As dark comedies go, Charade is about as entertaining as you can get and a must see. All the elements of a great thriller pass before your eyes in a little less than two hours, but you also leave (or get off the couch) with a smile and perhaps even a chuckle, instead of just the usual stretch and yawn. I mean really, how can you get better than this? Cary Grant and Audrey Hepburn were perfectly cast in the elegant lead roles of "Peter Joshua" and "Reggie Lambert." Whether or not those characters were written to be particularly chic, they attained that status by association (or perhaps osmosis) as a result of being played by those two great stylish actors. Yes, there is an age difference between the two (which both Mr. Joshua and Ms. Lambert allude to several times during the movie), however, we seem to accept the building romance between them rather easily, largely due to Mr. Grant's aging, but still well received, charisma. Here, two of the most glamorous stars of the middle portion of the twentieth century...albeit from different halves...work some mild form of sexual magic on film without ever literally going to bed with one another. It works because the 'sex' in this case is the alluring mix of murder, romance, marriage all rolled together in one chaotic screenplay. The real mystery of this multi-mystery thriller lay in the question(s) (which are really presented at the very beginning of the movie...and continue to its very end) "How, where, and when will Peter Joshua (is that his real name?) and Reggie get together?"
Now for the rest of the fantastic acting/directing ensemble. George Kennedy, James Coburn and Ned Glass nailed the "less than loyal mean natured old Army partners of the deceased (murdered) husband of the pretty widow who is thought to be hiding a small fortune which is really 'theirs' parts." The CIA/mystery villain of the story was played to a comic, confusing, and at times terrifying tee by Walter Matthau. And then finally you have a great, a-one, first class director in Stanley Donen (also the producer of the film), who is probably best known for making the greatest musical of them all, "Singing in the Rain." Mr. Donen's musical background can be felt throughout the picture as the laughs, surprises, editing (with Jim Clark at the editing reel) and overall pace are well choreographed in the way that a musical would have been told/shown
had this been a musical. Of course, much of this great pacing (and dialog) is due to the terrific writing skills of Peter Stone (and Marc Behm). The addition of some great musical scoring by the legendary master of '60s cocktail music himself Henry Mancini, helped to further support this heavy weight film (which garnished an Academy Award nomination for the title song -the only one for the movie by the way).
So what do you get when you put all of this together?...you get a finely orchestrated thilledy or comeder (depending if you are a glass half full or empty person). Often times the movie feels like a Hitchcock film (which I am using as a complement) in the sense that it
looks like Hitchcock, feels like Hitchcock, smells like Hitchcock, tastes like Hitchcock
must be Hitchcock
or not. Perhaps it's its own thing
a musical mystery
without the music (which I know is just a mystery
but it's really too lyrical to be JUST a mystery). However you look at it, you get one hell of a fun (killer) ride.
What you've missed if you haven't watched: Regina Lambert (Audrey Hepburn) is pursued by four ex (or could be 3 or 5) WW2 Army cohorts of Charles Lambert (is that HIS real name? her freshly murdered, but was going to divorce anyway, husband). She soon learns that Charles, her husband, stole $250,000 of the US government's money during the war and double-crossed his Army war "buddies" in the process. Everyone wants the money, but no one knows just where it is (or that is what we are led to believe). The only real clue(s) left behind by her husband are stored in a Lufthansa bag
and seem of little consequence. The story is chock full of deception, with nobody knowing just who is who. Reggie, through all of the new found truths and lies, becomes more and more vulnerable
seeking occasional comfort under the multifaceted guises of Peter (whatever his name is). All this fun and action takes place in Paris, which was adeptly filmed by master cinematographer Charles Lang and is one of those films that really makes you feel as if you are in France
not on a set made to look like France. Around every twist there is a turn
what's up is probably down
and nothing is what it appears. There's some great banter, exciting chase scenes, and a most excellent fight sequence that takes place on the roof of the American Express building between Herman Scobie (George Kennedy's nasty artificial armed character) and Peter (Joshua). Humor and intelligent action pervade until the end though as the tale continues to provide for more murders and deceit
culminating in a great game of "Who do you (really) trust?" Even the very last few minutes of the movie, after the climax, keep you (or at least Reggie) guessing.
This is first rate entertainment
a combination of several genres all rolled into one. It certainly showcases the talents of all the actors, with of course the comic and dramatic timing of Mr. Grant held as a standout. But, it is much more than that. It is also a movie that you can enjoy time and time again for all of its virtues
for it is not one dimensional. So go ahead and be tricked, thrilled, and tickled for a couple of hours and come away from it
a different person? (Is that really your name?)
J. Braun
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