Amor na Tarde

I am not a fan of romantic movies but there are a small handful that I love and by far the one I love most (of the less bigger scale types like "Gone With the Wind") is "Love in the Afternoon". I love the story, the camerawork and especially the lead players...Gary Cooper and Audrey Hepburn. I love these two so much that it's hard to put another great screen couple above them. They make the whole story come alive in their own way. Coop with his dry but lovable wit and charming good looks, and Audrey with her universal charm, wholesomeness and great beauty. I have read in the book "The Complete Films of Audrey Hepburn" that Cary Grant and Yul Brynner were the first two choices to play Coop's part. Thank God that neither were able to. Coop as the character of Frank Flannagan makes the film more romantic and his ever-popular sweet-guy, no-airs-of-any-kind persona makes the film less stuffy than it would with Grant or Brynner. Audrey of course is the perfect Ariane and they shine together in each other's arms. Call it a cliche but that comment fits this film perfectly. See it if you're in the mood for good, romantic farce.

This delightful light romantic comedy is worth viewing just for Audrey Hepburn's darling performance as the innocent ingénue pretending to be a woman of the world. Gary Cooper is sadly miscast as the international playboy who is the target of Hepburn's affections, a role that Cary Grant could have walked through in his sleep. Ewan McGregor played a similar role to nice effect in the recent Down With Love, but McGregor, regrettably, is no Cary Grant. Who is? <sigh> But back to Love in the Afternoon... Maurice Chevalier is charming in his role as Hepburn's private detective father and John McGiver is funny as a befuddled cuckold. Billy Wilder's direction is naturally impeccable. But the movie is all Audrey after all, and isn't that enough?

Love in the Afternoon was conceived and brought to the screen by Billy Wilder as a homage to his friend and mentor in Hollywood, Ernest Lubitsch. This French novel Ariane had been filmed before in fact, by the Germans just before the Nazis took over and had starred Elizabeth Bergner.

Audrey Hepburn proved to be a worthy successor to Bergner. Whatever success Love in the Afternoon has is due to her performance. She radiates beauty and charm and no wonder Gary Cooper is so fascinated by her. Wilder would consider no one else for the lead and waited for Hepburn to be free while she was on a lengthy location shooting for War and Peace.

But it's Cooper who's the weak one here. He was not Billy Wilder's first choice. Cary Grant for the third and final time missed out on being in a Billy Wilder film having previously turned down Five Graves to Cairo and Sabrina. The part was offered to Yul Brynner also. But Gary Cooper turned out to be available when Hepburn was and he got the role. Wilder later admitted the bad casting, but he also said that it was his ill luck to get Cooper at the start of the health problems that would eventually kill him. He said Cooper got old overnight. In fact he looks as old as Maurice Chevalier and Chevalier as Hepburn's father was 13 years older than Cooper.

Maurice is a detective who specializes in tracking down and confirming spousal infidelities. He's been hired by John McGiver to find out if his wife has been seeing millionaire playboy Cooper. Daughter Hepburn however is crushing out on Gary big time and unbeknownst to Maurice she takes it upon herself to warn him.

The old popular standard Fascination is heard through out the film and in the same year it came out, the 20+ year old standard was revived in a million selling hit by Pat Boone.

It was not an easy shoot despite those familiar Parisian location. In a recent biography of Wilder, the story is told that he had tremendous difficulty in shooting the picnic and row boat scenes. It seems as though the location was a breeding ground for mosquitoes and they were unmerciful to cast and crew. Wilder took several takes just to get enough usable footage.

Audrey Hepburn fans will be mad for Love in the Afternoon, Gary Cooper's though might wince when seeing it.

Love in the Afternoon is a late 50s Wilder classic. At least semi-classic. The story is about a French girl who falls in love with a swinger from Paris. The girl is Audrey Hepburn and the man is Gary Cooper. The first act lags. The only thing keeping me glued to the screen is Hepburn, who has such a screen presence (she's pretty).

Recent comments have also noted Gary Cooper's miscasting. I'm not sure. I agree it's hard to believe Hepburn's character falls for him. The movie just doesn't work in his favor in the first act. It does begin to work eventually. The turning point would have to be at the picnic where he obviously starts to fall for her. Cooper falling for Hepburn: more realistic. From that point everything takes off. Cary Grant could have pulled off the attraction, but I don't think he could have pulled off the 2nd and 3rd act, and Cooper did. When he's sad (dictaphone/wine cart/sauna scenes) he's a top form comic actor. Anyways - I digress.

No one can produce the feeling of heartache with so much sadness and glee as Wilder can. The gypsy band should have earned a best supporting actors nomination.

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.