I'm just going to echo the sentiments of every critic at the time and say Gary Cooper was miscast, especially when I read timeless hunk Yul Brynner was considered for the role.

I watched this with my girlfriend because it has Audrey Hepburn in it, and that’s all the movie is worth it. The kind of silly no sex no kissing with tongue non-sense they had in the 50’s could not be more than this. A young adolescent daughter of a private eye, falls in-love with international playboy and passes herself as “quasi-luxus-whore”. It all ends with tears and smiles and love wins all in the train station. Definitely would tap Audrey at the time but the movie is just way too silly.

Billy Wilder nos presenta otra historia bien construida y llevada de manera excelente combinando los grandes sets con una increíble música además de explotar al máximo su talento. Siempre que sea vea a Audrey Hepburn habrá magia en la pantalla. Quizás no sea la película más audaz de este brillante escritor y director pero nos mantiene expectantes hasta el hermoso e inesperado final. Sutil y romántica.

Probably one of my least favourite Billy Wilder movies and the reason is Gary Cooper. Next to Audrey Hepburn he looks like a boozy grandpa and that makes their relationship kind of creepy which was definitely not the intent. Otherwise, everything else in the movie is aces.

I'm just going to echo the sentiments of every critic at the time and say Gary Cooper was miscast, especially when I read timeless hunk Yul Brynner was considered for the role.

All the players were attempting to be too cool for school, when in fact they were barely cool at all.

Además de que estoy enamorado de Audrey, cada vez que veo una película de Wilder me dan ganas de escribir y saber todo sobre el cine. Estás risa y risa y de pronto lo único importante en esta vida son sus personajes.

Love in the Afternoon is an underrated romantic comedy from the great writer-director Billy Wilder, stuffed full of gags inspired by his hero, Ernst Lubitsch. Like the the emphasis on doors opening and closing, the running gags with waiters and gypsy musicians, and Audrey Hepburn's scheming, which cleverly inverts the plot of Lubitsch's One Hour With You. The star of that film, Maurice Chevalier, is delightful here, playing a private investigator oblivious to the infatuation of his daughter (Hepburn) with a key source of his livelihood: inveterate philanderer Gary Cooper. The age difference between Coop and Hepburn is too pronounced, but everything else about the film is just right.

Way, way longer than it needs to be, this silly romance doesn't really work because Gary Cooper's character is so dislikeable. It doesn't make sense for Ariane to fall for Frank, and it doesn't make sense for him to suddenly decide he's in love with her - or at least, not in any real, lasting way the audience can root for. The 'happy' ending just kind of comes out of nowhere. Meh.

This half-romance/half-farce never quite finds the right mix despite having some high grade ingredients. The combination of Audrey Hepburn and Paris is magical as ever and Gary Cooper works the Hell out of a role into which he's been chronically miscast but it's way too long (130 minutes!) and the main characters never come to life or feel sympathetic.