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Wait Until Dark Description:

• Amazon Sales Rank: #10716 in Movie
• Released on: 2009-12-18
• Running time: 108 minutes

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“And then, topsy turvy. Me topsy and them turvy.”
Wait Until Dark (1967) is based on a popular play by Frederick Knott and directed by Terrance Young who also did the 007 classic Thunderball (1965). The lovely Audrey Hepburn plays Susy Hendrix, a woman left recently blind by a car accident, who is learning to adjust and cope with her new perspective on life. Efrem Zimbalist Jr. is Sam Hendrix, Susy’s photographer husband, with whom she shares a basement apartment in New York. Also starring is Alan Arkin, Richard Crenna, and character actor Jack Weston.

The story involves illegal substances being smuggled into the United States within a doll, and then the doll being passed along to Susy’s husband at the airport under curious but strictly coincidental circumstances. Alan Arkin plays Roat, a seedy character who was supposed to be the intended recipient of the doll/drugs, and Richard Crenna and Jack Weston are two thuggish types who get roped into helping Roat try to retrieve the doll.

Hepburn plays her role wonderfully, never once giving the viewer the impression that she isn’t blind. A number of subtle points are made to allude to the strengthening of her other senses, hearing, smell, etc., that one finds common with the loss of sight. As the criminals construct their elaborate plans to liberate their illicit merchandise, Hepburn’s character, being somewhat naive in the beginning, soon realizes the true sense of the danger she’s in, and reacts perfectly within the nature of her character. Arkin plays his character(s) with the smooth cunning of a predator hunting its’ prey, maliciously savoring the moments before the figurative kill. His beatnik appearance and demeanor mask his true form, which is revealed later on within the unfolding of the plot. This film is very suspenseful for those with the patience to follow it through to the end. It may not have the out and out scares the title might imply, but the gradual building of tension and suspense is delicious as the viewer is ‘in the know’ while the main character is left to struggle with the situations. Although an exceptionally strong supporting cast helps, Hepburn really makes this film, and was awarded with an Oscar nomination for her performance. She even went so far as to attend a school for the visually impaired and learn to read Braille to better understand her character.

The print on this disc looks very nice and is in wide screen anamorphic format. Special features include a featurette on the film, an essay about transferring the play to the silver screen, and trailers for the movie. This is truly a taut thriller worthy being released on DVD, and I am appreciative of Warner Brothers for putting it out, even if I find their plastic and cardboard packaging to be cheap and annoying.

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Audrey Never Lost Her Stuff
I learned about this movie when my mom was telling me about the scary movies of her day, and she went on about how it was one of the scariest movies she ever saw, and when she and her kid sister left the theatre, her sister was crying great crocodile tears, claiming she’d never let herself see another movie again.

While my aunt will never live that down, my mom is still haunted by this movie, and I can tell why. I saw it on AMC in August at midnight, and that was a mistake. This movie scared me beyond my expectations. Audrey Hepburn was fantastic as Susie Hendrix, the recently blinded woman persued by Alan Arkin, a narcotics dealer who will stop at nothing to get to a stash that is in Susie’s apartment.

Many claim this movie isn’t scary, but coming from a generation that grew up on Scream, Halloween, Nightmare on Elmstreet and other cheap movie’s that use gore and `don’t-turn-that-bend’ suprises for scares, it doesn’t mean much.

`Wait Until Dark’ is so much more than the typical slasher flick, it is a psychological thriller that takes the viewer on a roller coaster ride to hell and doesn’t stop turning and tossing until the last frame of film fades to black. On second viewing, if you feel the *sparkle* is fading, just position yourself in Susie’s shoes, and you’re in for a whole new experience.

Praise `Wait Until Dark’ – and trust me, if you wait until dark to watch this, you’ll be rewarded greatly with a heart-stopping finale!

A Gripping Psychological Thriller
“Wait Until Dark” is a suspense film in the finest traditions of Alfred Hitchcock. The direction by Terence Young (“Dr. No” and “From Russia With Love”) masterfully blends a stellar cast with mood, music, and atmosphere to create a compelling psychological thriller. The story involves a blind woman (Audrey Hepburn), who has unknowingly come into the possession of a child’s doll filled with heroin. Three con men (Alan Arkin, Richard Crenna, and Jack Weston) create an elaborate scheme to locate the doll in her apartment without arousing her suspicions.

Like Hitchcock, director Young reveals the identity and intent of the con men right from the beginning of the movie. He lets the audience in on their secret. It is left to the blind and isolated victim to decipher their intent and her own personal danger over the course of the film. Hepburn is engaging in the role of a woman who is at once vulnerable yet possesses unfolding inner strength. She knows she is alone and ultimately responsibility for her own fate. The suspense grows as her suspicions are slowly aroused until all is revealed to her in one terrifying moment of confrontation with the cunning and evil Arkin. The stark confines of the apartment and the dramatic musical score by Henry Mancini accentuate the dark and foreboding atmosphere. This is a film you will not soon forget…

The Audrey Hepburn DVD Collection Movie Streaming. Movie Title: The Audrey Hepburn DVD Collection Average customer review: The Audrey Hepburn DVD Collection is available for streaming or downloading. Click Here to Stream or Download The Audrey Hepburn DVD Collection

Audrey Hepburn was — and remains — the perfect illustration of elegance and sophistication in Hollywood. A lot of actresses have tried to imitate her view, but they couldn’t manage the same grace and skill, both onscreen and off.

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And the “Audrey Hepburn Five Pac” brings together five of the films that helped shape that image, including her three top starmaking roles. Okay, they’re not her most impressive. But even when they’re uneven (“Paris When It Sizzles”), her movies are charming, sweet and impartial a limited bit quirky.

Bored young Princess Ann (Hepburn) goes on a “Roman Holiday,” when she has a poor reaction to a sedative. She wanders straight into struggling American journalist Joe Bradley (Gregory Peck) . When he realizes she’s the missing princess, he takes her on a fun vacation in Rome, with his pal taking photos for a hit article. Yet he’s also falling in adore with Ann… and she’s torn between savor and duty.

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“Sabrina” (Hepburn) is the daughter of the chauffeur at the palatial Larabee estate, and is in care for with the ne’er-do-well second son, David (William Holden) . After a stint at a cooking school, where she gains sophistication and confidence, she returns to enthrall David. But since his brother Linus (Humphrey Bogart) has arranged a business marriage for David, Linus starts to woo Sabrina instead… and falls for her as well.

“Breakfast at Tiffany’s” is a daily ritual for Holly Golightly, a social butterfly. When kept man Paul Varjak (George Peppard) moves into a nearby apartment, he is instantly enchanted by the ditzy, sweet-natured Holly. But for all Holly’s fun, Paul starts to realize that all is not well with her. As Holly’s life starts to deteriorate, Paul sets out to exhibit her what her life will be like without accurate like.

“Laughable Face” becomes a pain for a fashion photographer Dick Avery (Fred Astaire) who is assisting a fashion queen with the unusual “pink” witness and the gleaming model explore. After a disastrous shoot at a boho bookstore, Avery is struck by the owner Jo’s (Hepburn) perceive, and convinces her to become their newest model — and she only agrees to accept to Paris so she can meet her well-liked philosopher. But she’s also falling in worship with Dick and her modelling career.

“Paris When It Sizzles” features Richard Benson (William Holden), a laconic playboy screenwriter, who procrastinated on his forthcoming script until unbiased a few days before the deadline. So he hurriedly hires a secretary, Gabrielle (Hepburn) to support him approach up with an concept and write it — except that all they can reach up with, as they plunge in admire, are all sorts of completely bizarre scenarios.

Yes, they are all romantic comedies, completely unrelated except that all of them have Audrey Hepburn. But all three are fun, well-written (“You can’t live here! I live here!” “Hi, neighbor!”), and taking station in chic apartments, palatial mansions, Parisian runways, and the streets of Rome. And each has a theme: cherish that doesn’t reach easy, whether the jam is one of the people eager, parents or impartial different personalities.

There’s also slapstick comedy (David injuring his butt on champagne glasses), and more sophisticated comedy (like when Anna and Joe pretend that they were speeding on their map to secure married) . And Hepburn provides plenty of it, such as her crazy club dance or her encounter with a vampire.

Unlike many actresses, Hepburn’s best-known roles were NOT all alike, nor were they all carbon copies of her — we have wistful bohemians, party girls, insecure teens, and chained-back princesses. Even when we shouldn’t really like the characters, she gave them warmth, sensitivity and likability that can’t be faked. And she could be very comic too — it’s hard not to laugh when Holly yells “Timber!”, as a drunken guest keels over.

The Audrey Hepburn Five Pack clusters five of Hepburn’s most chic, charming movies, for those are unprejudiced falling in cherish, or who bask in a edifying romantic comedy. Charming, cute and sweet.

Only Audrey Hepburn retains the level of cache that would elaborate the constant repackaging of her films, and here are five films – three of which have already been presented as a spot, the Audrey Hepburn Collection – presented in yet another DVD package. Her natural charm and grace are pervasive throughout – even when the vehicles themselves sometimes fail to pick – but all provide proof definite that she was among the most consistently affecting of actresses.

In a beautifully restored print, 1953′s Roman Holiday (*****) provides a most appealing introduction to the then-24 year aged actress thanks mainly to director William Wyler’s expert direction and Dalton Trumbo’s sweetly observant script. In hindsight, it is a modest performance compared to Hepburn’s later work, but Wyler knew enough to let her natural breeding abet its purpose in conveying the carriage of a princess who experiences her first eye into the world outside her hermetically sealed world. The revelation here is really Gregory Peck, comely and stalwart as always but in this movie quite relaxed with a surprising light comedy touch. It is actually his Joe Bradley that goes through the dramatic character arc that makes the ending so bittersweet. Wyler’s humanistic touch is everywhere – from the funny haircutting scene with the smitten barber to the noted Mouth of Truth scene where Peck pretends to lose his hand to the concluding press conference, which turns into a dance of acting nuance and unspoken feelings. The 2002 DVD has a robust dwelling of extras, including an righteous documentary on the production itself (glimpse for Hepburn’s first Hollywood cloak test) and other short films on the film’s restoration process and Edith Head’s contribution to Hollywood costuming.

With its cynical humor and the European-based sensibilities around different classes, 1954′s Sabrina (*****) is most definitely a Billy Wilder represent. The film is not quite in the same league of other Wilder classics like Sunset Boulevard, Some Like It Hot or The Apartment, but on its occupy, it’s an airy soufflé of a comedy served on a perfectly attractive warming dish. What I like most about this movie is that Wilder keeps the fairy myth trappings of the chronicle grounded in mordant wit and shrewd observations about business mergers, bribery and class snobbery. This is what keeps this movie surprisingly original. Torn between the characters played by her leading men, Humphrey Bogart and William Holden, Hepburn as a chauffeur’s daughter is charming. This was her first introduction to Givenchy fashion onscreen, and the disagreement in her appearance between “Roman Holiday” and “Sabrina” is actually more startling than the one in the movie itself. It is no wonder she became such a style icon from that point forward. While Bogart is too dour in his role of older brother Linus (a role pegged for Cary Grant who canceled at the last limited, damn the luck), Holden is hilarious as shallow, ne’er-do-well younger brother David. The ending is inevitable, but leave it to Wilder to mix sweet and sour better than a Cantonese restaurant. There is a brief making-of documentary on the 2001 DVD.

Presented in a modern 50th Anniversary Edition DVD, 1957′s Amusing Face (****) is a Hollywood confection teaming Hepburn with an effortlessly debonair Fred Astaire status to George and Ira Gershwin’s memorable music. The elegantly mounted numbers provide the ideal complement to the featherweight situation centered on Dick Avery, a world-renowned, Richard Avedon-like fashion photographer who discovers his next superstar model in Jo Stockton, a bookshop clerk and aspiring philosopher, in time for a major runway event in Paris. Starting with the photography provided by Avedon himself, the film is stylish to the nth degree with a fearless color palette that director Stanley Donen and cinematographer Ray June bring to vibrant life. This level of device will not sit well with some contemporary film viewers, and the opposites-attract storyline seems particularly forced here by the thirty years that separate the co-stars’ ages. Regardless, several individual elements work well beginning with Astaire who epitomizes class and artistic drive as Avery, and his dancing and singing remain undiminished by the years. Hepburn is certainly picture-perfect as Jo, looking particularly spectacular in the fashion shoot sequence. With her ballet training, Hepburn moves well in the dance numbers, though she is not a natural and seems oddly flat-footed when paired with the lithe Astaire. A couple of shorts are offered on the 2007 DVD, as well as a photo gallery and a disposable extra about Paramount movies in the 1950′s.

1961′s Breakfast at Tiffany’s (****) aloof tells a interesting narrative, yet the film has a dated feel perhaps because director Blake Edwards tries so hard to catch the upscale bohemian atmosphere of early sixties Novel York. In a role that author Truman Capote wanted to cast Marilyn Monroe, Hepburn is savory as the aptly named Holly Golightly and somehow dances around the fact that her character is a high-priced call girl through her sense of style, fun and vulnerability. Holly’s apprehension of commitment is the crux of this anecdote, even though she is hopelessly drawn to a failed writer played by George Peppard, who is kept in glorious style by a wealthy matron played with conniving sophistication by Patricia Neal. Peppard is the musty link here as he doesn’t have the light touch required to sustain up with Holly’s shenanigans. The rest of the cast can be best described as eccentric, in particular, Buddy Ebsen as Holly’s backwoods first husband and an inappropriately cast Mickey Rooney as the Japanese neighbor upstairs. Henry Mancini’s romantic music provides the perfect accompaniment, and Hepburn’s plaintive, ukulele-strummed version of “Moon River” is composed the most definitive. The rain-soaked kiss in the alley is objective about as glowing a scene as you are likely to examine in movies. One improvement over the Audrey Hepburn Collection is the inclusion of the 45th Anniversary DVD package released in 2006, which includes commentary from producer Richard Shepherd, a making-of retrospective featurette, a short about Hepburn’s fashion sense and two other shorts focused on Tiffany’s the store.

The least of the movies here, 1964′s Paris When It Sizzles (***) is a heavy-handed concoction that reunites Hepburn and Holden under the direction of Richard Quine. Working with an overly contrived, intermittently droll screenplay by George Axelrod, the overlong result feels like the old-style French farce upon which it is based but with the artificial veneer of 1960′s Hollywood studio product. The frothy set centers on aging Hollywood screenwriter Richard Benson, who is holed up in Paris attempting to beat the deadline position forth by big-time producer Alexander Meyerheim to attain his latest screenplay. Benson has to hand in the completed script in two days, but the predicament is that he hasn’t even started since he has been busy boozing and womanizing in typical alpha-male fashion. He hires impressionable Gabrielle Simpson as his live-in secretary and becomes inspired to write the aptly named “The Girl Who Stole the Eiffel Tower”. The rest of the movie goes encourage and forth between the reality of the impending deadline at Richard’s apartment and the fantasy scenes of the screenplay coming to life. It does have its charms with some funny spy-caper turns and cameo appearances by Marlene Dietrich in a walk-on, Noel Coward as Meyerheim, and a particularly droll Tony Curtis as Gabrielle’s Method-style actor boyfriend. Hepburn is never less than charming here, while Holden keeps his innate hamminess in check. However, neither seems especially challenged by the silly proceedings. The only extra on the 2001 DVD is the novel theatrical trailer.
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Streaming Sabrina Online. Movie Title: Sabrina Average customer review: Sabrina is available for streaming or downloading. Click Here to Stream or Download Sabrina

I was surprised at how ample this movie is. A remake of a movie starring Audrey Hepburn, Humphrey Bogart and William Holden, directed by one of the greats of American cinema, Billy Wilder, is not exactly the kind of task for the faint of heart. The fact that Sydney Pollack (They Shoot Horses Don’t They? (1969), Tootsie (1982), Out of Africa (1985), etc.) decided to do it must have raised a few eyebrows in Hollywood land.

And let’s honest say I had preconceptions as I sat down to study this. No diagram could this be anything arrive as profitable as the modern. And for the first twenty minutes or so I was not dissuaded. Julia Ormond, who was given Miss Hepburn’s title role, seemed nothing far removed from ordinary; and Greg Kinnear, who played the playboy David Larrabee, seemed a dreadful imitation of William Holden. Of course Harrison Ford, I told myself, is another narrative, since he is the embodiment of the fulfillment of the desire of many woman, and a resplendent, accomplished leading man. He would be, I suspected, the lone incandescent location. In the unusual, Humphrey Bogart, a small past his prime, and in not exactly the best of moods, and not entirely delighted with the relatively inexperienced Audrey Hepburn, played the wintry tycoon Linus Larrabee with some distracted forbearance in what many think one of his lesser performances. Surely Harrison Ford could improve on that.

He did, but what really surprised me was honest how diabolically clever the oh, so romantic script by Barbara Benedek and David Rayfiel turned out to be. I mean, Cinderella depart over. Sabrina could not have achieved a more delicate existence had she died and gone to heaven. It is hard to imagine a more fulfilling fantasy for a chauffeur’s daughter than what transpires here.

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Quickly here’s the premise of this celluloid fairy tale/romance: Magnificent but ordinary Sabrina, born of working class parents, her father the chauffeur of the ultra rich Larrabees, grows up living above the garage in the palatial Larrabee estate. She watches the lavish parties thrown by the Larrabees from a place in a tree and falls madly in the kind of puppy adore that never goes away with the younger of the Larrabee brothers, David, who is the kind of guy who gives playboys a terrible name. When she comes of age, she goes away to Paris (apparently to work for a fashion magazine: in the fresh Sabrina, she goes to a cooking school in Paris), picks up confidence and a unusual kind of eye-popping sophistication, comes support and…well, gets noticed.

The basic skeleton of this, the chronicle from the first Sabrina (1954), which is dreamily romantic enough and then some, is greatly augmented here with some very pleasing psychological touches including developing Sabrina’s character beyond the radiant and stylish to something bordering on the wise and mettlesome. Suffice it to say that we near away feeling she deserves every rainbow’s ruin she gets. I can contemplate Benedek and Rayfiel exclaiming with riotous joy as they are writing the script (trading e-mails perhaps) : “They want romance, they want woman’s fantasy? They want Sabrina to have a pot of gold and lawful fancy everlasting? How about riches beyond counting and the doting attention of the two ravishing, very rich brothers? She can seize her buy. We’ve give ‘em romance, we’ll give ‘em dreams reach factual!” And they do. Not only that, but they hold us guessing about who gets the girl until the last possible moment, and they do that very cleverly.

Of course it helps to have professional direction by Sydney Pollack and a aesthetic cast including Harrison Ford–at his best, by the way–and Julia Ormond, a hard-working and talented actress (I rob her from Smilla’s Sense of Snow, 1997), who knows how to be cute without fawning, supported by Greg Kinnear, Nancy Marchand, John Wood and Angie Dickinson. I mention Miss Dickinson because, as the mother of a perspective bride about to throw an incredibly lavish wedding, she gets to bid this “let them eat cake” line: “We view we’d exercise recycled paper” (for the wedding invitations) .

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The script is fleshy of similar witticisms, some verbal, some like perceive candy. For example, when Sabrina removes her glasses (the usual Hollywood signal for the adolescent unpleasant duckling to become a ravishing swan) after gaining sophistication in Paris, she quotes aptly but surprisingly from Gertrude Stein: “America is my country and Paris is my home.” (Of course Gertrude Stein never heard of Paris, Texas–but that is another film, and besides, I digress…)

I also liked it when Sabrina is in the arms of her Paris would-be lover who kisses her, and–noticing that she is not as engaged as she might me-observes with perfect decorum, “I’m embarrassed that you’re somewhere else.”

Memorable was the shot of Harrison Ford momentarily looking jealous and harm. By the method, he has a number of genuine lines, and he delivers them well. I especially liked it when he sadly confessed: “I was sent to deal with you. I sent myself.”

It is probably better if you haven’t seen the unique and can experience this on its enjoy merits without the odiousness that sometimes comes with comparisons. Comparing Audrey Hepburn with Julia Ormond is like comparing Grace Kelly with Jennifer Lopez. They really are very different people. And comparing Billy Wilder’s 1954 film (from the play by Samuel Taylor) is a tiny like comparing Lon Chaney’s Phantom of the Opera with Andrew Lloyd Webber’s.

Bottom line: behold this for both Harrison Ford who wears the business-first character of the “only surviving heart donor” very well, and for Julia Ormond whose intense and beguiling performance makes us forgive her for not being Audrey Hepburn.

This remake of the 1954 Sabrina starring Audrey Hepburn and Humphrey Bogart adds its contain fantastic twist on a classic. Harrison Ford is Linus Larrabee, the eldest son of the Larrabee family who took over the reigns for his father and turned the multi-million dollar family business into some “serious cash.” Greg Kinnear makes his onscreen debut and makes the younger brother, David, into a lovable hopeless lover. Sabrina, played by the sparkling Julia Ormond, admires David from afar, and is the daughter of the family’s chaffeur. After a drag to Paris turns Sabrina into a blooming beauty, David finds it hard to withhold his attentions on his splendid fíance, Elizabeth Tyson (Lauren Holly) . Linus proceeds to court Sabrina for what seems to be “business purposes”, but is he really hinding his feelings for the attractive Sabrina? Nancy Marchand plays as Maude Larrabee, David’s and Linus’s mother, and has some steady gems for lines, adding to the devilishly clever sarcasm that makes this movie absolutely hilarious. Definitely one of the best movies I know of.
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Stream Audrey Hepburn Collection Online. Movie Title: Audrey Hepburn Collection Average customer review: Audrey Hepburn Collection is available for streaming or downloading. Click Here to Stream or Download Audrey Hepburn Collection

I bought this 3 discs in one case collection over her other collections because each movie had special features. This is a tremendous heed for these 3 movies.

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Breakfast A Tiffany’s – Color, Romantic comedy. Probably her most renowned and best role, Holly Golightly, is based on Truman Capote’s novella. She is a carefree Novel York playgirl with an unstructured lifestyle. Holly befriends a nameless cat and a struggling writer(George Peppard) who is “sponsored”. Widescreen Version, Enhanced for 16.9 TVs, SPECIAL FEATURES: “Making of a Classic”, Commentary by Prouducer, “It’s So Audrey: A Style Icon”, “Audrey’s Letter to Tiffany”, more.

Roman Holiday- Gloomy and White, This is Audrey’s American debut in film. A gigantic represent, it was nominated for ten Academy Awards. Audrey received an Oscar for her portrayal of a current day princess overwelmed by her duties decides to hurry for a holiday in Rome. She meets Gregory Peck a newsman, who pretends he doesn’t know who she really is so he can score an peculiar account. Eddie Albert is Peck’s fun loving cameraman pal. The screenplay was written by a renowned writer blackballed during the McCarthy era. Directed by William Wyler. Features: “Remembering Roman Holiday,”, Restoring Roman Holiday”, “Edith Head- The Paramont Years”, more.

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Sabrina- Dark and White, Romantic Comedy, Hollywood’s substantial stars Humphrey Bogart, Audrey Hepburn, and William Holden team up for this Cinderella fable. Bogart and Holden are mega rich brothers and Audrey is the chauffeur’s daughter, who is in appreciate with the youngest brother. Special features include “Sabrina” Documentary.

Although the description says “All these films are presented in Widescreen …” only one of them is: Breakfast at Tiffany’s. The other two are in Standard Shroud (4:3) .

Apart from that, all 3 titles are a “must have” of course. Nothing beats the performance of Audrey Hepburn.
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Watch Funny Face Movie Online. Movie Title: Funny Face Average customer review: Funny Face is available for streaming or downloading. Click Here to Stream or Download Funny Face

In 1957, Paramount produced a very toothsome musical comedy called “Laughable Face”, directed by Stanley Donen, and to the music of George Gershwin, Adolph Deutsch, Roger Edens and Leonard Gershe. With a simple set, the film begins in Recent York City within the offices of the major fashion magazine named “Quality”. Its president, Maggie Prescott (Kay Thompson), is distinct to get a fresh method to promote the magazine. In a moment of inspiration, she comes up with the slogan “Mediate pink,” and breaks into song praising the color pink and saying that everything (from women’s clothing, soap, furniture, etc.) must be pink. Of course, she “wouldn’t be caught boring” in it.

Moving on to another magazine project, Maggie wants to win the perfect dwelling to photograph one of the magazine’s models named Marion (Dovima, who was a major fashion model in the 1950′s working closely with photographer Richard Avedon. This was her only film.) . An assistant suggests that they go to a bookstore in Greenwich Village to make an bright atmosphere. Maggie, Marion, a host of Maggie’s staff all in pink and the magazines head photographer, Dick Avery (Fred Astaire), force their plan into a dingy, but unruffled, bookstore along with all of their equipment. A store employee, Jo Stockton (Audrey Hepburn) protests the uninvited intrusion vehemently, but the “Quality” magazine army locks her out of the store to work undisturbed. After several hours, the “Quality” mob vacates, but the books and store are left in a shambles for Jo to elegant up. Dick offers his befriend to dapper the store, but Jo refuses. After Dick leaves, Jo proceeds to squawk another extraordinary song in the film, “How Long Has This Been Going On? “

Maggie decides that “Quality” must catch a true “Quality woman” to describe the magazine and it isn’t Marion. When Dick develops the photos taken at the bookstore, Jo is in one of them. He suggests to Maggie that Jo could be the woman that they need, but Maggie has her doubts. To lure Jo to the “Quality” offices, they order a great number of books and want them delivered. Jo arrives hours later with a pile of books and is accosted by Maggie’s staff who want to redress her in preparation for a photo shoot. Jo escapes and hides in Dick’s dim room. They talk and he sings to her another of the film’s title song, “Humorous Face”. Jo completely disagrees with everything that “Quality” magazine represents; she believes in “empathicalism”, a philosophy that rejects all material things, as described by her idol, Professor Emile Flostre, who lives in Paris. When Jo is told that the “Quality woman” photo shoot and a fashion prove will be done in Paris, she reluctantly agrees to be the model since it will give her the opportunity to meet Prof. Flostre.

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The film continues in Paris where Jo models many clothes designed by Givenchy and a romance between her and Dick Avery develops. Jo finally gets the opportunity to meet Prof. Flostre (Michel Auclair), but will he meet Jo’s expectations? Will the romance between Jo and Dick survive the photo shoot and meeting Prof. Flostre? Does Maggie win to execute the Paris fashion expose of your dreams? You’ll fair have to discover this very curious film to fetch out!

The songs in the film include:

* “Contemplate Pink” 5/5, Kay Thompson. A speedily, expeditiously & whimsical song.

* “How Long Has This Been Going On? ” 5/5, A blues song sung by Audrey Hepburn at the bookstore.

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* “Droll Face” 5/5, Fred Astaire. A charming song.

* “Bonjour Paris” 5/5, Fred Astaire, Audrey Hepburn, Kay Thompson. A fun song filmed at various locations in Paris.

* “He Loves and She Loves” 4.5/5 Audrey Hepburn and Fred Astair. Filmed at Le Château de la Reine Blanche in Coye-la-Forêt with Audrey Hepburn modeling a wedding dress.

* “How To Be Resplendent” 5/5, Kay Thompson and Audrey Hepburn. A fun & gutsy song.

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* “Basal Metabolism” 4.5/5, A blues song that Audrey Hepburn dances to in a bistro.
* “Clap Yo’ Hands” 5/5, A fun, melodramatic blues song sung by Fred Astaire and Kay Thompson to sneak into the bistro. (a.k.a. “Ring-a Them Bells”)
* “Let’s Kiss and Beget Up” 4.5/5 Fred Astaire. A care for song sung again at Le Château de la Reine Blanche.
* “‘S Astounding” 5/5, Audrey Hepburn and Fred Astaire. Another admire song sung at Le Château de la Reine Blanche.

Some may contemplate that “Silly Face” is nothing more than fluff, but it was produced to entertain with color, fashion, music, dance and comedy and it does so very well. The acting, singing and dancing from Audrey Hepburn, Fred Astaire and Kay Thompson is quite suitable and I rate “Comic Face” with 5 out of 5 stars. If you’re primarily involved in Oscar-winning dramas, “Silly Face” may disappoint you; but if you be pleased light-hearted musicals and like to laugh, then you’ll probably be very entertained with this fun film!

FUNNY FACE is one of the most appetizing and appetizing of Hollywood musicals. Featuring an immortal George & Ira Gershwin win (“He Loves and She Loves”, “S’Wonderful”, “Let’s Kiss and Acquire Up”, “How Long Has This Been Going On? “) ; the smartly-written screenplay by Leonard Gershe also marks this film with a strong storyline. I’ve yet to meet anyone who doesn’t like this movie.

When Quality Magazine invades a pokey Greenwich Village bookstore for a photo shoot, it’s the “dowdy smart shopgirl” Jo Stockton (Audrey Hepburn) who gets unwittingly discovered. Photographer Dick Avery (Fred Astaire) finds something special in this “humorous face” and jets her off to Paris as the recent model for Quality’s beauty campaign. Of course care for comes knocking for Jo and Dick, but not before some pleasurable songs have been sung, and showstopping dances have been performed.

Kay Thompson steals the entire movie as the deadpan magazine editor Maggie Prescott. She gets things off to a cracking open with “Mediate Pink”, traipses all over the streets of Paris with “Bonjour Paree”; and also gets a kooky 11 o’clock beatnik routine, “Clap Yo’ Hands” (with Astaire) . The character of Prescott is a thinly-veiled caricature of well-known fashion editor Diana Vreeland; whilst Astaire’s role is modelled after photographer Richard Avedon. Fans of “Seven Brides for Seven Brothers” should withhold an explore out for ragged brides’ Virginia Gibson and Ruta Lee, reunited here as two of Prescott’s assistants.

Audrey Hepburn’s early ballet and dance training came in handy with making Comical FACE, her “Basal Metabolism” routine is spectacular (and she sings quite well too) . Filmed on site in Paris, the entire movie definitely has the obedient European Travelogue feel to it.

This 50th Anniversary Edition of Laughable FACE will feature a brand-new High Definition transfer of the movie, some substantial current featurettes (“The Fashion Designer & His Muse”, “Parisian Dreams”), plus the material from the previous DVD release (“Paramount in the ’50s” featurette, a photo gallery and the trailer) .
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Streaming It Happened One Night Online. Movie Title: It Happened One Night Average customer review: It Happened One Night is available for streaming or downloading. Click Here to Stream or Download It Happened One Night

More than six decades after its new release, “It Happened One Night” calm sparkles like a newly minted coin. It’s romantic, witty, sophisticated … and determined key scenes (especially Clark Gable’s gangster impression and Claudette Colbert’s hitch-hiking lesson) remain laugh-out-loud comical. A arrive perfect blend of script, direction, and performance, it deservedly swept the top five 1934 Academy Awards. One statue that it wasn’t even nominated for, and should have won, was for Joseph Walker’s Cinematography; his masterful camerawork makes this movie glisten and shine.

The DVD transfer is amazingly dazzling. There are a few shots that appear to be slightly grainy and one or two jumps in the soundtrack, but those are minor quibbles. I’ve watched this film several times over the past twenty years — in a revival theatre, on satellite, and on VHS — and it’s never looked as gracious as it does here. The DVD extras are icing on the cake: trailers for this film and “Mr. Smith Goes to Washington”; the teaser for “Lost Horizon”; a filmed commentary by Frank Capra, Jr.; and the 1939 Lux Theatre radio broadcast of the yarn. I especially enjoyed the advertising archive share, which included color reproductions of the unusual one-sheet posters and lobby cards. Overall, this disc is a broad example of the DVD format at its finest, and a most pleasurable presentation of a qualified Hollywood classic.

In 1934, an underbudgeted, little-heralded film by the young director Frank Capra swept the Oscars, winning for best characterize, director, actor, actress, and screenplay. Seventy years later, it’s much how unusual and droll “It Happened One Night” seems.

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Neither Claudette Colbert nor Clark Gable wanted to do this film, but despite or perhaps because of this, their performances are spontaneous and endearing. They have loyal chemistry, and the scenes of them flirting and bickering have been much-imitated but never equalled. Besides the illustrious “Walls of Jericho” scene when Peter undresses, I also treasure it when Peter teaches Ellie how to dunk a donut.

The anecdote is simple: Ellie Andrews, a injurious heiress, runs away to marry her fiance. On the bus to NYC she meets Peter Warne (Gable), a reporter who’s fair been fired from his newspaper. Both are brash and foul. Of course this unusual couple descend in fancy.

It Happened One Night of course was filmed during the height of the Mountainous Depression, and unlike many Hollywood films of that era did not relate a world of impossible luxury. Peter and Ellie use a night in a cheap autocamp, their bus breaks down and a passenger faints from hunger, and Capra has numerous scenes of characters enjoying simple things, like eating a carrot or hitchhiking or stealing a jalopy. As is typical with his movies there are a lot of eccentric characters, like a singing driver and an immoral bus passenger who says “Shapely’s the name and that’s the device I like ‘em.” I also savor the depiction of Ellie Andrews — this was an era when women onscreen were strong and resourceful. Although the film does play up the “nefarious heiress” stereotype Ellie never becomes an ghastly type character. It’s luscious that in this movie, Ellie “wears the pants” in the relationship and is the mover and shaker. The bickering-but-respectful relationship between Peter and Ellie is an consuming inequity to a film made 20 years later, Roman Holiday. Roman Holiday is a film with a similar storyline, but the gender politics have changed. Joe Bradley (Gregory Peck) has none of the eccentricity of Peter Warne (who’s shown chewing a carrot), but is the romantic knight in bright armor. Audrey Hepburn’s Princess is charming and doe-eyed, not brash and cheeky like Ellie.

It Happened One Night is not a big-budget film. Over the years, Hollywood has advance out with many romantic comedies, some helpful. But It Happened One Night is level-headed the gold standard. For once a classic film’s reputation is richly deserved.
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• Amazon Sales Rank: #3944 in Movie
• Released on: 2009-09-05
• Rating: Unrated
• Running time: 115 minutes

The Centennial Collection of Breakfast at Tiffany’s” is the definitive version to own on DVD!
Excellent!

A word that can describe the Centennial Collection release of the 1961 film “Breakfast at Tiffany’s”, the classic romantic comedy starring Audrey Hepburn and George Peppard.

Having reviewed previous versions of “Breakfast at Tiffany’s” before on DVD, I’m sure many Audrey Hepburn fans are probably wondering how else can Paramount improve from the 2006 45th Anniversary Edition on DVD? Well, I can tell you right now… plenty! Please read on.

A film that stars quite a bit of talent, “Breakfast at Tiffany’s” remains not just one of the most memorable romantic films of all time but a film that exemplifies the beauty of Audrey Hepburn, the chic style of the times and more (which I will discuss more in the special features portion of my review).

VIDEO & AUDIO:

The film is presented in widescreen format, enhanced for 16:9 TV’s. A lot of the Centennial Collection releases have been remastered for high definition and having the previous DVD’s, I can tell you that the DVD looks great. But I can only imagine how this film would look in 1080P if released in Blu-ray.

Audio is featured in Dolby Digital English 5.1 Surround/English, Restored Mono, French Mono and Spanish Mono. The film of course is dialogue-driven but sure enough, the music of Harry Mancini is alive and well when blaring through your speakers.

SPECIAL FEATURES:

As mentioned before, there have been several releases of “Breakfast at Tiffany’s” prior to this Centennial Collection, the older DVD’s really hardly came with anything but the trailer until the 2006 “Special 45th Anniversary Collector’s Edition” which came with a good number of special features and a commentary by producer Richard Shepherd.

Well, what I can tell you is that the Centennial Collection contains all of the special features from the Anniversary DVD release but also adds quite a few new lengthy featurettes as well. On the first disc, the first disc contains the movie and the same commentary from the Anniversary disc by Producer Richard Shepherd. You can tell that Shepherd gets drawn in to the film and doesn’t speak in the commentary until he feels necessary.

So, for those wanting a verbose commentary, Shepherd doesn’t do that. But it’s actually quite fine because when he does speak, you learn a lot of things from him about the filming. For example, the opening shot featuring Audrey Hepburn in front of Tiffany’s in Fifth Avenue. Where the place is typically packed with cars and people, for that time… there was hardly any traffic and no people. So, a very lucky time in filmmaking for the crew.

Also, Shepherd is quite apologetic about casting Rooney as Mr. Funiyoshi and he does that quite a bit in the commentary. You realized he didn’t want the yellow face routine (Caucasian actor looking like an Asian stereotypical character) but it was kept in. Also, commenting of how certain scenes worked then but would never fly now. But most of all, his continued feeling of Audrey Hepburn as a class act. Overall, a very good commentary that you learn a lot from.

The special features on disc 2 are as follows:

* A Golightly Gathering – A 20-minute featurette that reunites the talents who were in the cocktail party scene from “Breakfast at Tiffany’s”. One of the coolest parties ever on film, it’s great to see the talent from the film reunite and discuss their experiences of filming that part scene 40-years later. I had no idea the party-scene took 8-days to film but it was great to hear everyone talk about their scene, working with Audrey Hepburn, George Peppard and Blake Edwards. But what a great featurette and so happy of it’s inclusion.
* Henry Mancini: More Than Music – This nearly 21-minute featurette is a wonderful featurette that features interviews with Henry Mancini’s wife, daughter and son. Seeing private photos and even videos of Henry and having their family talk about him and what they remember about him, winning the two Academy Awards for “Moon River” and working on other films is just wonderful.
* Mr. Yunioshi: An Asian Perspective – A 17-minute featurette. Despite the popularity of the film, the black cloud that has lingered on this film was the casting of Mickey Rooney as “Mr. Yunioshi”. A talented actor, the “yellow face” role was just wrong and acknowledge by the director, producer and a cast member was just terribly wrong in casting Rooney for that role. This feature has interviews with representatives of the Media Action Network of Asian Americans. I’m glad that Paramount did include this featurette on this collection.
* The Making of a Classic – Originally from the Anniversary release, this segment features interviews with Producer Richard Shepherd and Director Blake Edwards. A 16-minute featurette and you definitely learn a lot about the film, especially from Blake Edwards. One could image how his director’s commentary would have been if included, especially with what he had to say on this featurette.
* It’s So Audrey: A Style Icon – An eight minute featurette with interviews with designers, Hepburn’s son and companion. How Audrey Hepburn made simple things quite sexy. How Audrey never thought of her body proportions that sexy but she did have a good eye for style and how she became a fashion and style icon.
* Behind the Gates: The Tour – This 4 minute featurette gives people a look behind the gates of the Paramount lot. A good promotional for those who would like to tour the Paramount lot.
* Brilliance in a Blue Box – A six minute featurette about the history of Tiffany’s. Originally featured on the Anniversary DVD.
* Audrey’s Letter to Tiffany – A two minute featurette about the letter Audrey wrote for the preface of the 150th Anniversary book for Tiffany’s.
* Original Theatrical Trailer – The original two minute trailer with its dust, scratches and all.
* Galleries – Featuring production stills, movie stills and publicity shots for the film.

The Centennial Collection also comes with a booklet that features information of facts of the film, from how Capote wanted Marilyn Monroe for this film, information on Orangey the cat and how the “New York Site” that was filmed at the Paramount lot is now forever lost due to the big Paramount fire back in 1983 that destroyed historical sets.

And the DVD is just classy with it’s black and gold packaging (which most of the Centennial Collection are packaged) and ditching the pink and white packaging.

I absolutely love this film. From the memorable dialogue, that first scene with Holly standing in front of Tiffany’s, the cocktail party, Holly Golightly singing “Moon River” on her guitar, the cat and of course the final scene between Holly and Paul.

“Breakfast at Tiffany’s” is a classic Audrey Hepburn film that is a must-own. I know that the film has been re-released many times on DVD and the 45th Anniversary was just a pleasure when it first came out and at the time, it was a definitive release. But now, with this “Centennial Collection” featuring a remastered version of the film and the new (and quite lengthy) featurettes that is included on this collection, this is the definitive version on DVD.

Personally, I can only imagine how this would look once it becomes available on Blu-ray but for now, these Centennial Collections from Paramount are just wonderful. Especially “Breakfast at Tiffany’s”, I’m really amazed how far Paramount went in order to make this release much more special.

The addition of “A Golightly Gathering” featuring the actors who took part in that cocktail party was awesome, the Henry Mancini featurette for those who just love his musical work will love this featurette and of course, for those who have felt the pain of the “yellow face” segment in the film, Paramount going the extra step by including a featurette dedicate to that on this DVD.

But in the end, this DVD is indeed a special tribute to Audrey Hepburn. Hepburn is just an icon of style and elegance and this DVD does a great job of giving special attention to such an incredible film. And after seeing this film so many time times, I still have not grown tired of it. It’s one special film that I highly recommend

“I’m just CRAZY about Tiffany’s!”
“Breakfast at Tiffany’s” is flawless blend of a crowd-pleasing star-vehicle for the effortlessly charming Audrey Hepburn and a bittersweet, painfully beautiful look at love, life, and happiness. Director Blake Edwards, the man behind “The Pink Panther” series, “The Party”, “Operation Petticoat”, “Victor/Victoria”, etc., has crafted a truly timeless film based on the novella by Truman Capote. Though numerous elements of Capote’s story were altered, the film still has a strong core and message that urges audiences to examine their own lives, loves, and happiness.

Everything about this film is classic. You have the timeless Hepburn and her defining performance as Holly Golightly, a sophisticated, sassy call-girl with a secret past who is ultimately one of the most vulnerable characters Hepburn ever played. Then there’s George Peppard, a vastly under-appreciated actor who manages to hold his own next to Hepburn while playing a struggling writer living off an older married woman. Peppard’s boyish good looks and surprising depth make him the ideal match for Hepburn’s Golightly.

Then of course there’s Henry Mancini’s wistfully romantic score and the tremendously popular theme-song, “Moon River”, a true gem of a song that capture’s the film’s essence perfectly. In addition, you have Hepburn’s fabulous, style-setting wardrobe courtesy of her lifelong friend Hubert de Givenchy. In this one film alone, Hepburn and Givenchy practically invented the “little black dress”, popularized ballet flats, and introduced capris as a stylish alternative to regular pants.

My favorite quote:

Holly Golightly: You know those days when you get the mean reds?
Paul Varjak: The mean reds, you mean like the blues?
Holly Golightly: No. The blues are because you’re getting fat and maybe it’s been raining too long, you’re just sad that’s all. The mean reds are horrible. Suddenly you’re afraid and you don’t know what you’re afraid of. Do you ever get that feeling?
Paul Varjak: Sure.
Holly Golightly: Well, when I get it the only thing that does any good is to jump in a cab and go to Tiffany’s. Calms me down right away.

OLD-FASHIONED ROMANTIC CRY MOVIE…
I love this film despite two major flaws. 1.) they toned down the fact that Holly Golightly is a call girl (probably to maintain Audrey Hepburn’s sweet image) and 2.) the awful inclusion of Mickey Rooney as an Asian. Both blunders make me mad. However, they didn’t hide the fact that George Peppard’s character was a kept man by the icy Patricia Neal. Nonetheless, the film succeeds as one of the most romantic stories ever filmed. Hepburn is utterly charming and her performance would have had a more interesting shade had Holly’s true means of support not been practically erased. But when we learn she’s run away from a very sad family situation—we see a glimpse of the true Holly. It’s also an interesting note that two people living off of others for different reasons should find each other and fall ROMANTICALLY in love. The theme “Moon River” pulls every drop of poignancy from the tear ducts as does the scene with the kitten in the rain. I’m as jaded as they come and that scene gets me every time. I always choke up. This is a great film but could have been greater if the more adult aspects of the story had just been played out. Still I recommend this for lovers of shamelessly romantic movies. You really can’t go wrong with this charmer.