Funny Face

Reviews

• 

  CinemaSerf

  Jun 27, 2022

  7
  Despite the presence of Audrey Hepburn and Fred Astaire, I think this film actually belongs to Kay Thompson. She plays really well as the 1950s version of Dame Anna Wintour in this amiable, if a little thinly spread, musical comedy. Infuriated by the rather drab quality of her latest "Quality" magazine, she determines to revamp the whole thing. In pink! A bookshop being used for a photo shoot by "Avery" (Astaire) provides the unlikely source for her new model - "Jo" (Hepburn) who is to the fashion industry what Herod was to babies. "Avery" is clever, though, and he offers a trade off that sees her do a shoot in Paris in return for a meeting with "Prof. Flostre" (Michel Auclair). What now ensues is all fairly predictable, a love triangle with "Jo" in the middle vacillating. George & Ira Gerschwin provided the musical numbers, and though they are very well staged, the film lacks a killer song. That said, Thompson is on super form as the no-nonsense boss, the dance numbers are colourful and energetic and finally, Hepburn has a lovely vivacity and enthusiasm to her performance - she takes to the musical numbers very much like a duck to water. Astaire isn't at his best, and Robert Flemyng's accent isn't the best either - but at the end, the whole thing falls into place with an enjoyable certainty.Read more

  Despite the presence of Audrey Hepburn and Fred Astaire, I think this film actually belongs to Kay Thompson. She plays really well as the 1950s version of Dame Anna Wintour in this amiable, if a little thinly spread, musical comedy. Infuriated by the rather drab quality of her latest "Quality" magazine, she determines to revamp the whole thing. In pink! A bookshop being used for a photo shoot by "Avery" (Astaire) provides the unlikely source for her new model - "Jo" (Hepburn) who is to the fashion industry what Herod was to babies. "Avery" is clever, though, and he offers a trade off that sees her do a shoot in Paris in return for a meeting with "Prof. Flostre" (Michel Auclair). What now ensues is all fairly predictable, a love triangle with "Jo" in the middle vacillating. George & Ira Gerschwin provided the musical numbers, and though they are very well staged, the film lacks a killer song. That said, Thompson is on super form as the no-nonsense boss, the dance numbers are colourful and energetic and finally, Hepburn has a lovely vivacity and enthusiasm to her performance - she takes to the musical numbers very much like a duck to water. Astaire isn't at his best, and Robert Flemyng's accent isn't the best either - but at the end, the whole thing falls into place with an enjoyable certainty.