Sabrina (Full Screen)

Everybody loves a good Cinderella story, especially if it has a dash of realism and a sense of humour. And unbaked souffles.

And methinks it also helps the case if you have Audrey Hepburn as the modern Cinderella-with-a-wit, which is the strongest point in the charming little romance called "Sabrina." While the chemistry between Hepburn and Humphrey Bogart is never entirely believable, the movie is as buoyant and whimsical as a summer daydream, but with way better dialogue ("Bounce please, ladies").

Sabrina Fairchild (Hepburn) is the daughter of the chauffeur at the palatial Larabee estate. She's also in love with the ne'er-do-well second son, David (William Holden) -- and even attempts suicide after seeing him with one of his many girlfriends, although she's rescued by David's stiff older brother Linus (Humphrey Bogart). The next day Sabrina is sent away to Paris to attend a cooking school, where she meets a kindly old count who teaches her sophistication, ambition and confidence... as well as the ability to make a souffle properly ("A woman happily in love, she burns the souffle. A woman unhappily in love, she forgets to turn on the oven!").

When she returns to the Larabees' estate, the lovelorn little chauffeur's daughter has become a clever sophisticated Parisian beauty (and a pretty good cook). David is instantly smitten. But even if marrying a chauffeur's daughter were okay with his family, Linus has arranged a business marriage for David for the family's newest innovation, which requires large amounts of sugar. And to make sure David doesn't run off with Sabrina, Linus begins wooing her too... and falling in love for real.

"Sabrina" is one of those shimmering romantic comedies that Hollywood once succeeded in whipping together every now and then, and which they now desperately try to imitate with cutesy scripts and arch performances. No such artificiality is present in this movie, though -- it's just a relaxed little romance that ambles through a predictable little plot, and is content to let itself to be illuminated by Hepburn's presence. No gimmicks, no cutesiness.

Part of "Sabrina's" charm is the way Billy Wilder handles the comedy aspect of it -- rather than playing everything for laughs, he simply lets the laughs fall like a shower of petals. There are some laugh-out-loud moments (David sitting on a pair of champagne flutes, and having to lie in a hammock with a cut-out for his injured bottom) but most of the humour is gentle and mildly mocking, such as Mr. Larabee standing in his son's closet so he can have a smoke. And the dialogue adapted from Samuel A. Taylor's play is no less adorable ("You make it sound so vulgar, David, as if the son of hot dog dynasty were being offered in marriage to the daughter of the mustard king").

And perhaps what makes "Sabrina" a really heartwarming experience is the sunny, hopeful attitude. Despite starting with an attempted suicide (which is thwarted in a very tongue-in-cheek manner), the movie soon decides to "throw open the windows and letting in... letting in la vie en rose." It's all about having dreams come true by refusing to run away from love or life, and being open to the suddenly curve balls that they throw you.

But even so, the movie would only be a sweet featherlight curiosity if it weren't for Audrey Hepburn, who was only in her second major movie. She's absolutely transcendent in her role -- bursting with sweetness, enthusiasm, confidence and an almost gleeful joie de vivre. And while she's never entirely convincing as a plain teenager, she is magnificent as a confident, stylish young lady who sweeps into a moneyed party in a black-and-white ball gown. And steals the show, of course.

And the cast supporting her is pretty brilliant -- William Holden is full of sprightly charm as David, Walter Hampden is hilarious as the brittle henpecked Larabee patriarch, and John Williams is quietly solid as Sabrina's long-suffering dad. Humphrey Bogart's gruff, slightly angular Linus is a nice foil for the exuberant Sabrina, but there's pretty much zero chemistry between the two leads. Perhaps it's because Bogart didn't like Hepburn in real life, or maybe their styles just didn't click.

"Sabrina" is a frothy, romantic little tale about reaching for the moon, filled with sparkling dialogue and still-fresh comedy. But its crowning gem is Hepburn, whose early performances showed what a brilliant actress she was.

A must see for any Audrey hepburn fan!!

It almost begins like a fairy tale, how once upon a time, on the north shore of Long Island, some 30 miles from New York, there lived a small girl on a large estate. So goes the opening narration by Audrey Hepburn, which sets the story in motion and introduces the Larrabee estate and family, also goes on to describe an English chauffeur named Fairchild and his daughter, Sabrina, played of course by Hepburn, in this romantic comedy based on Samuel Taylor's play Sabrina Fair.

Sabrina's sent to a cooking school in Paris, which not only prepares her for a vocation, but to help her get over her crush over David Larrabee (William Holden), the dashing playboy who spent short periods at many colleges and even shorter periods with his three wives (consecutive, of course). Ironic, considering that Holden had a crush on Hepburn, which led to a brief affair, and for him, a torch he carried through the rest of his life. The advice she gets is "don't reach for the moon." The thing is, she's the last of the romantics, "l'amour toujours" as described by Linus Larrabee, the business brains behind the multimillion Larrabee holdings, which include land and water, copper, construction, and now, a new kind of plastic that's resilient and tastes sweet(!!)

After two years in Paris, she is a vision of beauty, chic, with a new haircut, and transformed, yet still the romantic, as she vows to be in the world and of the world, and "never ever run away from life, or from love either."

Linus plans to marry David off to Elizabeth Tyson, whose father owns the second largest sugar cane in Puerto Rico, the ceremonial part of a $20 million merger with Tyson. This is put in jeopardy with Sabrina's return, and David, who previously ignored her, is bedazzled. Yet Sabrina, who's reluctantly wooed by Linus to salvage the deal, finds out there's more to him than just the "cold businessman...with ice in his veins, ticker tape coming from his heart." She finds out he's nice and quite human.

"Remember, it's the 20th century" is a reminder that the Victorian days of knowing one's place is gone. Fairchild sees life as a limousine: "there's a front seat, there's a back seat, and a window inbetween." He later says "Nobody poor was called democratic for marrying someone rich." Mother and Father Larrabee believe that, as they are scandalized at David's affections towards Sabrina, and see her in terms of class status.

Other great scenes include the cooking school, but the party scene when Sabrina appears in her bare-shouldered white dress and becomes the belle of the ball dancing with David, shows her at her most radiant and resplendent.

Humphrey Bogart is great as Linus, scheduled, sensible, loyal, observant, honest, and yet with a softer side. John Williams is perfect as Tom Fairchild. And Jenny the maid is played by Nancy Kulp, best known as Ms. Hathaway in the Beverly Hillbillies TV series. But Francis X. Bushman as old Mr. Larrabee has some funny moments with a penchant for martinis and cigars (whenever his wife's not around). Hepburn would be reunited with director Billy Wilder in Love In The Afternoon.

However, Sabrina also sees birth of a long-time association between Audrey and a certain Hubert de Givenchy, who did her costumes for many of her films. No Oscar for Hepburn, though she was nominated, but this film got me on my Hepburn kick back in the 90's, and is especially wonderful for those living "la vie en rose" as Sabrina does. To conclude, forget the 1995 remake--watch the original instead.