Category: Movie (電影)

Audrey’s Dolce Vita (轉文)

By admin, April 29, 2013 10:04


NUN BETTER Audrey Hepburn on the terrace of the Hotel Hassler, in Rome, with the telegram announcing her best-actress award, for The Nun’s Story, from the New York Film Critics Circle, 1960.

With Roman Holiday, which earned her the 1953 best-actress Oscar, Audrey Hepburn became not just a major Hollywood star but also a living icon for the Eternal City. Alongside intimate photographs from his new book, Audrey in Rome, Luca Dotti recalls his mother’s three-decade love affair with the Italian capital, while Laura Jacobs examines what the images reveal about her style.

Laura Jacobs

The first thing she did with her newfound freedom was buy a pair of Roman sandals. Then she went to the barber for a pixie cut. And then she bought herself a gelato. Simple pleasures all, but as a princess on the lam in 1953’s Roman Holiday, an unknown actress named Audrey Hepburn made these pleasures indelible. She can cook and sew and keep house, the princess tells Gregory Peck, a newspaper reporter who’s onto her. “I just haven’t had the chance to do it for anyone.” He spends the day showing her Rome while secretly planning to report the story and have a scoop. He doesn’t report the story. He falls in love with her instead—just as the viewing public did—and protects this girl of doe-eyed grace and gravity. Hepburn won the year’s Academy Award for best actress.

In the remaining years of the 1950s, Hepburn would go from strength to strength—from sunlight to moonlight to starlight—in movies that included 1954’s Sabrina and 1957’s Love in the Afternoon and Funny Face. And she would make two more movies in Rome: War and Peace, in 1956, with her first husband, Mel Ferrer, and Fred Zinnemann’s magnificent The Nun’s Story, in 1959, in which she plays Sister Luke, of all her roles the one closest to her heart. Rome, too, was close to her heart. Hepburn and Ferrer kept an apartment there and visited often. In 1969, with most of her film career behind her, she settled in Rome to make a home with her second husband, the psychiatrist Andrea Dotti. She’d had a son, Sean Ferrer, in 1960, and dearly wanted more children.

Hepburn felt at ease in the Eternal City, and for their part the Romans thought of her—this beguiling girl who’d zoomed through their streets on a Vespa—as a kind of ambassador. Even during the Dolce Vita 60s and into the disenchanted 70s, Rome’s paparazzi continued to protect her. When Hepburn’s second son, Luca Dotti, began gathering photos from the Reporters Associati archives to make his new book, Audrey in Rome, he was stunned by the richness of the material housed there. “We pre-selected 2,500 photos and just 10 percent made it into the book.” He was also surprised to see that “even in these candid shots she was always herself—perfect.”

The intention behind Luca’s book is that it be “a kind of liaison between a private Audrey and a public one. She didn’t live a life secluded or behind bars; she would walk around and everybody knew her. She was part of the city. The majority of these photos are in the streets.” For the world’s legion Audrey aficionados, imitators, and worshippers, these never-before-seen photographs represent a whole new archive of style.

For instance, Hepburn liked to carry small baskets as a purse and was fond of kerchiefs tied under the chin (not wound around and fastened in back in the French manner). These touches of farm-girl freshness are redolent of her childhood. “My mother was, at the very deep of her heart, a farm girl,” says Luca. “She grew up between England, Holland, and Belgium, in the countryside, and with a great love for everything linked to the countryside—furniture, style. That’s why at the end she chose to live in Switzerland in the middle of the fields.”

These baskets and kerchiefs also reference, no doubt unconsciously, something of the fairy-tale elements, both dark and light, of Hepburn’s life: the Brothers Grimm–like hunger and danger of World War II in occupied Arnhem, Holland—and then the magical, postwar, Charles Perrault transformations that illuminate the Cinderella story lines of Sabrina, Funny Face, and My Fair Lady. Those who knew her well acknowledged a sadness within. “The war,” says Luca. “All that death around her. She lost a big part of her family; she lost the home she had—everything. That stays in the deep of your soul.” But there was also “this fantastic will and enthusiasm. Because after all that sorrow everything was a discovery. When she talked about her career she always said that she was so lucky and it was like winning the lottery.”

In fact, Hepburn’s persona, her style, were born of extremes. “She thought she had a big nose,” says Luca, “and big feet, and she was too skinny, and not enough breast. She would look in the mirror and say, ‘I don’t understand why people see me as beautiful.’ She reasoned that she must be a good mixture of defects.”

Yes, the too wide smile on the too long neck; the swan-boat feet (size 39) on the tulip-stem body (she was almost five feet seven); the girlish trust, yet always those eyes seeing straight to the truth. Striking photos from 1959 show her walking her Yorkshire terrier, Mr. Famous, along a deserted street. She wears a flared tweed coat and carries a grade-school satchel, and her hair is down, unusual for her, which makes her look more like a philosophy student than a world-famous actress of 30.

“I love those photos,” says Luca. “That is the time, I think, between The Nun’s Story and Breakfast at Tiffany’s.

Most of Hepburn’s style choices were based on simplicity and practicality. Ballerina flats and low heels accentuated her long feet, adding to her elegant attenuation, but she wore them so that she could walk comfortably. She did not wear watches, because she didn’t like the sensation of cold or weight against her skin. Her serious jewelry was pearls, either pearl earrings or the pearl necklace Ferrer had given her, because pearls are warm. Her favorite color was cyan—a light blue, says Luca—and her favorite flower the white tulip. Scarves were a bit of a vice. “Well, it wasn’t like Imelda Marcos and shoes,” says Luca. “She had, like every woman, maybe 30 or 40. It was a good way to be in disguise, big sunglasses and a scarf. Occasionally she was able to do her shopping without having all the crowds behind.”

Hepburn did not waste time holding on to youth. “She was always a little bit surprised by the efforts women made to look young,” remembers Luca. “She was actually very happy about growing older because it meant more time for herself, more time for her family, and separation from the frenzy of youth and beauty that is Hollywood. She was very strict about everybody’s time in life. Children should be allowed to play because you’re going to need all your happiness to grow up. And aging was part of the circle of life.

“The only big regret I have and she would have had,” Luca continues, “is not knowing her grandchildren. Because she would have been a fantastic grandmother—cooking cakes, keeping the grandchildren on every occasion, and telling them stories.”

Hepburn’s life with Dotti began as a great romance and brought her Luca, the longed-for second child and brother for Sean. Rome was Dotti; it was family. When the city became unsafe in the 70s, rife with gangsters and terrorists, people began asking if she would leave. Hepburn would answer, “Well, my husband is here; my family is here. Why should I leave?” Still, the marriage became difficult.

“This is a speculation I’m making,” says Luca Dotti, “but also a fact. She was 40 [when they married] but at the same time so much older than 40 because of all the success and history behind her. And my father was 10 years younger. To be around a woman who has been an icon for many years, and you’re a young doctor, for a man it makes a difference. If that equation was reversed, if my father was the one 10 years older and a little bit more secure, it would have probably worked out better.”

Hepburn separated from Dotti in 1980. In 1986, when Luca went to a Swiss boarding school, Hepburn moved to Switzerland as well, back to the 18th-century barn she’d bought—proudly—with her own money in 1963. Hepburn’s Roman sojourn was over.

White Collar

By admin, March 25, 2013 19:12

多謝中學同學的推薦,2013年開始迷上了警匪鬥智劇集White Collar(貓鼠游戲)。


最近才知道飾演NealMatt Bomer原來已經出櫃,怪不得覺得他和Peter間總是有股惺惺相惜的味道,哈哈。


Downton Abbey

By admin, January 13, 2013 08:36


此劇追了近1個月,昨晚終於觀看完畢首3季和最後的那集Downton Abbey 2012 Christmas Special。想到又要等一年才有完整的第4季,真有點欲罷不能的感覺。

Downton Abbey是近年少見的出色British Drama,那個年代的人和事物都很Decent,就如最近看過的另一傑作Brideshead Revisited般精彩。

很喜歡這些英國的古堡大宅和它們背後的文化背景故事,有機會一定會去Highclere Castle與Castle Howard看看。

Highclere Castle


Castle Howard


可能是本年度最期待的電影 Cloud Atlas

By admin, September 12, 2012 12:43


The Everlasting Elegance: Audrey Hepburn

By admin, September 2, 2012 20:49

True beauty always last forever ! To me, Audrey is always graceful no matter on screen or off screen.



Iron Sky

By admin, May 30, 2012 17:41

一套近年少見的黑色幽默喜劇。雖然劇情空洞,但Iron Sky集第三帝國、月球背面的神秘UFO基地和諷刺大美國主義兩大元素為一身,電腦特技(CG)尤其值得觀看。

還有片頭的音樂Take Me to Heaven配得很絕,擺明抄Space Odyssey,感覺很Peaceful,其實是在諷刺地球人在不斷地自相殘殺。


3 Idiots

By admin, October 10, 2011 13:25

近年來印度寶萊塢好戲連場﹐大有取代香港作為東方Hollywood之勢。之前2008年的Slumdog Millionaire叫好叫座﹐但另一套3 Idiots卻遲了3年才在香港上演。




Admiral (末世薔薇)

By admin, June 24, 2011 13:37

這是一套真實發生在19世紀初波瀾壯闊革命進行中的俄國﹐關於海軍上將Alexander Kolchak的故事﹐如果你喜歡看齊瓦哥醫生這類以大時代為背景的愛情題材﹐這套真實刻劃﹑發人深省的電影絕對不容錯過﹗



By admin, June 22, 2011 00:35



Natalie Portman的迷人野性﹗

By admin, June 13, 2011 22:46

最近喜歡上了Natalie Portman﹐記得讀大學的時候看過一套很Cool的狙擊手影片叫Leon: The Professional﹐想不到多年之後才知道裡面的那個小女孩原來就是Natalie Portman﹗

慚愧真正開始留意她還是今年二月Natalie憑Black Swan拿了奧斯卡最佳女演員之後﹐我才逐漸發現自己以前看過好多她飾演的影片﹐如Closer﹑ New York, I Love You﹑ Paris, Je T’Aime﹐甚至3集的Star Wars﹗

最近一個月巧合地看了她的另外兩套片No Strings Attached和Thor﹐但直至昨天的The Other Woman﹐才發現很多人喜歡她的真正原因﹐原來就是她不經意散發出來的那種迷人又獨有的野性﹗

有時候近鏡Zoom近Natalie的時候﹐覺得她竟然帶有Audrey Hepburn的那種獨特氣質﹗

無論如何﹐小妮子經過近20年的演藝生涯﹐演技早已爐火純青﹐之前說過男的有Leonardo Dicaprio﹐女的肯定非Natalie Portman莫屬﹗


Natalie Portman

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