comedy | Crime | Drama | Romance

Certificate:

Not Rated | See all certifications »
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Details

Country:

USA

Language:

English | French

Release Date:

30 June 1957 (USA) See more »

Also Known As:

Ariane See more »

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Box Office

Budget:

$2,100,000 (estimated)

Cumulative Worldwide Gross:

$5,000,000, 31 January 1960
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (cut)

Sound Mix:

Mono (Westrex Recording System)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Like James Cagney in Billy Wilder's One, Two, Three (1961), and Jack Lemmon in his Avanti! (1972), Gary Cooper plays an American businessman in Europe who gets involved with a European woman. Like Lemmon, he spends most of the movie in a luxury hotel and dictates business memos into a tape-recorder. See more »

Goofs

When Ariane returns one of her father's files to a locked safe and opens it by banging it with her fist, a thin wire used to pull open the safe is visible. See more »

Quotes

[first lines]
Claude Chavasse: [voiceover] This is the city - Paris, France. It is just like any other big city - London, New York, Tokyo - except for two little things. In Paris, people eat better. And in Paris, people make love - well, perhaps not better, but certainly more often. They do it any time, any place. On the left bank, on the right bank, and in between! They do it by day, and they do it by night. The butcher, the baker, and the friendly undertaker. They do it in motion, they do it sitting absolutely ...
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Connections

Referenced in Murder, She Wrote: Murder in the Afternoon (1985) See more »

Soundtracks

L'Âme des Poètes
Music by Charles Trenet
Performed by The Gypsies
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Frequently Asked Questions

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User Reviews

 
Miscast Cooper Undermines This Billy Wilder Film
17 June 2016 | by atlasmbSee all my reviews

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 personally involved.

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.


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