Lightweight characterizations that aren't really affecting one way or another. Astaire never is shown taking pictures of great or famous people in the film but several times he demonstrates a refinement that separates him from the rest of Kay Thompson's entourage most of whom don't care what havoc they cause, as long as they get their jobs done. Once there, Dick falls in love for her. There are so many similarities, from the main character and Ann Hathaway does look as a Hepburn - wannabe. To think that she thought she had: 1. It is found in the young Jo Stockton, an educated, introverted, and supposedly homely girl working in a bookstore.
Quite frankly, it's the script and basic plotline that let the rest of the enterprise down. Maybe an actress who is even close? No wonder, that she changes her attitude to fashion and modeling! Hepburn plays Jo Stockton, an intellectual and we know this because of her less-than-gleaming pageboy cut and the drab shapeless grey potato sack she wears. The amazing thing is the models of today are so much different then what is portrayed in this movie of the 50s. It's a fluttery, gay, fashion-magazine movie without enough soul in it to really be absorbing, but the Gershwin songs are sweet and the eye-popping color-schemes give it a great visual kick. Astaire's early movies were made during the age of the crooner, yet his singing could not be pigeonholed into that category.
Its President, Maggie Prescott is the woman who rules what the fashions of the day should be, herewith the scenario satirizes the world of fashion. With a few exceptions, the reviews for Funny Face were very good, and the film did well in the big cities. He is a man with sexual appetite as Sartre was with his long time companion and fellow writer Simone Beauvoir. I am not an authority on the subject, but last time I checked, the beat generation was primarily focused in the United States and did not exactly sweep young Parisian intellectuals. Kay Thompson is on hand too, with her own fabulous number, Think Pink' about the trials and tribulations of being a fashion magazine editor.
There's no one like this today, hasn't been for decades. This woman would look good in a trash bag. This great actor looks like her father, and there is no romantic chemistry between them. With a simple plot, reminding the story of Cinderella, the events of the movie begin in New York City within the bureaus of the famous fashion magazine named Quality. Reason One: The disturbing use of Audrey Hepburn as a geezer magnet, not just in this movie, but a number of others.
Probably one to watch if you're a fan of Astaire's or Hepburn's, but I doubt I'll be pulling this one out for a re-viewing any time soon. Only later she admits the girl being the standard of style and feminine charm. Sometimes the satire of trendy philosophy comes off well, at other times it gets a little dull. Smart fashion costumes, photography and choreography combine to make this a hit. But that second act is terrific: he places her in scenes to photograph. Who else can you place in this category? The characters in this film start to become very annoying, about a half hour into it.
For Stanley Donen, there is no conflict between the two and it is magic for us. This embracing of the dream world and hyping up of the love between Jo and Dick Avery Astaire creates an undeniable magic and swell of emotion that can only truly be felt in a musical. Avedon was a rarity - a fashion photographer who became a great artistic portrait photographer. The crew had to contend with unpredictable weather during much of the outdoor shooting. Their chemistry often seemed forced, and quite honestly, I thought Astaire and Kay Thompson playing Maggie Prescott, and nearer his contemporary had far more spark between them. Those are kind of strange adjectives and comments from me, especially since I'm a Sci-Fi, action, fantasy kind of movie fan.
The gentlemen have figured, probably rightly, that there is nothing more illusory in our times than the costly adornment of females. She gave up her career to raise her family. Do film reviewers not live in the real world anymore? If none of this makes a great deal of sense, so what? Audrey Hepburn is the beaming brains as introverted bookstore clerk Jo Stockton, while Fred Astaire is the lanky brawn as tenacious en vogue photog Dick Avery modeled on real-life lensman Richard Avedon. Would you call this film sexist? This movie just seems so out of place at its time -- making fun of beatniks just points up how much time had already passed Donen, Astaire, and certainly Gershwin by. It is astounding to watch. I never knew Hepburn was a dancer, and she acquits herself rather well in her solo prance through the literally underground French cafe. Although she'd had dance training, she was by no means on Astaire's level, nor was she a trained singer.
And there is some traces of an anti-capitalist, even anti-American attitude in him. The photo sequence in Paris has never been topped. The title song Funny Face takes place in the darkroom, where Avery is developing the photographs. Ginger Rogers she ain't, but even next to Fred Astaire, her footwork is way above average. The point of this movie is to get us to fall in love. Her magnetism is matched by that of the film itself with it defining why I do love musicals. This snappy musical teams an ageing Fred Astaire with the young and lively Audrey Hepburn, puts them in Paris with a lovely Gershwin score, and piles on the slush to create romantic confection that really is irresistible.
The breathtaking photo-shoot sequences in Paris landmarks, Givenchy's dresses, the city's incomparable atmosphere, Avedon's style, Astaire and Hepburn - Donen shows us how magic is made. It's sometimes a strange combination, but as lighter entertainment it all works well enough. It never strives to be real, instead opting to create an other worldly and fantastical appeal as we see an endless stream of moments that can only be defined as movie magic. In the right vehicle Sabrina, Roman Holiday, Charade, Breakfast At Tiffany's , there was no one better. Kay Thompson, a nightclub performer, composer and arranger, was a Freed unit vocal coach for Judy Garland and others, as well as a close pal of Edens.