From the NYT website:
This list is drawn from the second edition of The New York Times Guide to the…
A middle-aged playboy is fascinated by the daughter of a private detective who has been hired to entrap him.
Audrey Hepburn's student cellist lives vicariously through her private detective father's files on jet setting adulterers and manages to get herself involved in aging lothario Gary Cooper's parisian affairs.
Hepburn is 28 playing a music student who lives at home with her dad and has never been in love, Cooper is 56 but looks older, their first interaction deals with the age appropriate questions that put me off watching this film for a long time and from that point onward we are in fantasyland, 30s Paramount Paris, and I'm glad I finally made the effort to see it even if it needed someone on here on the watchlist challenge to push me towards it.
It is, we are told, Wilder's…
I could have filled the review section of this movie with "Audrey Hepburn! Audrey Hepburn!" and be done with it.
Seriously though, I argue against myself hard on the scoring of this one: there is no reason why a Lubitsch-style rom-com should be over 2 hours, Gary Cooper gives a very good performance but still feels slightly miscast, the weird age difference, etc. But it all comes down to two questions: Can you believe an innocent girl (with access to her detective father's tawdry files) can fool a seasoned playboy as being a sophisticated femme fatale type? And can such a seasoned and older playboy fall for this girl? With the luminous Audrey Hepburn in the role, both are successfully…
Ariane Chavasse: "I'm against violence. In my opinion, there's too much shooting in the world, and not enough love."
Frank Flannagan: "How's that, again?"
Ariane Chavasse: "I mean, if people loved each other more, they'd shoot each other less!"
One of three Billy Wilder films released in 1957, I'd rank Love in the Afternoon right in the middle out of the three (the other two being The Spirit of St. Louis and Witness for the Prosecution). This one has some great Wilder dialogue and overall it just feels like one of his films. Audrey Hepburn is wonderful as always and Gary Cooper is good too. Maurice Chevalier was pretty hilarious in his role. Love in the Afternoon starts off very strong, but in my opinion loses its footing a bit in the second half. The very last scene was perfect though. Wilder fans should check this one out for sure. 7.5/10
Unfortunately my dvr didn't catch more than 1:30 of this film, so I have no clue how it ends, but the bit I did see was ok.
The person who introduced the film mentioned that it was Wilder's first light film or comedy after making serious dramas such as Sunset Boulevard, Ace in the Hole and The Spirit of St. Louis. IMDB lists Sabrina as being prior to this so I'm not sure how it can be his first comedy. Maybe he meant that Wilder needed to make a comedy after The Spirit of St. Louis which apparently had been a nightmare to make.
Love in the Afternoon was heavily censured when it came out because of the age difference…
Wilder is one of my favorite directors.
I've seen The Apartment a dozen or more times.
Yet a few of his titles have eluded me.
Ace in the Hole was one I only discovered in 2013.
And now Love in the Afternoon.
Not among the greatest of Wilder's films. But his greatness is felt all over this film. From its leads (Cooper, Hepburn, and Chevalier) to its humor (the French jokes, the gypsy band...). Skillful screenplay by Wilder and his scribe IAL Diamond. Funnily enough, in this one, things work out very differently than they do in The Apartment (older man and younger woman-wise).
Not a great film, but I think that without having made this film, they could have never attained the heights of The Apartment three years later.
An incredibly charming romantic comedy, something that Billy Wilder always seems to get right. Maurice Chevalier gets third billing, but is undoubtedly the star, he is both hilarious, charming and warm, so much that you kinda' wish he was an uncle of yours. He's simply splendid as the father of Ariane, played by Audrey Hepburn, who herself is simply delightful as always.
Gary Cooper looks far to old to be Hepburn's lover, however, so much that when she claims how handsome he is, all I can do is raise my eyebrows. I mean, sure, he was a stud back in the 30's and 40's, but the man was 58 years old when this film was made. A little too wacky for my taste.
Can I just give this 5 stars for Audrey Hepburn, though?
It doesn't hit me with quite the full romantic force of my first watch, but remains a charming delight nonetheless. Hepburn's charm is put to greater use here than Sabrina, and she definitely pairs way better with Gary Cooper than Humphrey Bogart. Cooper might be miscast age- and personality-wise, but he at least seems to have fun with the role, and generates a playful, low-key chemistry with Hepburn.
Not terribly good comedy from Billy Wilder at the height of his powers. I'm usually pretty good about putting a film in its historical context and appreciating it for what it offers independent of things we now find objectionable, but seeing the aged Gary Cooper cradle the lovely Audrey Hepburn's face is just unpleasant. I don't necessarily object to the idea of a romance between someone in their 50s and someone in their late teens or early 20s, and might have been won over by another actor but Cooper just looks too old and Wilder obviously knew it, he keeps Cooper's face so much in shadow that the film looks at times like a companion piece to "Double Indemnity." Another…
From the team that would bring you The Apartment came this madcap comedy starring Sabrina actress Audrey Hepburn. Billy Wilder effectively made the actress a star and a fashion icon. With their follow-up, it looks to be more of the same. If there's one thing that feels a little unfortunate this time around, it is that I don't really enjoy Hepburn's relationship with Gary Cooper. They are fine together, but I don't really buy into the romance that fuels the central story.
Which isn't a problem because here's the thing. I've seen a few films in which Hepburn has done some broad comedy (Paris When It Sizzles, How to Steal a Million), and I think something's a little *off* with…
Grossed out by the whole old man wooing a teenager dynamic that is romanticised heavily in the film.
Hepburn is at least enjoyable to watch, but there isn't much else to this film at all. Which just seems to be entirely aimed around Hepburn being young, pretty and bright and falling in love with a man who next to her looks very very old.
Audrey siendo Audrey
Una escena: la parte fina en el tren
Una canción: Fascination de André Rieu
Audrey Hepburn is the jeune fille whose father, Maurice Chevalier (who else in Billy Wilder's Paris, borrowed wholesale from Lubitsch?), is a private eye specializing in trailing cheating wives. More often than not, they're cheating on their husbands with Gary Cooper's decaying American playboy, with whom Hepburn becomes infatuated after seeing his image in a surveillance photograph (youth and death, united at last!). After she overhears one of her father's clients plotting to gun down Cooper in the hotel suite where he meets the man's wife nightly, she decides to rescue him. Sneaking across a balcony, she arrives at the window outside Cooper's suite, and the scene that follows in one of the simplest and most beautiful Billy Wilder ever…
I love Billy Wilder's films and this is another good one. I noticed the thing he does where the shot has three layers: front, middle and back. With him, all the layers are defined and have a purpose. Not all scenes have them but the ones that do, look like they are a 3D experience, as in it shows depth. It makes the scene more realistic and someone can shoot three scenes in one shot if they wanted to. Most movies just do two: foreground and background, while messing with the focus and lighting.
Audrey Hepburn is one of my favorite actresses and all her movies with Billy Wilder are really good and her style of humor is very attractive…
A lot to like but also a lot to dislike, coming across as both a weaker Wilder film as well as a weaker Hepburn (although definitely not her fault). Perhaps it's the strength of their careers that makes it seem less. I did enjoy it for a romantic comedy, Hepburn makes it a very easy watch and the opening to the film captures the fantasy element that let's the absurdity of the situation wash away. It's not 'Paris' it's hollywoods Paris, which has it's own romantic charm. I couldn't get on board with Gary Cooper what so ever. His age was an immediate factor in that as he simply couldn't convince me of his playboy nature or his chemistry with Hepburn. That did help to convey the immaturity and playfulness that Hepburn indirectly brings to the table but their relationship was awkward to say the least. Hepburn makes it, without her it would have been enjoyable but nothing special.
Billy Wilder has directed some enduring classics, and many of his best films somehow manage to be endlessly entertaining, even on re-watches. His lesser films, while still entertaining in bursts, have the misfortune of constantly being held in comparison to his classics. And, with a film like Love in the Afternoon, it has the unfortunate burden of being held in comparison to all of Wilder's films and Audrey Hepburn's. Because, at its best scenes, Love in the Afternoon is a lovely little film that can be sweet and hugely funny. But, it still feels like lesser Wilder and Hepburn.
The first third of Love in the Afternoon is definitely its strongest. Maurice Chevalier is great as the bumbling private eye…
From the NYT website:
This list is drawn from the second edition of The New York Times Guide to the…
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