It's no definitive masterpiece but it's damn close.

Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Still my favourite Audrey Hepburn. Wish we had more female leads that were like her today. What a movie star. So elegant. A True ballerina always.

"Funny Face" is pure cotton candy; colorful and sweet, but with such little substance, it disappears almost as quickly as it appears. Nonetheless, who doesn't love cotton candy? Nazis. That's who. It's so delightfully buoyant and colorfully entertaining, I don't even care that they are incessantly trying to convince us that Audrey Hepburn isn't gorgeous.

Songs: "Funny Face" (Astaire, reprized Astaire), "'S Wonderful" (chorus, reprized Astaire and Hepburn), "How Long Has This Been Going On?" (Hepburn), "Let's Kiss and Make Up" (Astaire), "Clap Yo' Hands" (Astaire, Thompson), "He Loves and She Loves" (Astaire), — all music by George Gershwin, lyrics by Ira Gershwin. "Think Pink" (Thompson), "Bonjour Paris!" (Astaire, Thompson, Hepburn), "On How To Be Lovely" (Hepburn, Thompson), bridge for "Clap Yo Hands", — all music by Roger Edens, lyrics by Leonard Gershe. "Marche Funebre" (Slifer), music by Roger Edens, lyrics by Lela Simone. "Bullfight Dance", music by Alexander Courage. "Clap Yo' Hands", dance music by Skip Martin. "Basal Matabolism", music by Alexander Courage. Music directed, adapted and conducted by Adolph Deutsch. Choreography: Eugene Loring, Fred Astaire. Songs staged by Stanley Donen. Dance assistants: Dave Robel, Pat Denise. Music arrangements and orchestrations: Conrad Salinger, Mason Van Cleave, Alexander Courage, Skip Martin. Copyright 1957 by Paramount Pictures Corp. New York opening at the Radio City Music Hall: 28 March 1957. U.S. release: April 1957. U.K. release: 27 May 1957. Australian release: 15 August 1957. Sydney opening at the Prince Edward: 16 August 1957 (ran six weeks). 9,302 feet. 103 minutes. SYNOPSIS: Fashion photographer introduces bookshop beatnik into the world of Parisian couture. NOTES: Here's a breakdown of the orchestrations. Van Cleave did "Bonjour Paris!" Courage handled "Let's Kiss and Make Up", Salinger was assigned "He Loves and She Loves", Skip Martin worked on "Clap Yo' Hands", Deutsch did both "Think Pink" and "On How To Be Lovely". Background music was orchestrated by Deutsch, Courage and Van Cleave. Nominated for the following Academy Awards: Best Original screenplay (won by Designing Woman), Best Cinematography (won by The Bridge on the River Kwai), Best Art Direction (won by Sayonara), Best Costumes (won by Les Girls). One of Bosley Crowther's Ten Best Pictures of 1957. Sixth on the National Board of Review's list. Special Citation for "photographic innovations" from the National Board of Review.COMMENT: Top-billed Audrey Hepburn is perfectly cast in this inventively staged and most stylishly photographed musical. Fred is no slacker either, and it's good to see Kay Thompson in such an excellent role (her only previous film appearance was a brief singing spot with her radio choir in "Manhattan Merry-Go-Round" way back in 1937). Following Hollywood custom, one of France's top stars, Michel Auclair, is inappropriately dubbed (though he does get to speak his own opening lines in French), whilst normally reliable British "other man" Robert Flemyng is likewise inexplicably miscast as a Parisian fashion designer. However, Dovima is fine as a Bronx- accented model, and keen fans will have no trouble recognizing Suzy Parker in the "Think Pink" number. OTHER VIEWS: Actually lensed on real Paris locations with Fred and company dancing through the main streets and boulevards and on to the Eiffel Tower, Funny Face is both a visual and musical treat. The story is engaging too, with wit and satire directed against the cleverly contrasted worlds of high fashion and beatnik intellectualism. True the romantic complication with a bearded Michel Auclair is rather old- hat. But with songs like these, who's complaining? Fred, Audrey and Kay are all in marvelous form, production values are appropriately super-glossy, and the photography contrives to be amusing and clever in its own right. Funny Face has so many stylish elements, I'm surprised it has never been adopted as a cult movie. Perhaps its expose of the phony, pretentious claptrap underlying undergraduate philosophy strikes too close to home. Whatever, Funny Face is still an absolute delight. — JHR writing as George Addison.

I didn't know a film could be this bad and also star Fred Astaire, I truly didn't think it was possible. As I've written about before, I am not a fan of Audrey Hepburn's. I'm more than not a fan of Audrey Hepburn's, actually, I don't like her at all. But I recently found out that I am in love with Fred Astaire, so I really thought this venture would work out--it didn't. Similarly, my love for Gregory Peck wasn't enough to yield an enjoyable experience from Roman Holiday. I've settled after this viewing that no matter how much I like her co-stars, I will never enjoy a film with Audrey Hepburn. Stanley Donen, who I will forever love for directing the wonderful Gene Wilder in The Little Prince, was behind Funny Face released in 1957. The film centers around a gorgeous Fred Astaire who works as a photographer for a fashion magazine who discovers a bookworm and is sanctioned to turn her into the next "it girl". I don't know how Audrey Hepburn films landed co-stars, as the camera is constantly on her throughout nearly the entire running time. They wouldn't even show me Fred Astaire long enough for him to salvage this viewing for me. What a disappointment.Dick Avery (Fred Astaire) a fashion photographer needing a change of scenery for a shoot he's working on, takes his models to a bookstore in hopes of passing them off as intellectuals. Filing into the bookstore without permission, they are interrupted by the mousy clerk, Jo Stockton (Audrey Hepburn) who would much rather they all leave. After a bit of back and forth with Avery, she "allows" them to stay while she waits outside for the photo shoot to finish. When she re-enters the bookstore she finds it in complete shambles, broken hearted that the most important things in the world-books- could be treated with such disrespect by a shallow group of models. While offering to help her clean, Avery sneaks in a picture of her and a kiss before he is curtly brushed out of the store by Jo. Upon developing the shots from the day, Dick realizes that Jo has a unique look and wants to photograph her again. Once he shows his photos to Maggie Prescott (Kay Thompson) she is eager to offer Jo a modeling contract. Jo is an intellectual, however, and is reluctant to be just another pretty face. The more time spent with her dashing photographer, however, brings a softness to Jo towards the job and her life.I really wanted to have an "Audrey who?" attitude toward this film; I thought my focus would be so strong on Astaire that I wouldn't notice her, little did I know that wouldn't be possible. The brief moments Astaire was on screen had me wondering through the first half of the film if he was going to even dance at all. Then, I was horrified to finally see him dance, but with Audrey Hepburn. Of course, I knew their characters were going to dance together at some point through the course of the film, but I didn't expect it to look like that. There was no chemistry between them, and I'm not sure there could ever be chemistry between her and anyone Audrey Hepburn would be paired with. She had no talent for movement whatsoever, and I only wish more work would have been put into her dancing so that when Fred was dancing I could have enjoyed it more. Luckily he had some (too brief) solo dance performances I could use to get my fix. This movie is just a whole lot of not for me, even though Fred looks incredible even saturated in red light. Again I ask the question, who is going to turn down a kiss from Fred Astaire?!?