Love in the Afternoon

1957

Comedy / Crime / Drama / Romance

158
Rotten Tomatoes Critics - Certified Fresh 88%
Rotten Tomatoes Audience - Upright 79%
IMDb Rating 7.2 10 13,415

Synopsis


Downloaded times
August 26, 2020

Director

Cast

Audrey Hepburn as Sabrina Fairchild
Gary Cooper as Dusty Rivers
Louis Jourdan as Narrator
Maurice Chevalier as Jacques Paganel
720p.BLU 1080p.BLU
1.16 GB
1280*720
English 2.0
NR
23.976 fps
130 min
P/S N/A / N/A
2.15 GB
1920×1080
English 2.0
NR
23.976 fps
130 min
P/S N/A / N/A

Movie Reviews

Reviewed by bkoganbing 6 / 10 / 10

It Was Fascination I Know

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.

Reviewed by twanurit 4 / 10 / 10

Great 'Coop'; Beguiling Hepburn

The first thing I noticed about this lilting romance (on the widescreen DVD) was the beautiful, shimmering, black and white photography. Set in Paris, with some scenes filmed there, Director Billy Wilder weaves a captivating, simple tale of a 20ish woman (Hepburn), who lives with her father (Maurice Chevalier), who schemes to snag a 50ish cad (Cooper). At first the age difference is very apparent, with Cooper seemingly mis-cast as a womanizer, but he grows on you, with a sweet, gentle, quiet, attractive performance. Hepburn is stunning and spunky in one of her best performances. The song "Fascination" is used to great effect. Filmed in 1957, the only way to show the title occurrence is to have a camera shot following Hepburn's dis-robed fur coat falling to the hotel room's floor, as she embraces Cooper. The ending is suspenseful, with cute narration epilogue by Chevalier. A wonderful film.

Reviewed by rhoda-9 4 / 10 / 10

Wilder made some brilliant movies, but this isn't one of them

While Billy Wilder idolised Ernst Lubitsch (he worked on the script for that director's Ninotchka), he did not have his tenderness and romantic charm. Audrey Hepburn is lovely in this movie, but it is painful to see her opposite Gary Cooper, who was nearly 30 years older than she and looks in bad shape for his age. When Hepburn began her career, the Hollywood studios had a lot of male stars in their forties and fifties and sixties who had been popular before World War II but had not developed young male stars. So Hepburn was paired with these much older men--Humphrey Bogart in the so-so Sabrina, Fred Astaire in the charming Funny Face. This movie is distasteful and unpleasant, not just because Cooper's character is so much older but because he is an immature, vulgar boor. He shows up at the opera with another woman and, when his date goes to the ladies' room, sees Hepburn in the lobby and makes a date with her, and tells her that he is at Tristan and Isolde by mistake--he thought he was getting tickets to the Folies Bergere! (If he meant this, he is an idiot; if he meant it as a joke, he has a puerile sense of humour.) When his date returns, he winks at Hepburn behind the woman's back. At another point in the movie, he is caressing Hepburn in his hotel suite when the phone rings and it is twins with whom he has been sexually involved in the past. In front of Hepburn, he makes a date with them, causing her to leave the room in distress. One could go on and on, but I think this is enough to establish the point. Treating any woman like this is disgusting. Treating Audrey Hepburn like this--the most exquisite, delicate woman ever to have become a film star--is unbelievable. It is like watching someone kick a puppy. The rave review for this film in the NY Times when it first appeared is an illustration of the male chauvinism of the time, and the comments here from people who think it is a delightful romantic film show that this condescension to women and contempt for their feelings is still with us. Wilder had some talent for romantic comedy, but his heart was really in the sordid and nasty, as in such masterpieces as Ace in the Hole or Sunset Boulevard. The ending of this film might have been intended as a homage to the ending of Lubitsch's film Cluny Brown, but is in fact a clumsy imitation of it. Both films end with the same device for bringing the hero and heroine together at the very last moment, but in Cluny Brown (with Jennifer Jones and Charles Boyer) the device was extravagantly romantic, and you felt thrilled that the two of them were together. In this film, the scene feels completely phony and you think, oh, dear, poor Audrey is letting herself in for a lot more mistreatment and humiliation.

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