Efter mordet på hendes mand, bliver en kvinde opsøgt af tre skurke, der vil have deres penge, som hendes mand stjal fra dem. Hun går til en charmerende fremmed for at få hjælp, men opdager, at han ikke er den, han giver sig ud for at være.
Denne film spiller ikke i øjeblikket på MUBI, men 30 andre gode film gør. Se hvad der vises nu
One of those special films – I try to keep them to a bare minimum – which I love out of all proportion to their objective quality, though in fact the way it manages to be simultaneously light and dark for 113 minutes is a quite miraculous bit of tightrope-walking.
Donen choreographs the action in a fleet style which never drags or risks heavy-handedness. Also not to be overlooked is Henry Mancini’s score. He was the only composer in filmdom capable of such delightful cues as “Latin Snowfall,” “The Drip-Dry Waltz,” and “Mambo Parisienne.”
Consistently better than ordinary without ever being extraordinary, but in this blighted season we moviegoing beggars can’t be choosers. The inevitably invidious comparisons with Hitchcock do not really apply here, although I would hate to bet that director Stanley Donen and writer Peter Stone have not seen the master’s To Catch a Thief, The Trouble with Harry, North by Northwest, and both versions of The Man Who Knew Too Much.
Classic mystery thriller spy comedy cinema with Audrey Hepburn dedicating her damnedest to falling in love with Cary Grant and Cary Grant just trying to blue-ball himself until he can finally reveal his true good side. A real hoot.
One of those tough cases to rate. The suspense is equivalent to Hitchock and there are some great alternate editing sequences in place, culminating in the great finale. The colors are often exquisite so in terms of art direction this yields many pleasures. The sugary dialogues and grimaces -Grant is at points unbearable to watch- detract from the film's other merits, which belong to Hepburn's mobility of expression.
Revered by many as a classic but personally I find the scripting a little hackneyed and the May-December romance a little desperate and forced. Hepburn is certainly charming and her wardrobe extraordinary but the overall film is just entertaining.
I appreciate this film more because of Miss Hepburn's costumes, which are made by Givenchy. My favourites are the mustard yellow coat and the indigo suit wore by Audrey Hepburn in the final scene of the film.
Perhaps the only film that can rival N/NW in terms of sheer romantic chemistry but then again Cary Grant works with just about everyone. You could probably make a great romantic comedy with Grant falling for his own shadow. However, while it has the charm to keep any viewer's attention, as a thriller, it lacks precision and originality as the last set-piece is almost identical to Hitchcock's Stage Fright.
I can see why fans have enjoyed Charade for decades, but i was slightly disappointed. the social mores of the film are dated in a way that i found unpalatable. The film is sinister in a way that doesn't really go over anymore, and though Audrey Hepburn is adorable, her character's love for the Cary Grant's untrustworthy character is pathetic. Great cast and direction, though.