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Funny Face (Stanley Donen)

If I had to rank in order of preference all the films of Fred Astaire I've seen, I'd be quite tempted to put this Funny Face, Stanley Donen committed in 1957 in front Last up this list. It is positioned well in front of La Grande Farandole HC Potter, my indévissable red lantern to miss any, to be satisfied with nothing, so much so in fact that Ginger and Fred, who were the headliners, did not able to survive.
Obviously, this is not the thinness of the plot Stanley Donen's film, which prompted me to attribute this mediocre place, because, as I said here, we're not going to musicals in the hope of finding his way on the hair to be cut into four , and the rest, loves long remissions Dick Avery, a rather trendy fashion photographer, and Joel Stockton, a mouse library a bit prudish, certainly, but nothing in her gray dress gray, well worth the ones we were Dale Tremont live and Jerry Travers in this gem what was Top Hat, since between these two works is kif kif donkey, as they say, because what is meant here is intended, a man and a woman, not much separates, say a thousand times not to finish by saying a yes that was quick to guess, really, once they have exchanged their first no.

As this is not the discourse by Stanley Donen decided to send me his Funny Face at the bottom of my rankings. Certainly, in his film, he throws more often than not and we can not free the world of intellectuals, free, in fact, since we do not find in this world, that his camera is fun in return, as People in search of something they do not know themselves and remain frozen in this state wait until a more clever than them intellectually them about what they wanted with her beautiful face and only thanks to her. As there are still some people smarter than average, as Joel, who had not expected to pass the pretty face for flirting with philosophy, but it goes quickly realize that the filmmaker has used this daily bread metaphysics to his characters because they have an empty heart. F aute beef is done by plowing his ass , the saying goes, back to the film by Stanley Donen, the saying would be: without love, we fall back on books. As for the brilliant speeches by thinkers of all stripes, one is tempted to say that for the filmmaker, they are fully in the image of 'empathicalisme Flostre his teacher, or a clever way to make money and chicks, or even a hung -ism, both redundant, pedantic and flattering pride, not a principle of the last rain fell here, empathy. Certainly, all this to lack crucial measure and perspective, can irritate the eyes and ears, but at the same time, how not to leave a smile, when you know the thing that mocked contains a good deal of truth, all art has its monkeys. Similarly, how can you resist Maggie Prescott in the movie, the patron saint of women's magazine that employs Dick, when you realize that through his Think Pink! that through this argument that invents and advertising claims, as a general field, in order to boost sales of his newspaper and that, despite its deep distaste for the color pink, she complains, not the world of work, but what we are capable of undertaking for the money? Basically, the only thing that could really displeasing in the speech primarily anti-intellectual, is the line that the director was allowed to take between teacher and Flostre Sartre, referring to the Café de Flore, appearing in his screenplay, we serve, so to speak, the father of existentialism on a platter.
Finally, if I have not fallen for that Funny Face, it was not the fault of Fred Astaire, as he leaves this film winner Berezina almost like Napoleon at Austerlitz, the old man at name famous victory , including passing all Paris, including the forthcoming standing at a number where he must nevertheless widely rolling on the ground, its incomparable elegance for him. To order this film, he remained so Audrey Hepburn, which, incidentally, lent his features to the intellectual Joel.
course, in Funny Face, the actress to smile so broad that it could contain the whole, does not lack charm, she also has so many it would take more than the strict dress gray she wears at the beginning of the film to distract us, but at the same time, when we see her meet partner who comes to pick with the flexibility of the reed in the wind, a gymnastics both legs a bit stiff and a bit stingy to the point that it took the rest of the surrounding blur for us to believe it, one wonders where we will be able to find here and the grace and flawless technique of Ginger Rogers dancing to the sublime Cheek to Cheek from Top Hat or Rita Hayworth, dizzying fluidity in the near and yet So N Far You'll Never Get Rich!
This rigidity, almost mechanical, such as simple dance step, to block on the first, fully-style cast Fred Astaire, and oblige, for mates, dancing well below what he could do, if they do not completely deprive us of the spectacle of harmony that should offer any professional dance, they serve us in a weakened version of a lukewarm, and then we get in this music that we fly half, like a garden that spring forgot to blossom.

[Audrey Hepburn & Fred Astaire in Funny Face: the scene for a couple of really funny]

[A flower of harmony: Rita Hayworth & Fred Astaire in You 'll Never Get Rich]

But it gets worse, because these legs as straight as the arms of a compass and as simple in their motion that the instrument serves only to make circles, not to be due to a lack of ease, but from a new way of dancing gymnastics more aesthetic, more sixties that year thirty or forty, explode supplement the couple starred in Funny Face. Because it's convenient, Audrey Hepburn gives the impression of youth and the future, while Fred Astaire, not to engage in this kind of modernity or attempting to comply, seems, so, take the age of his arteries and only time income that made his glory to slip into the shoes of those who have been, and remains, in this dance number in your modern where those legs seem to have arisen and to which man is not involved, one is almost tempted to bet that it is then, in his seat, trying to ponder the aging hero he played on behalf of Vincente Minnelli. Similarly, if Audrey Hepburn is not here below the very good actress she was in Roman Holiday William Wyler or in Sabrina Billy Wilder, it is still very pleased when, in Funny Face, comedy prides himself dances and songs to have on hand a Kay Thompson to serve us.