American in Paris, a Black and White Ball as a turning point in the Final Act, which became a popular theme for balls and fundraisers. San Francisco Symphony held its first Black and White Ball in 1956, which continues as the premier annual ball today. In New York, after the 1958 edition of Truman Capote's Breakfast at Tiffany's starring Audrey Hepburn, Capote held his famous Black and White bash at The Plaza, as chronicled in Deborah Davis's 2006 volume Party of the Century. And Funny Face influenced America's most influential first lady, Jacqueline Bouvier Kennedy. Four years after the film's release, Jackie's first official trip to Paris embodied the apotheosis of Audrey Hepburn in Funny Face went in after her previous persona is vividly remade. Dressed in a delicious red Givenchy gown, emerges Hepburn in a white scene at the Louvre Winged Victory from behind, her arms raise the dress material around her as exotic butterfly wings. Like Audrey character, Jackie had also been a bookish intellectual at the Sorbonne in Paris before her 1952 Newport wedding of the then Senator Jack Kennedy. Just like Audrey Hepburn, Jackie was also born in 1929 and 5'7 ½ "tall and thin, multi-lingual, artistic and athletic, soft spoken, and also a client of Audrey Hepburn's lifelong friend and collaborator, the fashion designer Hubert d 'Givenchy. Jackie refined many of his ideas and his own, under the guidance of his mentor and friend, Vogue editor, Diana Vreeland, who later ran MOMA's Costume Institute at Jackie's command. Vreeland expressed in Funny Face as the character Maggie Preston, editor of Quality magazine, played by Kay Thompson who was best known as author of the Eloise series about a girl who lives at the Plaza Hotel. While a college student, Jackie Kennedy won Vogue's Prix d'Paris competition for organizing a full magazine edition. In her submission she imagined herself as that in a way she was that Camelot's Queen, "an art director in the world." |. |. Jackie was loved in France, the world capital of style Two million French people crowded the streets waving American flags, shouting, "Viva Jacqui!" During Kennedy's 1961 Official State visit there. usually reserved President de Gaulle, the French press and public were particularly rhapsodic over Jackie's TV interview in flawless French. Funny Face, expressed what Jackie was by nature. And closed Jackie's favored ceremonial color, white, chosen for her ethereal Inaugural gown, both American in Paris and Funny Face with the female lead dressed in white tulle dresses Waltzing away into the arms of her prince, with Hepburn wearing the chicest wedding dress ever designed Art , Music, Dance, Awards. American in Paris, Funny Face, both utilized sumptuous cinematography, live sets and art design, and contained the Gershwin songbooks The male and female leads in each film began her career first. in dance, rather than singing or acting. At 39-years-old, asked Gene Kelly, 19-year-old dancer Leslie Caron in her film debut as his love interest in American in Paris. And 57-year-old Fred Astaire work with then 27-year-old Audrey Hepburn as her condition to accept the role. Audrey had studied dance throughout childhood, holds dearly to dream of a ballet career. After World War II when she and her mother fled Holland for London, there was a small dancing role which has won her a screen test for Willy Wilder's Roman Holiday with Gregory Peck. Hepburn won the Best Actress Oscar for Roman Holiday in 1953, four years before she was filming Funny Face, and the same year she won a Tony for the lead role of Gigi on Broadway, even after spying by chance, this time passing a hotel lobby in Southern France Author , Collette, honed-in on Hepburn and shouted: "It is my Gigi.! As Willy Wilder said of Audrey Hepburn, "God kissed her on the cheek and there she was." Funny Face won an Oscar for Best Art Direction, cinematography, costumes by Givenchy and screenplay by Alan Lerner (who frequently collaborates with long-term collaborator Frederick Lowe to write hits like Gigi, My Fair Lady, Brigadoon, Paint Your Wagon and Camelot, which of course became synonymous with the Kennedy administration.) plus a Director's Guild Award for outstanding director performance by Stanley Donen, also a choreographer (and who later directed Gene Kelly in Singing in the Rain, and Audrey Hepburn and Cary Grant in Charade together, on the Donen said there was never a more enchanting couple in movie history.) Funny Face also won a Golden Palm at Cannes. And a Laurel Award from the Writer's Guild of America for Best Written American Musical. American in Paris was nominated for eight Academy Awards and received six, including the Academy Awards and Golden Globes for best film and best director, a Golden Globe Award for best actor, Gene Kelly. Kelly also received his only Oscar, as a special prize that year for "versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography." The film also received Oscar for best cinematography, best costume, best Musical Score, Best Writing, Scoring and Screenplay and Best Editing, American in Paris' 18-minute phantasmagoria at the end cost half a million to produce, making it one of the longest and most expensive dance pieces in film history. Producer Arthur Freed was MGM's famous Czar of musicals and cheated since the Broadway genius Vincent Minnelli to direct some of the biggest films of the 20s, including American in Paris, where so many scenes echo with Minnelli's stage craft, and others like his Meet Me In St. Louis, Kismet, Brigadoon, and Gigi. The tonal differences in the two films is that Funny Face is wittier, more sophisticated film, with a more absorbing plot that holds up with repeated screenings. Astaire and Hepburn was much more elegant, deft and subtle. Gene Kelly has said that Astaire was the more aristocratic dancers and that his own dance reflected his background in athletics and gymnastics, plus his Everyman persona Pal Joey. He called Astaire to Cary Grant of dance, his Marlon Brando. Kelly designed a distinctly American look. Astaire, and Hepburn was a European at heart. Ironically, Leslie Caron, while French himself, much echoes Kelly's exuberant American-style. The costumes in Funny Face was precipitated superior. Audrey Hepburn's iconic image remains undated fifty years later. In fact, said the director Stanley Donen who Audrey Hepburn was much more about fashion than acting or dancing. One of Audrey's rare disagreement with any board occurred while Donen insisted she wear white socks with skin tight black pants and shirt in her solo dance routine in Paris beatnik club. She was reduced to tears of fear, the white socks would "break the line." Hepburn spoke about the importance of the silhouette and the clothes should be a sleeked down vase containing flowers. The idea of the white stockings she thought was devastating, but later she admitted that it had worked. Arthur Freed at MGM acquired American in Paris title by Ira Gershwin. It was from one of three of George Gershwin's symphonies, (the other two were Porgy and Bess and Rhapsody in Blue) and became the title track. Tragically died in the oil-rich musical genius George too young in 1937 at 38 years after surgery for a brain tumor to see one of his symphonies was a great movie. Funny Face Marketing Snafu (. 1954), Hepburn had just completed King Vidor's War and Peace (1956) and wanted something light that Roman Holiday (1953) or Sabrina She was in Paris when she first got the script, Funny Face. Her first husband, Mel Ferrer said that she usually took three days to decide, but read and agree with Donen project, which was originally called wedding day, in just two hours. Her mother said was Funny Face "Audrey, all the way through," while the musical movie called Funny Face Magazine's most "directorially entry of all American movies," and Rex Reed said it was the "best fashion show ever recorded on film. "But the marketing posters do not project any of this. American in Paris had superior movie posters. Funny Face posters failed in two ways. First it was the varied and never cemented a single strong "brand" in the public mind that the transferred memorable story in a glance. Secondly, it was a wonderfully colorful film but most of the poster images were muddied. It was Audrey Hepburn's first U.S. film did not gross in the top ten films over the years it was released. For many movie fans her titles: Roman Holiday, Sabrina, Breakfast at Tiffany's, conjure distinct images, while not Funny Face. For me, based An American in Paris, on vanity, and seems bigger because of its theatricality, but Funny Face is just ten minutes shorter and beautifully cohesive. And while the budgets for both films was similar, where many scenes in American in Paris, shot on sets. Funny Face, filmed mostly on location, the victim of an authenticity that makes watching it a pleasure, again and again. I can not watch the metamorphosis of Hepburn's character, but to recall that this was the little girl in Nazi-occupied Holland who saw her family breaks up, her beautiful home destroyed, her uncles to be out and shot, which was starved and been on the bulbs. She was grabbed by a machine gun toting guard and put on line for a bus bound to a labor camp, and fortunately broke away. As a child she helped World War II Dutch resistance, grew and became a great humanitarian, an ambassador for UNICEF, and my favorite actress. A fighter strips down to the barest essentials, the essentials. Audrey Hepburn's childhood was a struggle to survive the horrors of war. As Hubert d 'Givenchy said she was a "very thorough person," and this shows in her acting that always conveys the essence. For me Funny Face personifies charm, magic, beauty and the idea that when we open our eyes to eternal everything changes. I find extreme value in what takes me to nice places. Audrey Hepburn in Funny Face. One of my all-time favorite movies. And that's a wrap.
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