#also holden and roman are so funny i love them

[nitrateglow]

My god-tier Audrey Hepburn movies

I just realized I’ve technically seen all of Audrey Hepburn’s movies-- or rather, all the movies in which she was given star billing.

So, because I’m bored, here’s a list of my top ten personal favorites of her films. The criteria is simple: 1) she had to have starred in it, so nothing from her pre-Roman Holiday career counts nor does 1989′s Always, and 2) this is based on my level of enjoyment of the movie in question.

1. Wait Until Dark

Wait Until Dark possesses many merits, but Hepburn is one of its key strengths. For me, the most interesting performances are the ones able to balance seemingly opposing elements of the character in question. Here, Hepburn balances vulnerability with inner strength, insecurity and terror with courage, angry frustration with budding confidence. She makes her character seem like such a real, vital presence, like someone you would know. Also, having someone as sweet as Hepburn as the target for the cruel mind games and brutal violence of the villains makes the horror all the more terrifying.

Beyond her performance, this movie feels like it was tailor-designed to appeal to me: an intelligent and formidable villain, the everyday setting juxtaposed with a menacing atmosphere, scary scenes that don’t rely on gore, eccentric criminals, dark humor, a tight script without an ounce of fat on it. But you’ve heard me go on, so I’ll leave it there.

2. Charade

Charade is a prime example of how to mix suspense and comedy. The mystery at the heart of the movie is very clever, with twists and turns every other moment, constantly keeping the audience on their toes. Best of all, the film holds up after repeat viewings because of the delicious chemistry between Hepburn and Cary Grant, and the witty screenplay, which has such an elegant and tight structure that I seethe with envy as a writer every time I revisit this glorious thriller.

As in Wait Until Dark, Hepburn is concerned for her life as she’s terrorized by criminals, only here, they’re mostly more humorous in nature, sometimes even lovable (except Scobie, he can just jump off a cliff). She mainly gets to exercise her comedic chops, throwing off quips, sarcastic lines, and screwball banter with wonderful finesse. It makes me sad she never made more films with Cary Grant-- the two have a spark that belies the large age gap between them.

3. Roman Holiday

The character-building, naturalistic performances, and humor make Roman Holiday one of the best examples of romantic comedy. The film has both a gentle touch and a grounded maturity that make it more than just a remix of the earlier and quite similar screwball comedy It Happened One Night. To get a bit literary and pretentious, it reminds me a bit of Romeo and Juliet-- not because of the romance, but in how the movie starts as a standard screwball comedy and ends on a lyrical, wistful note you might not have expected.

Even though this was her first lead role in a feature film, I think Hepburn’s performance as Ann remains one of her strongest. Ann feels regal and dignified while also possessing the naivete and restlessness of a teenager on the brink of adulthood. It’s as fabulous a star-establishing movie as anyone could want.

4. How to Steal a Million

How to Steal a Million is pure fun. Not a moment of this caper comedy is to be taken seriously (which makes it the perfect quarantine movie if you need something to de-stress with). I always regard this movie as Charade’s even frothier spiritual successor: both films are playful, stylish, funny, and packed with romantic banter, plot twists, and colorful 1960s fashions. The main difference is that in this one, there’s no mortal threat involved and the humor gets a little more risque though not crass.

Also, how nice is it for Hepburn to be paired with a leading man closer to her age? Peter O’Toole was only three years younger than Hepburn when this was filmed. The two of them have glorious, cute chemistry.

5. The Nun’s Story

I hate the question of “objective best” anything, but if you put a gun to my head, I would say The Nun’s Story is features Hepburn’s most impressive work as an actress. For those who accuse Hepburn of being too affected, of being a mere clothes’ horse, here she is bare-faced, dressed in a nun’s habit, and playing a very reserved character whose dilemmas are largely internal. She plays her character’s spiritual conflict with an understatement that could only be considered skillful.

The film itself will likely be seen as “too slow” by most and there are a few colonial elements towards the Congo section that date it, but the film’s strengths, both from Hepburn’s performance and the mature way it presents its individual versus the system story, give it classic status. Few movies regarding organized religion are this balanced and lacking in propaganda, either for or against it.

6. Breakfast at Tiffany’s

While still Hepburn’s most iconic role, Breakfast at Tiffany’s gets called “overrated” a lot these days and fans of the original Truman Capote novella routinely dog it for making heavy changes to the source material. There’s also the, you know, gross yellowface a la Mickey Rooney that deflates every scene in which he appears. However, is the move bad? NO. It juggles zany comedy, tender romance, and rather heavy drama too well for me to consign it to the “overrated” bin. Blake Edwards was a fine director and this movie is one of his best.

And Hepburn gives a damn good performance as Holly Golightly, even if she is not the character envisioned by Capote. This character could easily be unlikable if played the wrong way-- she’s a “phony,” rather pathetic, and self-loathing despite her wit and charm. But rather than coming off as an unbearable loser, Hepburn’s Holly is a realistic, relatable loser we all love in spite of her own delusions and lashing out. She might even hit too close to home (or maybe that’s just me).

7. Funny Face

Funny Face took a few viewings to grow on me. It was one of the first Hepburn movies I ever saw (that was back in high school) and I was initially excited because it was directed by Stanley Donen who co-directed Singin’ in the Rain with Gene Kelly, a long-time favorite of mine. I expected this movie to be just as sublime and was disappointed when it didn’t hit that high mark.

Rewatching it later, I now find it very charming. It’s incredibly upbeat and relaxing, the sort of old-school movie musical that doesn’t get made anymore. Hepburn’s singing is a bit rough in the bigger numbers, but she is very sweet, a damn good dancer, and quite attractive to the point where she just takes my breath away. Fred Astaire and Kay Thompson are also wonderful and get a lot of great moments that show off their talent.

8. My Fair Lady

When considering what would go on this list, I was honestly shocked to realize how much I like this movie. I’m in the camp that considers Hepburn miscast, I find George Cukor’s direction rather stiff, and I really don’t like how the ending is changed from the original play. In spite of all this, I still really enjoy this movie for the songs, costumes, and what remains of Shaw’s brilliant satire on class and gender relations. Those three hours go by and the movie never outstays its welcome.

While I think Hepburn wasn’t the number one best choice for the part (I don’t really buy her as a crass flower girl in the beginning), she isn’t a disaster by any means. She’s still charming and sympathetic, and once she makes her transformation, you have to wonder how Higgins held it together, she’s so gorgeous. And I love the relish with which she approaches the “Just you Wait” song or the way she delivers the “move your bloomin’ arse” line at the races.

9. Sabrina

I think producers figured because of the fairy tale appeal of Roman Holiday, Hepburn would be perfect for this modern take on Cinderella, set in 1950s New York. Just like in Roman Holiday, Hepburn gets to undergo dramatic character development and show her comedic skills. It’s a cute movie, with a very charming William Holden and gorgeous black-and-white cinematography. It’s also shockingly uncynical for a Billy Wilder project.

About the closest thing this movie has to a flaw is Humphrey Bogart as Linus, the guy who Sabrina chooses in the end. This is a role Cary Grant could have played in his sleep, but Bogart clearly is not enjoying himself in some scenes. However, he isn’t movie-breakingly bad by any means. His character is meant to be a hidden softie and far more dependable than his handsomer brother, so I can buy that Sabrina would warm to him in the end.

10. They All Laughed

People tend to argue what the last “worthwhile” Hepburn movie is. Most argue it’s 1976′s Robin and Marian, while I’ve seen some go as far back as How to Steal a Million in 1966. They All Laughed, a Peter Bogdonavich comedy from 1981, gets my vote. This is a love letter to screwball comedies much like Bogdonavich’s 1972 classic What’s Up Doc, only with a far more melancholy edge.

Hepburn does not become a major presence in the movie until nearly halfway through. However, she approaches her role with a mature dignity that makes me wish she’d done more work along this line towards the end of her career. Her character comes off as an older, sadder Princess Ann from Roman Holiday. This makes the movie sound morose, but it isn’t: it ends with life going on and the characters accepting that with grace.

[spacegaywritings]

Love and other Tragedies (4/7) “Change”

Still REMROM -  Dead dove DO NOT EAT!

Tags: psychiatry, psych ward, therapy, kisses, remrom, snuggles, cuddles and somft stuff, food and eating mention, comfort, friends, royality friends, intrurality friends, romantic stuff ensues. food mention, eating mention, doctors, sickness mention, heat and omega mention, Patton is sick, allergies, implied trauma, implied orphan roman, implied dissociation, pessimism, hints of depression talk and thoughts, black/white morals, “villain” as insult, first relationship fights

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Story under the cut. Word count: ~1k

22st APR

 MARY MARY!

 They said Remus will come back later! I am so delighted! My bed was weird without him but now I am happier!

Patton and I will bake him something nice, so he can be happy.

 He seems to like red things. I asked for fresh fruits but they only have frozen things. I can’t wait to see Remus again.

Patton is also happy. He hugged me really tight.

 We are happy royals and we will wait for our friend.

 Yours,

Prince Roman

  23rd APR

 Hello Mary, dear.

 It is really dark but they got Remus back. Normally, they should not operate this late but they promised him to get back today, so they did it anyway.

I am glad he is here.

 Remus speaks and we hugged a lot and he kissed me and I am very fuzzy inside.

I feel like someone lit a candle inside of me and it dances. He is asleep and we are cuddling but I can’t rest, so I am writing you.

 He did not get his cupcake but we prepared it for him. He can have it tomorrow. The kitchen is closed when it is late.

 Yours,

A happy Prince Roman

  24th APR

 Hello, holden maid, oh Mary dearest!

 Remus is still the fairest of them all! I ended up drifting off to sleep and I feel invigorated! Remus is really excited about the cupcake but shared it with us! We ate with spoons.

He said he does not get liquid food anymore and he ate lunch with us! He was on my lap and we snuggled a lot. We took a nap with Patton because they said I looked tired.

 I have therapy and I am scared of it but I will face it, of course!

 Remus goes to the same therapist as I do and he said they got him there by mistake because they got overly worried. I think it is wrong but I can’t really tell my therapist. I mean, I can but he can’t explain to me why they did what they did because of confidentiality.

I am happy it exists but it makes me iffy, too.

 I am looking forward to holding Remus again.

 PS: I went to therapy now and they said my condition is better. I had a really hard time getting up before but I am doing better.

 Yours,

Prince Roman

  25th APR

 Greetings, lovely Mary!

 Remus is back and I feel rather calm. Patton left for a bit because he felt odd. The doctors are watching over him. Maybe it is heat? I don’t know. Remus said it doesn’t smell like it but I don’t know because I never really met omegas, I think.

 I am worried and my heart feels heavy but Remus holds my hand and says the people know what they are doing. I laugh inside when he is there even when I feel like sobbing.

Remus said he would slay my monsters and demons if I needed help.

 He said he is no prince but to me, he is the prince of my dreams.

We will stay up all night for Patton and think about him. Remus said it helps if you wish your energy to someone else.

 I really hope it does. Not being with Patton tastes salty.

 Yours,

A hopefuly princey who found his prince!

  27th APR

 Oh, loyal Mary!

 I have missed you! It was only day but it feels as if years have passed!

 We pestered the doctors and they said Patton wants us to know he is okay. Something like food allergy or something.

Remus was right.

He is not much older than me but he has a few more months, I think. He is really clever about all these things but I know better stories than he does! His stories are usually sad because he says life is sad.

 It makes me sad to hear that and he said he will stop saying it but can’t stop thinking it.

He looks really far away when he says these things.

 Remus is a really sad prince, I think. He seems sadder than I feel.

 Things feel so confusing. Therapy hurts and I cry a lot but Remus is really nice afterwards. He sneaks me his dessert and makes me laugh when I cry.

My chest is so scarred inside.

 Mary, is life really this bad?

I wish mom and dad were here to say it wasn’t but they can’t.

 I don’t know whether cuddles are enough to make it better.

 Yours,

A tiredly trying and fighting prince

  28th APR

 Hello Mary.

 I am very tired.

 Patton is back and I could not be happier but he and Remus don’t seem happy together. It feels weird. Remus is growing a funny mustache. He said it is about aesthetic and I said he looks like a villain and then he got silent and left.

 We had lunch without him.

I really miss nice things.

 My therapist showed my pictures and I cried the whole hour. Patton cuddled me a lot and we talked. I have goosebumps. My skin does not have them anymore but I still feel the chilliness inside of me.

No matter how many blankets I put on, the room is still dark and cold.

 Everything is so weird..

It feels like all things are my fault and it hurts ..hurts so much, I can’t breathe. I might talk to a nurse to help me because it really hurts and I feel like I am drowning. My ears are rushing.

 Maybe Remus was right and life is painful.

 I don’t care. I still believe in princes. If they help Remus a lot and I am not so mean, maybe he can be my prince?

It is not nice to call your fuzzy friend a villain and I feel like bile tastes.

 It is not nice, Mary.

 Yours,

A dreamer.

[omgalejandropalafox-blog]

Biography

Audrey Hepburn  was a British actress, model, dancer and humanitarian. Recognized as a film and fashion icon, Hepburn was active during Hollywood's Golden Age. She was ranked by the American Film Institute as the third-greatest female screen legend in Golden Age Hollywood and was inducted into the International Best Dressed List Hall of Fame. Born in Ixelles, a district of Brussels, Hepburn spent her childhood between Belgium, England and the Netherlands. In Amsterdam, she studied ballet with Sonia Gaskell before moving to London in 1948, continuing her ballet training with Marie Rambert, and then performing as a chorus girl in West End musical theatre productions. As the family's fortunes had been lost during the war, Ella supported them by working as a cook and housekeeper for a wealthy family. Hepburn made her film debut in 1948, playing an air stewardess in Dutch in Seven Lessons, an educational travel film made by Charles van der Linden and Henry Josephson.

 Hepburn moved to London to take up a ballet scholarship with Ballet Rambert, which was then based in Notting Hill. She supported herself with part-time work as a model, and dropped "Ruston" from her surname. After she was told by Rambert that despite her talent, her height and weak constitution (the after-effect of wartime malnutrition) would make the status of prima ballerina unattainable, she decided to concentrate on acting.

 While Ella worked in menial jobs to support them, Hepburn appeared as a chorus girl in the West End musical theatre revues High Button Shoes (1948) at the London Hippodrome, and Cecil Landeau's Sauce Tartare (1949) and Sauce Piquante (1950) at the Cambridge Theatre. During her theatrical work, she took elocution lessons with actor Felix Aylmer to develop her voice. After being spotted by a casting director while performing in Sauce Piquante, Hepburn was registered as a freelance actress with the Associated British Picture Corporation. She appeared in the BBC Teleplay The Silent Village,as well as minor roles in the 1951 films One Wild Oat, Laughter in Paradise, Young Wives' Tale and The Lavender Hill Mob, before being cast in her first major supporting role in Thorold Dickinson's The Secret People (1952), in which she played a prodigious ballerina, performing all of her own dancing sequences. Hepburn had her first starring role in Roman Holiday (1953), playing Princess Ann, a European princess who, while escaping the reins of royalty, falls in love with an American newsman (Gregory Peck). Its producers initially wanted Elizabeth Taylor for the role, but director William Wyler was so impressed by Hepburn's screen test that he cast her instead. Wyler later commented, "She had everything I was looking for: charm, innocence, and talent. She also was very funny. She was absolutely enchanting and we said, 'That's the girl!'" Originally, the film was to have had only Gregory Peck's name above its title, with "Introducing Audrey Hepburn" beneath in smaller font. However, Peck suggested to Wyler that he elevate her to equal billing so that her name appeared before the title and in type as large as his: "You've got to change that because she'll be a big star and I'll look like a big jerk."

 The film was a box office success, and Hepburn gained critical acclaim for her portrayal, unexpectedly winning an Academy Award for Best Actress, a BAFTA Award for Best British Actress in a Leading Role, and a Golden Globe Award for Best Actress – Motion Picture Drama in 1953. In his review in The New York Times, A. H. Weiler wrote: "Although she is not precisely a newcomer to films Audrey Hepburn, the British actress who is being starred for the first time as Princess Anne, is a slender, elfin and wistful beauty, alternately regal and childlike in her profound appreciation of newly-found, simple pleasures and love. Although she bravely smiles her acknowledgement of the end of that affair, she remains a pitifully lonely figure facing a stuffy future. Hepburn was signed to a seven-picture contract with Paramount with 12 months in between films to allow her time for stage work. She was featured on 7 September 1953 cover of TIME magazine, and also became noted for her personal style. Following her success in Roman Holiday, Hepburn starred in Billy Wilder's romantic Cinderella-story comedy Sabrina (1954), in which wealthy brothers (Humphrey Bogart and William Holden) compete for the affections of their chauffeur's innocent daughter (Hepburn). For her performance, she was nominated for the 1954 Academy Award for Best Actress while winning the BAFTA Award for Best Actress in a Leading Role the same year. Bosley Crowther of The New York Times stated that she was "a young lady of extraordinary range of sensitive and moving expressions within such a frail and slender frame. She is even more luminous as the daughter and pet of the servants' hall than she was as a princess last year, and no more than that can be said.” Audrey Hepburn received numerous awards and honors during her career. Hepburn won or was nominated for awards for her work in motion pictures, television, spoken-word recording, on stage and humanitarian work. . Hepburn received 10 Golden Globe Award nominations, winning two, and was the recipient of the Cecil B. De Mille Award in 1990. She also won the 1954 Tony Award for Best Performance by a Leading Actress in a Play in Ondine and received a Special Tony Award in 1968.

Posthumously, Hepburn also received a number of awards and honors including an Emmy Award for her television series Gardens of the World with Audrey Hepburn while her contributions to a spoken-word recording titled Audrey Hepburn's Enchanted Tales earned her a Grammy Award. Hepburn stands as one of few entertainers who have won Academy, Emmy, Grammy and Tony Awards. She has been honored on United States postage stamps and has a star on the Hollywood Walk of Fame. The American Film Institute has repeatedly recognized her talent, placing Hepburn third on its list of the top 100 female stars of all time and placing several of the films she starred in on its 100 best... lists. Audrey Hepburn's legacy has endured long after her death.