Even today, almost a half-century later, there is excitement in watching "Roman Holiday." How even more thrilling it must have been to be in a 1953 theater, watching this story unfold, and knowing that you were witnessing the birth of a truly remarkable star.
Of course, that star is Audrey Hepburn, and her American film debut earned her a Best Actress Oscar and the hearts of millions. Miraculously, "Roman Holiday" still holds up and doesn't collapse under the weight of years and myth.
The story is simple and well-known (POSSIBLE SPOILERS): Princess Anne (Hepburn) is a young, popular European princess on a goodwill tour of Europe. In Rome, she finally tires of smothering protocol, slips out of her embassy disguised as a schoolgirl, and meets Joe Bradley (Gregory Peck), who takes her on a whirlwind tour of Rome. Bradley is a newspaperman, unbeknownst to Anne, and is recording this carefree day with the intent of selling the story and accompanying photos for a high sum. Of course, Bradley falls in love with Anne; she returns to her duties as princess an even more regal and endearing leader thanks to having discovered love, and Bradley loses some of his cynicism as he forfeits the story (and its price) for the sake of his love.
Don't be put off by any details of the plot which may sound trite. Of course, the very idea of a princess running away from the palace to mingle with the commoners requires the suspension of disbelief anyway. The script is so well-written, and the performers are so persuasive, natural and beguiling, one cannot help but believe in it, as well.
As Princess Anne, Hepburn never hits a false note. While radiating, even at that early age, the serene elegance that would become her trademark, she also projects a charming awkwardness that fits Anne's naitivity and youth. This writer, I think, fell in love with her in the moment that the Italian hairdresser tells Anne that she is the prettiest girl. There is a moment of shock that crosses Audrey's face, then a shy and utterly delighted smile--as if she's never been told she was pretty before.
Such scenes as Anne on an impromptu, reckless spin on a Vespa, could come off as contrived or forced in other hands. Hepburn's joy and exuberance are contagious, and we willingly go along for the ride. The ending, too, is extremely satisfying (SPOILER CNT'D!): Anne, having returned to her royal duties, holds a press conference at which Bradley is present. They can only express their mutual affection and sadness through their eyes--a trick which invites silent-star-mugging, but which Hepburn and Peck carry off effortlessly.
At the close of the conference, Bradley remains after all the other journalists have left, perhaps hoping that Anne will reappear. Then, slowly, he walks down a long corridor, toward the exit. Throughout this long sequence, one expects (hopes?) that Anne will reappear, cry "Joe!", and rush into his arms as the studio orchestra swells to a big Paramount Pictures finish.
But she doesn't. Joe keeps on walking. And, even though our hearts have dropped, it is the perfect ending. A "fairy tale" ending would have cheapened and lessened the film. Instead, there is the bittersweet knowledge that Anne has learned through her one-day experience of complete freedom (her perfectly-played confrontation scene with her advisors and chaperones, as well as the press conference scene, conveys this wonderfully), and Joe has learned a few lessons as well.
This is as good a time as any to point out that, though Hepburn obviously steals the show, Peck is a fantastic leading man. Combining Cary Grant's smoothness with Bill Holden's ruggedness, Peck is the ideal match for Hepburn's first major pairing. He doesn't overshadow her, but neither is he a colorless sop. Eddie Albert is also extremely engaging as Irving, the smart aleck photographer, and Paolo Carlini is adorable as the Italian hairdresser who cuts Princess Anne's locks, and tells her how pretty she is. He may have been the first; we have lined up to echo his sentiments ever since.
Of course, that star is Audrey Hepburn, and her American film debut earned her a Best Actress Oscar and the hearts of millions. Miraculously, "Roman Holiday" still holds up and doesn't collapse under the weight of years and myth.
The story is simple and well-known (POSSIBLE SPOILERS): Princess Anne (Hepburn) is a young, popular European princess on a goodwill tour of Europe. In Rome, she finally tires of smothering protocol, slips out of her embassy disguised as a schoolgirl, and meets Joe Bradley (Gregory Peck), who takes her on a whirlwind tour of Rome. Bradley is a newspaperman, unbeknownst to Anne, and is recording this carefree day with the intent of selling the story and accompanying photos for a high sum. Of course, Bradley falls in love with Anne; she returns to her duties as princess an even more regal and endearing leader thanks to having discovered love, and Bradley loses some of his cynicism as he forfeits the story (and its price) for the sake of his love.
Don't be put off by any details of the plot which may sound trite. Of course, the very idea of a princess running away from the palace to mingle with the commoners requires the suspension of disbelief anyway. The script is so well-written, and the performers are so persuasive, natural and beguiling, one cannot help but believe in it, as well.
As Princess Anne, Hepburn never hits a false note. While radiating, even at that early age, the serene elegance that would become her trademark, she also projects a charming awkwardness that fits Anne's naitivity and youth. This writer, I think, fell in love with her in the moment that the Italian hairdresser tells Anne that she is the prettiest girl. There is a moment of shock that crosses Audrey's face, then a shy and utterly delighted smile--as if she's never been told she was pretty before.
Such scenes as Anne on an impromptu, reckless spin on a Vespa, could come off as contrived or forced in other hands. Hepburn's joy and exuberance are contagious, and we willingly go along for the ride. The ending, too, is extremely satisfying (SPOILER CNT'D!): Anne, having returned to her royal duties, holds a press conference at which Bradley is present. They can only express their mutual affection and sadness through their eyes--a trick which invites silent-star-mugging, but which Hepburn and Peck carry off effortlessly.
At the close of the conference, Bradley remains after all the other journalists have left, perhaps hoping that Anne will reappear. Then, slowly, he walks down a long corridor, toward the exit. Throughout this long sequence, one expects (hopes?) that Anne will reappear, cry "Joe!", and rush into his arms as the studio orchestra swells to a big Paramount Pictures finish.
But she doesn't. Joe keeps on walking. And, even though our hearts have dropped, it is the perfect ending. A "fairy tale" ending would have cheapened and lessened the film. Instead, there is the bittersweet knowledge that Anne has learned through her one-day experience of complete freedom (her perfectly-played confrontation scene with her advisors and chaperones, as well as the press conference scene, conveys this wonderfully), and Joe has learned a few lessons as well.
This is as good a time as any to point out that, though Hepburn obviously steals the show, Peck is a fantastic leading man. Combining Cary Grant's smoothness with Bill Holden's ruggedness, Peck is the ideal match for Hepburn's first major pairing. He doesn't overshadow her, but neither is he a colorless sop. Eddie Albert is also extremely engaging as Irving, the smart aleck photographer, and Paolo Carlini is adorable as the Italian hairdresser who cuts Princess Anne's locks, and tells her how pretty she is. He may have been the first; we have lined up to echo his sentiments ever since.