| Vintage Pulp | Dec 5 2019 |
How many secrets can one man keep?
Charade is one of the great romantic thrillers in cinema history, and is a movie you should definitely see if you haven't. Audrey Hepburn plays a woman whose husband is fatally thrown off a speeding train and Cary Grant is a charming but mysterious stranger willing to render aid in solving the murder. But Grant has ulterior motives, as well as multiple identities. Others are interested in the killing too, and it soon develops that they're after $250,000 worth of missing gold.
The movie is great, as legions of fans and critics have agreed, but in addition to its narrative, directorial, and acting brilliance, what we like about it is that the unlikeliness of the May-December attraction between Grant and Hepburn does not go unaddressed. At one point Grant, 59, quips to Hepburn, 30, that he's afraid he'll be arrested for transporting a minor. We love the tack taken in dealing with the romance because it gives the audience credit for being intelligent enough to appreciate the subtleties of life. That's increasingly rare in popular movies—as well as in popular culture.
For example, these days there's talk of such things as “age appropriate” relationships, the inference being that older men should not be with younger women (and possibly vice versa). Horseshit. We can think of little more sexist than assuming women aren't able to make their own life choices. Consenting adults—older/younger, male/male, female/female, other/other—trying to find love will tend to look anywhere they can, and internet tribunals can take a flying leap. We don't say that merely because neither Pulp Intl. girlfriend is age appropriate. We say it because nothing in this life is more important than finding the right partner.
Interestingly, numerous other mid-century films—among them classics like Sabrina and To Catch a Thief—also addressed the presumed incongruity of older men with younger women, and did it in an empathetic, humanistic way. Charade does it more amusingly than most. Grant is initially embarrassed by Hepburn's attentions, but of course she eventually wears him down. The film mixes comedy, romance, and thrills, plus it was made in beautiful locations around Paris, all of which makes it a total winner. It premiered in the U.S. today in 1963.
Interestingly, numerous other mid-century films—among them classics like Sabrina and To Catch a Thief—also addressed the presumed incongruity of older men with younger women, and did it in an empathetic, humanistic way. Charade does it more amusingly than most. Grant is initially embarrassed by Hepburn's attentions, but of course she eventually wears him down. The film mixes comedy, romance, and thrills, plus it was made in beautiful locations around Paris, all of which makes it a total winner. It premiered in the U.S. today in 1963.
ParisCharadeCary GrantAudrey HepburnJames CoburnGeorge KennedyWalter Matthauposter artcinemamovie review
| Femmes Fatales | Oct 28 2010 |
Life in the trenches can be really rough.
Above, Poland-born Israel-raised actress Gila Golan, aka Zusia Sobetzcki, aka Miriam Goldberg, seen here in a promo still from the James Coburn spy flick Our Man Flint, 1966. None of her three names are her birth name. If she ever had one, it was lost to the winds of war. In 1940 during the Nazi occupation of Poland she was found, abandoned in infancy, in a Krakow train station. Raised in a monastery and sent after World War II to be educated in Israel, she won the 1960 title of Miss Israel, and came in second at Miss World, which led to her breaking into American cinema and relocating to the U.S. You can see more Golan here (don't mind the gore).
