“We’ve never seen Norma Jane become Marilyn Monroe: we met her after this transformation, with her platinum hair and huge smile. But for Audrey Hepburn, every role – from The princess who wanted to live for Sabrina– That led her to luxury doll Then continue to My beautiful lady,, showed his transformation: the butterfly emerging from the cocoon. And unlike Monroe, who was always seen turning into something created for the screen, Audrey Hepburn only revealed herself as a luminous and intrinsic entity.” (Paula Vasquez Prieto, Criticize yourself).The full agenda of the session is as follows:
Tuesday 14
Cinderella in Paris
(Funny face; United States. United States; 1957)
Director: Stanley Donin.
With Audrey Hepburn, Fred Astair and Kay Thompson.
A photographer for a major fashion magazine needs to find a model out of the ordinary. Chance leads him to a bookstore where, unexpectedly, he discovers Joe Stockton, a shy store assistant with all the qualities he was looking for. "Cinderella in Paris In the ultimate fireworks, he combines the innovative energy alliance of MGM musicals with the legendary elegance of the production company Parmount. At first glance, the film looks very different from the musicals directed by Stanley Donin to MGM. But this difference is more superficial than profound. Leonard Gerchi’s scenario follows a very similar scheme to that of Singing in the rain (1952): satire of a trivial professional environment (women’s fashion and its weekly newspapers), a star hero (Esther is a famous fashion photographer like Jane Kelly was a famous film actor), a heroine alien to that medium, a medium that he despises in the name of the noblest aspirations (…) The scene in which Esther reveals and expands Hepburn’s lost image in the collection, thus “revealing” its beauty, is an echo of the scene in Singing in the rain Kathy’s voice replaces Lina’s voice in the dubbing studio.” (Bertrand Tavernier, Jean-Pierre Corsaudon, 50 years of American cinema). “One of the most bizarre ways Hollywood cinema in the fifties to prevent audiences from associating their female stars with potential sexuality was to pair them with men old enough to be their parents. By watching Sabrina (1954), the public implicitly accepted that Audrey Hepburn would eventually reject the handsome William Holden in favor of Humphrey Bogart, who was thirty years older than Hepburn; or that she was romantically involved with Henry Fonda (twenty-four years her senior) in War and peace (1956); Or with Fred Esther (same age as Bogart) in Cinderella in Paris. (…) Audrey often provoked emotional protective reactions in the audience. However, he was more of a fragile character to decorate windows than a sex symbol.” (Donald Spoto, Hitchcock Ladies). 3 and 9 p.m. (103 minutes; DM).
luxury doll
(Breakfast at Tiffany; United States. United States; 1961)
Director: Blake Edwards.
With Audrey Hepburn, George Peppard and Patricia Neal.
Holly Golitly is a beautiful girl who, apparently, leads an easy and cheerful life. One day, Paul Farjak, a handsome writer who waits for success that never comes, moves to the same building. “The opening credits for the film, with Audrey Hepburn having breakfast in front of Tiffany’s window, have become a metaphor for the classic Hollywood dying, and a display of dreams that are inaccessible. As The Great Gatsby By F. Scott Fitzgerald, novel Breakfast at Tiffany It is the story of the American dream. Truman Cabot’s novel is about the price you have to pay for this dream. The film is determined to see dreams as an answer to desires. It is no coincidence that it took a European movie star with an aristocratic heritage to make the American dream a reality, because the American dream is, in part, a dream to be real, to belong, to be discovered. Like Holly Golletly and Marilyn Monroe, Jay Gatsby was a farce, a farce that believed herself. But Hepburn was a wonderful dreamrather than imitation. Cabot knew that Hepburn wasn’t the Holly he wrote, which is undeniable. But his choice is the reason why the film works on its own terms and has become culturally distinct from the novel. Although much of Cabot’s story and dialogue remains, it is a radically different story because her tone and temperament are different. The film is illuminated and full of hope, while the novel is full of shadows and horror. (…) The film is devoid of all irony, it always believes in that sincere heart that beats under the layers of makeup.” (Paula Vasquez Prieto, Criticize yourself). “Despite featuring characters driven primarily by corruption and the sex trade, the film illustrates the revered double standards in Hollywood. Wild parties, drunkenness, bizarre dancers, sexual cleansing, and the royal kind of selfish autonomy appear as the main pastime of New York’s sophisticated classes. After all , however, the two lovers impose decency (…) they are the ones who remain etched in our memory, soaked in rain, as if it were a symbol of divine blessing. The spectacle touched millions of spectators in 1961 and years later it seems to retain most of its power.” (Donald Spoto, Audrey Hepburn: biography). 6 p.m. (115 minutes; DM).
Wednesday 15
Love in the afternoon
(Love in the afternoon; United States. United States; 1957)
Director: Billy Wilder.
With Gary Cooper, Audrey Hepburn, Maurice Chevalier.
Love in the afternoon, a charming tribute to the romantic comedy by Ernst Lubic – specifically The Fun Widow (1934) and Bluebird’s eighth wife (1938) tells the story of Ariane Chavas, a naïve Parisian girl lured by a veteran American playboy named Frank Flanaganan. But he does not know that the girl’s father is the private investigator Claude Chavas, who specializes in matters of infidelity. "Love in the afternoon It’s one of Billy Wilder’s coolest movies. (…) The spirit of Ernst Lubic permeates the film. You can feel Lubicch’s voice throughout the film. While America rejoiced in the imaginary age of Jerry Lewis, Billy Wilder proudly turned to the past, to the stylized European grace that the director kept relatively intact under the cover of a Hollywood film director in the forties and fifties. Ironically, however, the critics who took Billy Wilder seriously were French. Fascinated by American culture and jealous of its energy, Cahiers du Cinéma’s young critics were drawn to comedy cartoon By Jerry Lewis and Frank Tachlin (…) On the other hand, Billy Wilder was very restrained. Styllistically, Wilder seemed to lean towards Quality Cinema Exactly the kind of cinema that the New Wave strongly rebelled against.” (Ed Sikov, On Sunset Street: The Life and Times of Billy Wilder). 4 p.m. (130 minutes; DM)
Thursday 16
Sabrina
(United States) United States; 1954)
Director: Billy Wilder.
With Humphrey Bogart, Audrey Hepburn and William Holden.
The young Sabrina, the daughter of a powerful Larrabee driver, loves the youngest son of the family, who flirts with her for pure entertainment. Her father sends her to Paris, where she returns to transform into an elegant and seductive woman who dazzles the Larapy brothers, both the petty David and the hermetic and cruel Linus. “After Stalag 17 (1953), Billy Wilder tried to make a love story for Ernst Lubic set in the rarefaction financial world of New York, and was somewhat successful. Script for Sabrina It is more vivid and entertaining than Samuel Taylor’s lengthy play on which the film is based. Just like you did with Stalag 17, Wilder tightened the structure, strengthened the main characters, changed almost all the dialogue, and rewrote it in a more rhythmic and lively way than in the play. The result of the film – adapted and composed by Wilder’s old friend Frederick Hollander – is pleasant. The cinematography of Charles Lang is elegant and cheerful, with images as accurately polished as they were raw. Rock Chains (1951). Audrey Hepburn is a witch, William Holden is exceptionally cheeky and optimistic. Sabrina It has some memorable moments, including the stunning close-up of her sitting on a tree, peeking out of the branches. A full-size moon shines behind him and draws its light from the leaves as he watches with a pathetic gaze as the love of his life dances with a young woman with a ridiculous laugh.” (Ed Sikov, On Sunset Street: The Life and Times of Billy Wilder). 3 p.m. (113 minutes; DM).
Friday 17
The princess who wanted to live
(Romanian holiday; United States. United States; 1953)
Director: William Wyler.
With Gregory Beck, Audrey Hepburn, Eddie Albert.
During a visit to Rome, the princess of a small Central European country tries to evade the protocol and the obligations involved, escaping the palace to visit the city in disguise. This is how she meets an American journalist who pretends not to know the identity of the young woman. Audrey Hepburn won the Academy Award for Best Actress for a film The princess who wanted to live, an exhilarating comedy by William Wyler (filmed almost entirely in Italy) made her a top-notch movie star overnight. “In the scenes where the princess performed her royal duties, Audrey moved with appropriate dignity, while in the other scenes she jumped, danced, fell into the river and circled the city carelessly a teenager. It is that balanced and accurate image, without a single glaring nod or tone, that must be taken into account when evaluating that stage of Audrey Hepburn’s career, because Princess Anne is Audrey herself. As the daughter of the Baroness, instilled in European etiquette, who knew both the discipline of ballet and the deprivation of war, Audrey found a changed ego in Anne’s personality. Here’s the In Audrey’s films,Ded complementary aspects of her personality, the serious and cheerful side, dedicated and stubborn, the ideal young woman and adult who learns a moral lesson. in The princess who wanted to live, as in her other films, Audrey is not a static object. She is a changeable young woman, a nymph who can be aristocratic or vulgar, arrogant or active depending on the moment.” (Donald Spoto, Audrey Hepburn: biography). 6 p.m. (118 minutes; DM)
Tuesday 21
The princess who wanted to live
(Romanian holiday; United States. United States; 1953)
Director: William Wyler.
With Gregory Beck, Audrey Hepburn, Eddie Albert.
3 p.m. (118 minutes; DM).
Wednesday 22
Wait for darkness
(Wait until dark; United States. United States; 1967)
Director: Terence Young.
With Audrey Hepburn, Alan Arkin, Richard Crena.
Photographer Sam Hendricks meets a model at an airport. The woman takes a doll full of drugs with her and exchanges it for a gift doll carried by Sam. Later, three criminals track the doll to the photographer’s apartment. There they face unexpected inconvenience: Susie, Sam’s wife, is blind. Based on the famous thriller of Frederick Knott (playwright already made into a film by Alfred Hitchcock in Deadly Call, 1954), Wait for darkness It’s a classic to rediscover in a cinema Suspense. Audrey received her fifth and final Oscar nomination Susie’s performance is one of the most dramatic roles of her career. “Of all the tools a filmmaker can use, fear of the dark is perhaps the most natural, because films, by their basic nature, must be seen in the dark. The last 15 or 20 minutes of Wait for darkness It’s very terrifying, thanks in part to the excellent performances of Audrey Hepburn and Alan Arkin (and in my opinion, Arkin’s performance may be the best evocation of evil ever in the film, rivaling or perhaps surpassing Peter Lore in M, Vampire Dusseldorf), thanks in part to Frederick Knott’s brilliant development in the story: Hepburn, in a last-ditch attempt to save her life, breaks the story.She has the last light bulb in her apartment, so that she and the villain are equal. The problem is that he forgot a light … (Stephen King, Horrific dance). “Audrey became the first movement heroine to make a big show cinema. What is Hepburn doing in Wait for darkness It is huge: it works with the whole body. That’s right, he always did: look at the legs on the bike in The princess who wanted to live, see the movement of the cat in luxury doll, see the steps when rotating in Sabrina (…) But that was hidden: here is the actress, in perfect mastery of her art and her machine, twenty years before Linda Hamilton in separator Or the great Ellen Ripley of Sigourney Weaver.” (Leonardo M. Disposito, The nation). 3 and 9 p.m. (108 minutes; DM).
Saturday 25
Representative
(Representative; United States. United States; 1963)
Director: Stanley Donin.
With Carrie Grant, Audrey Hepburn and Walter Mathau.
When Regina Lambert arrives in Paris, she discovers that her husband has killed and looted his apartment. At the U.S. Embassy, she reported that her husband stole a quarter of a million dollars from the U.S. government. But the money has disappeared and the accomplices in the theft believe she owns it. “Film critics considered it very violent at the time (released two weeks after Kennedy’s assassination), Representative It contained all the elements of excitement: a complex plot full of identity changes, a gallery of evil and funny villains, not very heroic war heroes, and a hidden treasure that, appropriately, is there for everyone to see.” (Donald Spoto, Audrey Hepburn. biography). “Although Carrie Grant has long wanted to work with Audrey Hepburn, he was suspicious of the age of twenty-five that separated him from the actress. For this reason, he had already refused to perform with her Sabrina and Love in the afternoon. It was Stanley Donin and screenwriter Peter Stone who persuaded Grant to work with Audrey in Representative, facing the problem of age without disguise and making it a present element throughout the film.” (Warren J. Harris, Carrie Grant. A touch of elegance). 4 p.m. (113 minutes; DM).
Sunday 26
How to steal a million dollars
(How to steal a million; United States. United States; 1966)
Director: William Wyler.
With Audrey Hepburn, Peter O’Toole and Elie Walach.
A legendary collector lends Venus Cellini’s precious to a Parisian museum. But Venus is not native, but it isZoer is an expert. Before the scam is discovered, Nicole, the collector’s daughter, enlists the services of a collar thief to steal the original. "How to steal a million dollars This was Audrey’s fifth film to be shot in whole or in part in Paris. This was also his third work under William Wyler, who was directing his first comedy since The princess who wanted to live. For Wyler (and also for the male leader, Peter O’Toole) a lot of performance pleasure How to steal a million dollars It lay in the improvised jokes that punctuated the dialogues and that were a feast for the attentive viewer. At some point in his plan to steal a fake statue, O’Toole Audrey wears the work clothes worn by museum cleaners. “Why?” she asks, and O’Toole whispers, “Well, at least you’re going to give Givenchy a day off.” (Donald Spoto, Audrey Hepburn. biography). 9 p.m. (123 minutes; DM).
Tuesday 28
luxury doll
(Breakfast at Tiffany; United States. United States; 1961)
Director: Blake Edwards.
With Audrey Hepburn, George Peppard and Patricia Neal.
3 and 9 p.m. (115 minutes; DM).
Wait for darkness
(Wait until dark; United States. United States; 1967)
Director: Terence Young.
With Audrey Hepburn, Alan Arkin, Richard Crena.
6 p.m. (108 minutes; DM).
Wednesday 29
Sabrina
(United States) United States; 1954)
Director: Billy Wilder.
With Humphrey Bogart, Audrey Hepburn and William Holden.
3 p.m. (113 minutes; DM)
Love in the afternoon
(Love in the afternoon; United States. United States; 1957)
Director: Billy Wilder.
With Gary Cooper, Audrey Hepburn, Maurice Chevalier.
6 p.m. (130 minutes; DM)
Representative
(Representative; United States. United States; 1963)
Director: Stanley Donin.
With Carrie Grant, Audrey Hepburn and Walter Mathau.
9 p.m. (113 minutes; DM).
Thursday 30
How to steal a million dollars
(How to steal a million; United States. United States; 1966)
Director: William Wyler.
With Audrey Hepburn, Peter O’Toole and Elie Walach.
3 and 9 p.m. (123 minutes; DM).
Representative
(Representative; United States. United States; 1963)
Director: Stanley Donin.
With Carrie Grant, Audrey Hepburn and Walter Mathau.
6 p.m. (113 minutes; DM).
Friday 1
Cinderella in Paris
(Funny face; United States. United States; 1957)
Director: Stanley Donin.
With Audrey Hepburn, Fred Astair and Kay Thompson.
4 p.m. (103 minutes; DM).
Saturday 2
Love in the afternoon
(Love in the afternoon; United States. United States; 1957)
Director: Billy Wilder.
With Gary Cooper, Audrey Hepburn, Maurice Chevalier.
9 p.m. (130 minutes; DM).
Ticket sales:
www.complejoteatral.gob.ar
Tickets can also be purchased at the theatre box office.
General admission is $2,000.
Students/Seniors $1000
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