The movie Sweet Sister Funy Face (1957) is an American Blu-ray edition of the cover
1957 was a very "bumper" year for global cinema. The former Soviet Union's "Yan Nan Fei Летgт журавли" (1957) and "Quiet Don River Тихий Дон" (1957) reflected on the warmth of human nature under "power"; this year's 4-minute documentary "Visiting Zhou Xuan" (1957), which was launched in China this year, you will feel that there are too many "big names" on the screen to "pose" mysterious machines, and "struggle" and "comedy" are the key words of This year's Chinese films, like "Yangcheng Dark Whistle" (1957) Films such as "Underground Soldiers" (1957) and "Nurse's Diary" (1957) and "Finding Love" (1957) made people not forget to "relax" when they were "nervous".
From left to right: Parts of Blu-ray envelopes from the films The Nurse's Diary (1957), Defence Witness Wittness for the Prosecution (1957), and Twelve Angry Men 12 (1957).
Ingmar Bergman of Europe (1918-2007) introduced The Seventh Seal Det sjunde inseglet (1957) and Wild Strawberry Smultronstället (1957), federico Fellini Federico Fellini (1920-1993) le notti di Cabiria (1957), And Lucchino Fellini (1920-1993) and Lucchino Fellini (1920-1993) released The Night of Cabilla Le notti di Cabiria (1957). Visconti Luchino Visconti (1906-1976) launched Le notti bianche (1957) and Michelangelo Antonioni (1912-2007) launched Il Grido (1957) and other world-renowned business cards.
On the Hollywood side of the United States, the commercial and entertainment sector continued to be dominated by Billy Wilder (1906-2002), The Defence Witness Witness for the Prosecution (1957), Sidney Lumet 's Sidney Lumet's 12 Angry Men (1957), and Stanley Kubrick's (1957) Films such as Path of Glory (1957) from 1928 to 1999 and Ilya Kazan's A Face in the Crowd (1957) received attention.
From left to right: Parts of posters for the films Sengoku/Raintree County (1957), The Prince and the Showgirl (1957), and Sakura Love Sayonara (1957).
Marilyn Monroe (1926–1962) the self-organized company The Prince and the Showgirl (1957) suffered a "snubbed" from the market, and Elizabeth Taylor Elizabeth Taylor (1932–2011) and Montgomery Montgomery Clift (1920–1966) starring "Warring States Beauty/ Raintree County (1957) grossed modestly, Paul Newman Paul Newman's (1925-2008) until They Sail (1957) received praise from critics, and Marlon Brando's (1924-2004) Sayonara (1957) allowed audiences to see the "weird" oriental imagery in the eyes of Westerners. But both the market and the commentary approved.
Audrey Hepburn in the film Sweet Sister Funey Face (1957).
Audrey Hepburn (1929-1993) was recognized by the market for launching her first "cabaret" "Sweet Sister Funy Face" (1957) in the European and American markets in 1957.
"Sweet Sister" has made great efforts in the design of dance scenes, such as the double dance in the dark room, the three-person dance in the bar, the solo dance under the street lamp, and the three-person dance under the Eiffel Tower, so that the scene has made a favorable extension and creation for the dance.
For example, the singing of the three people crossing in turn in the tower elevator is very interesting, such as the dance in the bar that made Audrey Hepburn shine, the fusion of tap dance steps and ballet rotation, and the agility and freedom of modern dance, all of which add a lot to the film.
Mel Ferrer (center) runs to the crew of Sweet Sister Funey Face (1957) to visit wife Audrey Hepburn and Fred Astaire (left)
Some people say that this is the work of Paramount Pictures in the final era of the song and dance film, pointing out: "In the scene-rich "Sweet Sister", Audrey Hepburn's extremely luxurious styling provides a great visual enjoyment, and the dazzling dress-up show and transition share the heavy responsibility of the song and dance scene, especially one of the characteristics of the song and dance film - the most wonderful song and dance show at the end of the film - seems to have been replaced by a costume show in "Sweet Sister". ”
There is some truth in this review, many films themselves are worthless, but they have been praised for the wonderful performances of the actors... Overall, it made Audrey Hepburn's personal dance talent, but it did not make it the most popular song and dance film; it exhilarated the entire European and American fashion industry, but it was overshadowed by the colorful song and dance films, and now everyone remembers "Sweet Sister" because of Audrey Hepburn, which has become synonymous with her.
Having to admit the intuition of Fred Astaire (1899-1987), the male protagonist of "Sweet Sisters", Fred Astaire (1899-1987) on the spot, he always thought that the film had nothing to do with him, and he also thought that Audrey Hepburn's means were clever, and he could not change the "attributes" of the film.
Because who made the protagonist of this movie Audrey Hepburn?
In 1951, playwright Leonard Jesse Leonard Gershe (1922-2002) rewrote lyrics for a Broadway cabaret called Wedding Day, which, although not yet produced, had sold the entire work to Mizuki.
Roger Edens (1905–1970), the producer and composer of the latter, was best at cabaret.
Audrey Hepburn is trying on a costume given by Givenchy Hubert de Givenchy (right) for the film Sweet Sister Fune Face (1957).
Roger Edens and Leonard Jesse decided to abandon the original Songwriting for Wedding Day in favor of a pop song by brother George Gershwin (1898–1937) and Ira Gershwin (1896–1983) and incorporate the 1927 Broadway Sweet Sister play.
They used "Sweet Sister" as the title, using the theme song and four other pieces, but abandoned the original plot of the play and replaced it with "Wedding Day" (the term "Sweet Sister" comes from Fred Astaire's suggestion, which was his nickname for his sister Adele).
Roger Edens and Leonard Jesse's filming plans immediately attracted Stanley Donen (1924-2019), the famous director of "Song in the Rain" (1952) and "Seven Pairs of Good Couples" (1954) and "Seven Pairs of Good Couples" (1954), who decided to collaborate on "Wedding Day" Adapted into a new film by MGM.
In May 1956, Audrey Hepburn and the creators of Sweet Sister Funi Face (1957), Richard Avedon (second from left), Leonard Jesse Leonard Gershe (third from left), Stanley Donan Stanley Donen (second from right) and Roger Edens Roger Edens (right), were preparing to board a Paramount plane flying paris
Their completed scripts touched on several levels, satirizing and praising haute couture (I'm afraid only Hollywood movies could do both), mocking the popular "Beat Generation" culture, and a tribute to the contemporary master of photography Richard Aveton (fred Astaire's character in "Sweet Sister" is modeled after Richard Aveton).
The story of the film is that Dick Everett (Fred Astaire) was commissioned by quality magazine editor-in-chief (Kay Thompson) to do photography. They pick joe Stockton (Audrey Hepburn), a naïve bookstore clerk in Greenwich, who is particularly fond of the social philosophy "Push and Humanism" created by the Beat Generation.
Fred Astaire and Audrey Hepburn in the film Sweet Sister Fune Face (1957).
Dick told her that if she was willing to work as a model for high-end clothing and go to Paris to take pictures, she would be able to meet the founder of "pushing and humanism". In Paris, she (dressed in Givenchy costumes) transforms herself into a four-seater on the runway and, of course, falls in love with Dick, who is unresponsive. Only later did he accept her love.
The film's weak plot, but many eye-catching shots, combined with givenchy Hubert de Givenchy's (1927-2018) excellent costume design and Richard Avedon's (1923-2004) clever fashion photography, interspersed seamlessly through the story.
The film is accompanied by fun, romantic and wonderful songs and dances, and the story is set in Paris, so there are many opportunities to roam the Paris Opera, Montmartre, Notre Dame, Place de la Concorde, Tuileries Garden and the Eiffel Tower.
The whole team expected from the beginning that if fred Astaire was told that Audrey Hepburn would play the heroine and that the script was written for him, he would sign it immediately.
Fred Astaire had just finished filming The Band Wagon (1953) and Uncle Daddy Long Legs (1955), and he became a hit 25 years ago with Flying Down to Rio (1933) and is now about to perform his 28th film.
In order to ensure that the dance king joined the film, the producers adopted a hollywood trick.
Location on the film Sweet Sister Funy Face (1957), Fred Astaire and Audrey Hepburn chatted while waiting for filming
Leonard Jesse had just given the new script to Flynns, who was supposed to send it to Paris for Audrey Hepburn to see, but after reading it, he said that the script was garbage and advised Audrey Hepburn not to take it.
But Audrey Hepburn read the script during the Christmas holidays and liked it so much that she told Flynns that she would.
And then one by one (that's the producer's trick) the producers said they had signed Fred Astaire (not really), and they had just approached Fred Astaire and told him that they had signed Audrey Hepburn (not really). This approach is risky and runs on the edge of honesty, but in this case it worked.
Image from the film Sweet Sister Funy Face (1957).
After finalizing Audrey Hepburn and Fred Astel, there were other questions.
One problem was that Audrey Hepburn was a Paramount entertainer who Paramount was reluctant to lend to MGM; the other was that Gershwin's tunes belonged to Warner Bros.
So between November and February, MGM negotiated with the two companies, and finally Warner sold the music to MGM at a high price, which sold Roger Edens, Leonard Jesse, Stanley Donan and the male and female protagonists, along with the entire filming plan, to Paramount.
MGM not only received a lot of cash, but also got a reward for asking Audrey Hepburn to make a film over three years.
Image of Audrey Hepburn (center) in the film Sweet Sister Funy Face (1957).
After two months of song and dance rehearsals, in April 1956, "Sweet Sister" officially began filming at Paramount Studios in Los Angeles.
Audrey Hepburn's husband, Mel Ferrer Mel Ferrer (1917-2008), was absent, but Audrey Hepburn instead showed a strength and determination rarely seen in Mel Feller's presence, with a fixed opinion on every scene — and director Stanley Donen welcomed her assertiveness.
The two only had an argument over one scene. While filming her intricate dance steps at a restaurant in Paris, director Stanley Donan asked Audrey Hepburn to wear a black sweater and leggings. She wanted to wear black ballet shoes without socks, but Stanley Donen thought she should wear white socks against a black background to stand out.
Stills from the movie Sweet Sister Funy Face (1957), audrey Hepburn
It was her only dance step without Fred Astaire, and he wanted the audience to see her every move.
Audrey Hepburn heard director Stanley Donan's instructions and was very surprised and said, "Absolutely not, it will destroy the entire black line and cut off the outline of my foot!"
"If you don't wear white socks," Stanley Donan said gently, "you're in the background, you can't see your movements, and your steps will be boring." Audrey Hepburn shed tears and ran back to the dressing room, but later regained her composure and put on her white stockings to continue the show. After watching the film, she wrote a note to Stanley Donan: "You're right to insist on wearing white socks. - Beloved, Audrey. ”
Location of the film Sweet Sister Funy Face (1957), audrey Hepburn and director Stanley Donen "dance together"
"Audrey Hepburn was serious," said actress Kay Thompson (1908-1998), "but unfortunately we shot too hastily, but thankfully the song fit her." "Her tone is a little thin, but the interpretation she makes is unexpectedly moving. The audience immediately feels that her emotions are not simmered, but because of the enthusiasm triggered by a simple kiss.
When the crew went through lengthy work that spring, Audrey Hepburn celebrated her 27th birthday and Fred Astaire was 57. A peculiar pattern can already be seen, rarely in Hollywood history: the young actress has been paired for the third time with the male protagonist who is old enough to be her father, much like the traditional medieval and Renaissance religious art theme: the young Virgin Mary and her husband, the bearded elder Joseph, and such a combination seems to be entangled without carnal desire.
This is precisely why Audrey Hepburn appears to be innocent and desireless in the film — not because she is not seductive or indifferent, but because she often performs with elders who seem unable to match her lush youth — at that time it was Humphrey Bogart (1899-1957), Henry Fonda (1905-1982) and Fred Aster, and later Jalí Cooper Gary Cooper (1901-1961).
Only when she was over 30 years old and needed more sensuality (rather than sexiness) did she pair up with Albert Finney (1936–2019), Peter O'Toole (1932–2013) and Sean Connery Sean Connery (1930–2020). Even if she felt that pairing with older male stars lacked screen heat, she never showed such a thought — perhaps she thought it would be too insulting.
Audrey Hepburn is like a non-human fireworks figure, in appearance, voice or posture, which is very different from Marilyn Monroe (1926-1962) and the sexy specialties of the time, for example.
Her repressed love affair with Gregory Peck (1916-2003) on screen is quite credible, as Gregory Pike is also not a symbol of sexiness.
It's hard for viewers to imagine her embracing Humphrey Bogart, Henry Fonda or Fred Astel passionately, even if their kisses were perfunctory.
Image of Audrey Hepburn in the film Dragon Phoenix/Sabrina (1954).
Billy Wilder (1906-2002) may have felt this conundrum because his final scene in The Dragon/ Sabrina (1954) went against the convention of love scenes—when audrey Hepburn and Humphrey Bogart's embrace on a ship bound for Paris was not shot in close-up or even in mid-range shots, but instead placed the camera a few meters away.
Director Billy Wilder seems to agree with the audience: it is really unconvincing to put the two protagonists together - they have no sense of intimacy, and the two are like characters in the seascape, not only far away from the audience, but also at a distance from each other.
Fred Astaire's genre in the film industry is represented by Stanley Donan's role in Royal Wedding/Royal Wedding (1951), in which he runs around the room with a sense of magic as if unrestricted by gravity. He is like a medieval saint, raising his hands and feet without feelings of sex or lust.
The dance partners in each of his films resemble his own goddaughter, and his demeanor suggests that he is a gentleman on the screen, completely devoid of erotic elements. Because of this, "Sweet Sister" is very popular.
When Fred Astaire and Audrey Hepburn drift down the river in the forest of Shantiburg, snow-white pigeons and swans fly out of the sky, it is a typical Hollywood fairy tale with its own unique charm.
Fred Astaire, like Peter Pan, ignores the laws of physics in the universe: he walks, jumps, and kicks on the screen; in Sweet Sister, Audrey Hepburn is Peter Pan's tinker bell fairy.
He easily overcame the limitations of his body and danced in steps that were impossible to dance.
The unforgettable scene of his acting career is the scene at the end of "The Story of the Dancing Star" with Chinpi Rogers (1911-1995) dancing to eternity, which is a bit absurd but irresistible.
It's just that fairy tales only appear on the screen, and off-screen is another matter.
Location for the film Sweet Sister Funy Face (1957), with Audrey Hepburn and Fred Astaire by Fred Astaire
From the beginning of the filming of "Sweet Sister", Audrey Hepburn was in awe of Fred Astaire and worked twice as hard to please him. He hated Audrey Hepburn's immediate wins over the director, staff, and other actors.
He knew the production team was bent on currying favor with her because, as he put it, "Audrey Hepburn had her set."
After filming began, Fred Astaire began to worry about the age difference between the male and female protagonists and the credibility of the on-screen relationship; he could not resist the temptation to share the stage with Audrey Hepburn, and now had to face the reality: she looked younger than her actual age, and he worried that he looked older than his actual age.
Every morning, as soon as the staff came to say hello and chatted around Stanley Donen over coffee, Fred Astair arrived angrily and abruptly asked Stanley Donan, "What do you want me to do?" Or be picky: "What is he doing here?"
In fact, even several times, halfway through dancing with Audrey Hepburn, Fred Astaire (not Stanley Donan) abruptly interrupted her and asked loudly, "What are you doing?" Kay Thompson said: "Fred Astaire was very impatient and he wanted a great performance in front of Audrey Hepburn. In the Scene in Shantiburg, where Fred Astaire and Audrey Hepburn were boating across the river, he interrupted her four or five times and asked, "What are you doing?" He yelled at her several times. It was a tough time to finish the scene. ”
That night, Audrey Hepburn confessed to Kay Thompson that she felt "a little stressful" working with Fred Astaire — but she never mentioned it to the public.
About the dance on the grass, Audrey Hel herself danced with Fred Astaire in her wedding dress, and in fred Astaire's memoirs he did write: "The dance needed to be filmed on a beautiful meadow on the outskirts of Paris, so we waited for the most suitable time, but when we arrived there, the weather was terrible, it was raining every day, the grass was muddy... I remember Audrey Hepburn saying: 'I've been waiting for 20 years to dance with Fred Astaire, and in the end what did I get?' Covered in mud. I thought, this girl is so cute. ”
The entire staff eagerly awaited a trip to Paris that summer, but the situation in Paris was even more depressing. Day after day of heavy rain, even if the rain stopped for a short time, the crew still had to rush to shoot under the dark clouds, because time and funds were stretched. For example, a scene in The Tuileries Garden was apparently filmed in a moment when the rain stopped, but Stanley Donat had no choice. Fred Astaire, on the other hand, didn't change his temper because of the weather.
Audrey Hepburn enjoyed working in Europe, and she was always more comfortable in Europe than in Hollywood. Her clip of Sweet Sisters in Greenwich, New York, is elegant and funny, but not very comfortable. She was a better fit for Paris, and Hollywood knew that, so she had six films that were shot at least in part in Paris.
At the end of July 1956, Audrey Hepburn finished filming Sweet Sister and returned to Burgenstock on a few weeks' vacation with her husband, Mel Feller, and then to Spain and France to play two roles in succession.
At the same time, Audrey Hepburn accepted the invitation to work with Billy Wilder again, on the condition that the film Love in the Afternoon (1957) had to be filmed in Paris throughout the film, allowing her to spend the weekend with Mel Feller.
Before Audrey Hepburn could finish reading the script, Billy Wilder impressed her with the role of big star Jalee Cooper as the male lead. This time Gary Grant (1904-1986) also did not agree to Billy Wilder's offer.
Poster for the Polish version of the film Sweet Sister Funey Face (1957).
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