Robert W. Anderson I'm not sure there were many women who could have pulled off this film in such an amazing fashion (sorry for the pun). This was more a celebration of Audry, then anything else. And she was somehow simple and radiant at the same time. The story is familiar. The simple shop girl is discovered by simple happenstance. At first, she resists. And then she dives in, head first. But there's also the May - December story line between Fred Astaire and Audry. But, just looking at Audry in all the different settings and costumes is worth the price of admission. Of course with Fred Astaire, there are several dance numbers and songs. And they are a cheerful addition. But it all still comes down to Audry. And this is a great film for serious Audry fans. We get to see so many different images of Audry. The first costume we see her in after losing her bookstore duds, combined with her natural beauty. Is jaw-dropping. While watching this film of this amazing woman. It should be remembered that in spite of her natural attributes. She was carrying and unaffected human being. Her work with UNICEF. The work she did for that agency saved many lives. She genuinely cared for the people she was trying to help.

grantss I am a fan of Audrey Hepburn, but generally hate musicals (though there are a few exceptions - The Sound of Music, Across the Universe, amongst others), so this was always going to be interesting. Turns out even Audrey Hepburn can't overcome a lame plot, dull music, unimaginative direction and a unconvincing and wooden leading actor. More than boring, this film is irritating. The campy pretentiousness of the setting, the irritating fashion people, the songs which hardly have a tune. It all just seems so contrived and lame.Worst of all, Audrey Hepburn gets made to look bad thanks to the movie. Her character is overly nerdy, and the songs just don't suit her.A very bitter disappointment.

Thomas Drufke In honor of Audrey Hepburn's birthday, which was earlier this week, I decided to watch another Hepburn musical, and I had an absolute blast. I really enjoy the types of movies that bring a tremendous amount of joy to the screen. Funny Face is most definitely one of those movies. It's extremely colorful, catchy, and well acted. And for being a musical that get's me interested, you deserve some extra points. Audrey Hepburn stars in this beautiful take on the musical that tells the story of a normal girl with a funny face and a whole lot of heart.It's another film in the long list of movies that Audrey Hepburn's love interest is significantly older than her. But unlike Charade, Love in the Afternoon, or even My Fair Lady, I never felt particularly fond of the love story in Funny Face. I have to admit, it's a ridiculously romantic film, I mean it takes place in Paris for gosh sakes, but the chemistry wasn't there for me. With that being said, just about everything else really works here. Hepburn's voice sounds like it's actually being used, and she's having a blast filming. Her expression dance scene was so entertaining and re-watchable that I couldn't help but smile all the way through. Her character is borderline forced into becoming a model by how drop dead gorgeous she is. And my golly, Audrey is just about as beautiful as ever here. Her photo-shoot montage all over Paris was wonderful and had me literally 'aweing' at least a few times. It even reminded me of Roman Holiday with her princess shoot and even Breakfast at Tiffany's with the classic black dress, even though the film hadn't actually come out yet. It was just a pleasant film to watch.Of course, it is a musical so there are plenty of catchy songs to sing and dance to. The classic Funny Face main theme song became a constant reminder that Hepburn does have such a unique face. Not only physically but as a presence as well. We just don't have anybody like her right now. In terms of acting, I think someone like Amy Adams is comparable, but she doesn't embody everything Hepburn does off camera as well. She is simply missed in this age of Hollywood. Again, the actual romance of the film didn't feel genuine enough, but I liked just about everything else. It's one of Audrey's best roles and a highly re-watchable film.+Audrey is having fun +Expression dance +Colorful +Set in Paris+Hepburn's gorgeous photo-shoot scene -Chemistry between Astaire and Hepburn wasn't there 8.5/10

dglink Splashy colors, Paris locations, Fred Astaire's dancing, Audrey Hepburn's pixie-ish charm, Stanley Donen's direction, and George Gershwin's music should have melded into an enduring musical classic in 1957's "Funny Face." However, the talented individuals involved produced a dated, clumsy film with but a few bright moments. Poor tweedy philosophizing shop girl is transformed into an elegant stylish fashion model, a "My Fair Lady" wannabe. While Audrey Hepburn is never convincing as a mousy clerk garbed in shades of drab, she comes alive in designer clothes, and, quicker than you can say "Givenchy," the character swaps her principles for a haircut and makeover, a walk down the runway, and a trip to Paris. Hepburn was often paired with older men in her films; however, Cary Grant, William Holden, and Gary Cooper had enough masculine sex appeal to be convincing love interest for a young woman. Fred Astaire, however, was never romantic material, even for those of his own age. In "Funny Face," Astaire in his late 50's is about 20 years older than Hepburn and looks it; oddly, neither the age difference nor Astaire's reason for advanced bachelorhood is ever remarked upon or mentioned in the script.Leonard Gershe's screenplay for "Funny Face" is planted firmly in the Eisenhower 1950's. Astaire's chauvinistic attitude, "the man asks the woman to dance," is archaic and would have been poison to a free-thinking young woman like Hepburn's Jo Stockton. Kay Thompson's magazine editor is a post-World War II stereotype of the working woman: unmarried, hard, bossy, mannish, and abrasive. Only in mid-20th-century America would a harem of lemming-like "yes-women" blindly follow Thompson and mindlessly praise her every mundane uttering. Further undermining the film's credibility, the supposed pictorial output of Dick Avery, a successful fashion photographer, and Maggie Prescott, editor of "Quality" magazine, is limp at best; Avery's photos are mediocre, and Prescott's earth-shattering idea is "think pink." As always, Fred Astaire's dancing is worth watching, and, although her singing is more flat than melodic and her dancing mixed, Hepburn is always a winning charmer. However, under Donen's direction, the film does not soar, but rather lumbers from clumsy number to embarrassing parody; bearded beatniks, soul-searching laments, Parisian dives, empathetic philosophers, and even fashion magazines seem so last century. "Funny Face" may be worth a view as a mid-20th-century curiosity piece, but otherwise the film is most suitable as source material to excerpt scenes for documentaries on Astaire and Hepburn. Most viewers will have to think pink to plod through "Funny Face."