Funny Face (1957)

Funny Face (1957) is a visually sumptuous and musically charming romantic comedy-musical directed by Stanley Donen, starring Audrey Hepburn, Fred Astaire, and Kay Thompson. Loosely based on the 1927 stage musical of the same name—with only a handful of the original George and Ira Gershwin songs retained—it is a vibrant homage to fashion, Paris, intellectualism, and the transformative power of love and style. Beneath its glossy exterior lies a surprisingly thoughtful meditation on image versus identity, idealism versus compromise, and the unexpected places where art and affection intersect.

Plot Summary

Set in the glamorous world of 1950s fashion publishing, the film begins at the offices of Quality Magazine, a high-fashion periodical helmed by the assertive and charismatic editor Maggie Prescott (played with electric energy by Kay Thompson). In search of a new look and a fresh face for the magazine, Maggie and top fashion photographer Dick Avery (Fred Astaire) stumble upon Jo Stockton (Audrey Hepburn), an intellectual bookstore clerk in Greenwich Village.

Jo, uninterested in fashion and devoted to existential philosophy, is initially resistant to their world. However, lured by the chance to travel to Paris and meet her philosophical idol, Professor Émile Flostre, she agrees to model for Quality. Once in Paris, the film unfolds through a series of elaborate photo shoots, romantic misunderstandings, and Jo's gradual transformation—not into someone new, but into a more confident version of herself.

Performances

Audrey Hepburn shines in a role that seems tailor-made for her. As Jo Stockton, she bridges the gap between cerebral detachment and romantic vulnerability. Her charm, grace, and effortless elegance are on full display, particularly in dance sequences like “He Loves and She Loves” and “Bonjour, Paris!”. Hepburn’s background in ballet lends her an ethereal quality, most famously showcased in the beatnik jazz dance number in a Parisian café—a scene that has become iconic for its style and surrealism.

Fred Astaire, though in his late 50s at the time of filming, retains his characteristic lightness, wit, and rhythmic precision. While the age difference between Astaire and Hepburn is noticeable, it is less jarring than in other May-December pairings of the era due to Astaire’s restraint and charm. His role as the world-weary yet enchanted photographer allows him moments of gentle comedy and emotional sincerity.

Kay Thompson nearly steals the show. As Maggie Prescott, she is brassy, bold, and deliciously animated. Her musical number “Think Pink” is a technicolour explosion of fashion satire, brilliantly choreographed and energetically performed. Thompson's performance is a rare cinematic gem, as she was better known behind the scenes as a vocal coach and musical arranger.

Music and Choreography

The soundtrack is a delightful blend of old and new Gershwin tunes, including:

“Funny Face” – Originally written for the 1927 stage musical and repurposed here, it’s a lovely showcase for Astaire’s tender romanticism.

“How Long Has This Been Going On?” – A sultry and introspective solo for Hepburn, revealing Jo’s growing affection for Dick.

“Bonjour, Paris!” – A jubilant, fast-paced trio celebrating the city of light, cleverly juxtaposing the characters' different reactions to Paris.

“He Loves and She Loves” – A beautifully staged romantic duet between Astaire and Hepburn in a serene garden setting.

Donen’s direction emphasizes motion and spectacle, integrating fashion photography, Parisian landmarks, and dance into a coherent visual style. The film was shot by cinematographer Ray June in VistaVision and Technicolor, resulting in dazzling widescreen compositions full of colour and elegance. Edith Head’s costume designs—especially the Givenchy wardrobe created for Hepburn—are iconic and essential to the film’s enduring visual appeal.

Visual Style and Cinematography

Funny Face is arguably one of the most visually beautiful musicals of the 1950s. From the clean, hyper-stylized sets of New York fashion offices to the dreamlike backdrops of Paris—Notre Dame, the Louvre, the Eiffel Tower—the film uses its locations as living tableaux for fashion spreads and character development alike.

The photo shoot montages are particularly effective. Each one is its own mini-musical vignette, with stylized lighting, elaborate poses, and choreography that mirrors magazine stills brought to life. The film blurs the boundary between commercial art and personal identity, turning each frame into a visual treat.

Themes and Subtext

At first glance, Funny Face may appear to be just another glamour vehicle—a confection of clothes, choreography, and classic songs. But beneath the surface, it explores several interesting thematic tensions:

Intellect vs. Superficiality – Jo’s disdain for the fashion world and her devotion to philosophy sets up a classic “highbrow vs. lowbrow” conflict. However, the film ultimately argues that beauty and intellect need not be mutually exclusive.

Transformation vs. Authenticity – Jo undergoes a visual transformation, but the film suggests that true change lies in self-expression, not conformity. Her modelling isn't a betrayal of her values but a recontextualization of them.

Art and Commerce – The film lightly critiques the world of high fashion while also revelling in its visual pleasures. It acknowledges the absurdity of fashion’s transience (as in “Think Pink”) while celebrating its creativity.

Criticism and Legacy

Funny Face is not without its dated elements. The age gap between Astaire and Hepburn, while softened by tasteful writing and performances, reflects a broader Hollywood trend of romanticizing older men with significantly younger women. Additionally, Jo’s initial independence seems somewhat undercut by her eventual romantic submission, though this is handled with enough nuance to avoid feeling regressive.

Despite these concerns, Funny Face has aged gracefully, due in large part to its artistry and charm. The film is a masterclass in how musicals can use visual storytelling to elevate familiar narratives. It is beloved by fashion enthusiasts, classic film buffs, and musical fans alike, and its influence is still felt in everything from music videos to photo shoots that borrow its Parisian chic and Hepburn elegance.

Final Verdict

Funny Face is a radiant, stylish, and charming musical that exemplifies the glamour and wit of 1950s Hollywood at its best. Powered by elegant performances, irresistible songs, and sumptuous visuals, it strikes a delicate balance between satire and sincerity. Though it operates within the conventions of its time, it manages to suggest that beauty, love, and intellect all have their place in a well-lived life.

A timeless blend of fashion, music, and romance—imbued with charm, elegance, and just the right hint of existentialism.