Funny Face

Outstanding. Beautiful. Classic. What a real lady!!!

The photo sequence in Paris has never been topped. Such a 10+ movie, I can just watch it over and over. Those are kind of strange adjectives and comments from me, especially since I'm a Sci-Fi, action, fantasy kind of movie fan.

This makes me wonder, will we ever have another Audrey?? Maybe an actress who is even close? To think that she thought she had: 1. A square face, 2. A big nose and 3. Big feet. That just shows how human and natural she really was..........

What a surprise for me to find this movie. I had never even heard of it untill it came out on DVD. S'Marvelous!!

Stanley Donen's "Funny Face" was one of the best musicals that came out of Paramount, a studio not known for that genre. The DVD format we watched recently seems to have been transferred with great care as the colors have a vibrant look, something that wasn't the case with the technique used during that era that made colors fade.

The film owes its appeal to Audrey Hepburn, an actress not known for being a singer, or a dancer, but who had enough charm to make the movie her own. The pairing with the great Fred Astaire pays off well because Mr. Astaire was always an actor who had enough chemistry with his leading ladies. Ms. Hepburn's costumes by Givenchy and the way she carries herself in them is one of the best assets about "Funny Face".

The other surprise of the movie is Kay Thompson, who plays the magazine editor Maggie Prescott. Ms. Thompson makes an excellent contribution to the film as the no nonsense woman who ruled what the fashions of the day should be as shown in the pages of the magazine.

The songs of George Gershwin are complimented by the original music composed for the musical by Roger Edens, Adolph Deutsch and Leonard Gershe. The great cinematography of Ray June shows Paris at its best. Thanks to Stanley Donen all the elements feel into place and we were left with this musical that will delight audiences forever.

As long as you do not take the premise or the characters or the plot too seriously, this is an enjoyable movie with an interesting pairing of Fred Astaire and Audrey Hepburn, plus an excellent supporting performance by Kay Thompson and some good-looking settings and scenery. The musical numbers are pleasant, if rather on the light side. Stanley Donen has the right touch in keeping things together without making the seams show too often.

Hepburn is cast in a somewhat unexpected role, as a drab intellectual store clerk who gets involved with Fred Astaire's (much older) photographer character. Audrey is so charming that's it's very difficult to think of her as a wallflower, and while Astaire is as energetic as ever, there are more than a couple of occasions on which the relationship doesn't really look believable, despite the best efforts of the two stars. The plot isn't supposed to be anything weighty anyway, so perhaps that's the price you have to pay for a rather different pairing.

Kay Thompson provides many of the best moments. Sometimes the satire of trendy philosophy comes off well, at other times it gets a little dull. Not to be forgotten are the colorful and interesting settings and backgrounds, which set off the story and music fairly well. It's sometimes a strange combination, but as lighter entertainment it all works well enough.

"Funny Face" was great fun during its first runs and is still a most enjoyable musical. A top notch cast headed by Audrey Hepburn and Fred Astaire make this a winner. Kaye Thompson is on hand for songs, dances and laughs, and George Gershwin's score sparkles. Filmed in part on location in Paris, "Funny Face" beautifully conveys its story of romance with elegance and charm. Smart fashion costumes, photography and choreography combine to make this a hit.

The first of two films released in 1957 in which Fred Astaire effectively bade farewell to the genre he had bestrode like a colossus for nearly a quarter of a century is the cinematic equivalent of gorging yourself on a box of chocolates without the calories.

The title photographs by Richard Avedon (on whom the character played by Astaire was based) establish the iconic fifties cool that never lets up for the rest of the film. Had they shot the whole thing in the studio, the Gershwin score, Technicolor, VistaVision and Edith Head creations worn by all the cast but Audrey Hepburn would already have induced pleasure overload. But producer Roger Edens also shipped the crew to Paris and whipped that into the brew.

It shows how spoiled they were in those days that it didn't collect a single Oscar.