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
Yul Brynner was also considered for the lead role, which was going to be a more exotic character. See more »
When the gypsy musicians are playing for Flannagan in the Turkish bath, the lead violinist discovers that the condensation has made his instrument fill up with water, tips it out, and continues playing: the sound is unaltered. See more »
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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Now this is a remarkable movie. Very funny, very romantic - and with an absolutely lovely performance by Audrey Hepburn. I don't understand the bullshit about the miscasting of the male lead. Gary Cooper might be too old for Audrey Hepburn, but he plays this role in his usual underplaying manner, and this works much, much better than most other actors would have been in his role. And because of his charisma the Hepburn-Cooper teaming is not a mismatch. Other greats of that era couldn't have been better: Cary Grant would have been too cool, Peck has never been the Frank Flannagan-type. Younger stars would've been totally outplayed by Audrey. One of Billy Wilder's best films, and if you know his filmography, that means something. Chevalier is very good and sympathetic in the supporting role. And this is one of many films you would ruin with color! I hope the days of those lunatics are over who computer-colored some of the beautiful b/w classics.
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