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

Good concept, poorly executed.

A Masterpiece!

Great movie. Not sure what people expected but I found it highly entertaining.

Given two days to finish a screenplay that he has supposedly been writing for months but has actually not yet started, a washed up screenwriter enlists the help of an imaginative young stenographer in this comedy vehicle for 'Sabrina' alumni William Holden and Audrey Hepburn. While a predictable eventual romance between the pair adds very little to the story, it is delightful to have the Oscar winning stars back together with equally as much chemistry a decade on. As the plot furthermore consists of both leads imagining and reinventing (as they go along) what the screenwriter's movie will eventually look like, ambition is in no short supply here. The results are not, however, entirely successful. Amusing as all the reversed footage is as they change their mind about scenes - and as curious as some of their deflections are as they wonder how the film could be turned into everything from a heist comedy to a vampire horror flick - there is absolutely no escaping how tepid the film within the film eventually ends up being. The characters of the film-within have no character and the plot does not really make sense. One might, however, argue this as intentional on behalf of the actual filmmakers, George Axelrod and Richard Quine, who (intentionally or not) prove that it is impossible to write a lucid one-and-a-half hour film in less than 48 hours! Whatever the case, the film is an interesting celebration of the human creative process and some hilarious cameos by Marlene Dietrich and Tony Curtis in a glorified "bit part" do not hurt at all.

Director Richard Quine's "Paris When It Sizzles" proves that Audrey Hepburn could and did make some disastrous movies before her career when into decline in the 1970s. Presumably, Paramount Pictures must have thought that pairing superstars William Holden with Audrey Hepburn again after they had appeared in "Sabrina" with Humphrey Bogart constituted a surefire sensation. Despite all the considerable talent and production values that went into this romantic comedy with its scenic setting, "Paris When It Sizzles" never sizzles. Indeed, Holden and Hepburn ignite the screen with undeniable chemistry as a film scriptwriter suffering from writer's block who falls in love with his stenographer. One of the elements of a memorable movie is the ability of the filmmakers to spring one surprise after another so that we the audience don't tire of the screenplay shenanigans. In this regard, "Paris When It Sizzles" does sizzle. Unfortunately, "Breakfast at Tiffany's" scenarist George Axelrod wears out the idea about a scribe who keeps changing a screenplay that he has been contracted to write so that every quarter-hour or so, the plot changes until the fun fizzles. During all these bright, fun-loving antics, Tony Curtis, Mel Ferrer, and Marlene Dietrich make cameo appearances. Reportedly, Curtis stepped into the film as a favor. If you blink, you may miss Dietrich.Movie producer Alexander Meyerheim (famous playwright Noel Coward) is luxuriating in the South of France while his contract writer, Richard Benson (William Holden), sits in Paris trying to write a script. The problem is that Benson isn't having any luck with his literary endeavors until beautiful Gabrielle Simpson (Audrey Hepburn) enters his life as his stenographer. Benson makes just enough progress with his screenplay to realize how awful that it is before he sets about constantly revising it and conjuring up every cliché in the book. Meanwhile, Meyerheim has deluded himself into believing that Benson has created another cinematic gem. In fact, after all his elaborate but contrived ideas, Benson concocts a script that is so egregious that he tosses it at fadeout so he can kiss Gabby and they can dissolve into Paris after dark. If you know little about the process of writing a screenplay, this frivolous comedy should prove enlightening.Nothing about "Paris When It Sizzles" is remotely memorable. At various points, it looks like both Quine and Axelrod realized that they were roasting a turkey. Some of the crisp, crackling dialogue serves as a commentary about the futility of what they were trying to achieve. This carefree farce struggles throughout its overlong 110 minutes to conjure up laughs as well as insights. The chief insight is that when things go awry not even first-class talent that compensate for it. Nothing works, and the narrative about a fictional movie entitled "The Girl Who Stole the Eiffel Tower" looks like a combination of "Casablanca" crossed with "Algiers." Happily, Hepburn relies on her charm and survives this travesty. Holden, on the contrary, doesn't fare as well as Hepburn. William Holden delivers the hammiest performance of his distinguished career. Mind you, "Paris When It Sizzles" is almost worth watching so you can see Holden decked out in one scene as a vampire! He resembles a Lon Chaney, Jr., with a hangover in that brief scene that must have been embarrassing for the Oscar-winning actor. "Paris When It Sizzles" has more drizzle than sizzle. Skip it unless you are a die-hard fan of either William Holden or Audrey Hepburn. The scene when they compare "My Fair Lady" (a film that Hepburn is remembered for) with "Frankenstein" merely shows that sophistication and wit cannot save the day.

Seems I'm in the minority for liking this little gem. I have a feeling that since Hepburn said it was one of her least favorite films, people fail to look beyond that at what a clever little piece this is. Or it may take an appreciation of cinema itself. To me, this was way before its time. It makes fun of the system, writers, and actors. Some of the film is very stupid or silly, but that's the point. They are writing a BAD film, and as such, we see this bad film come to life. It's also a great spoof. Tony Curtis, in a very extended cameo plays himself. But himself as an actor in a supporting role. It's hard to describe the brilliance of this performance. From his initial entrance with the exaggerated mannerisms of a method actor, to his delivery of lines usually reserved for insignificant extras. It does become tedious in spots, and Holden and Hepburn's romance is just as forced and sudden as the one in their poorly written movie. See this if you are a Curtis fan, or love seeing actors lampoon themselves. I'm surprised to see so much post-modernism so early on in cinema.

As a fan of Audrey Hepburn, I was quite interested in seeing this film. While Paris When it Sizzles is not without its charms, it sort of disappointed me. The film does benefit from some gorgeous locations and beautiful cinematography, while the music was a nice touch too. What makes the movie watchable is the cast. Audrey Hepburn has been better, but she is very graceful and charming in this movie and brings some vigour into the movie when it most needs it. William Holden is also great, the film is worth seeing for his chest, if I were to say it is a scene stealer it would be an understatement. And Tony Curtis is delightful, he always is a welcome presence and this is no exception, he has the film's funniest moments. I quite liked Marlene Dietrich's cameo too.However, Paris When it Sizzles does suffer from some problems. To be honest, I wasn't a fan of the title, after seeing the movie I thought it was misleading and lacked punch. The pacing is rather leaden here, while the direction is on the mediocre side of things. The script had its witty moments but it was often unfunny and weak, while the story is rather thin and predictable and the slower scenes and romantic moments are somewhat sappily written. The ending also falls flat, to be honest I was not surprised by the outcome and some scenes leading up to it were done in a sadly heavy-handed way. Finally, while it looked pretty and had a great cast, overall there wasn't any real fire and passion here.So overall, had great potential but fizzles out. 5/10 Bethany Cox