Despite never really having got the whole fuss over Audrey Hepburn, I could really see it here. She is completely charming as Sabrina and attractive too. This from someone who can't sit through Breakfast at Tiffany's.
This is a lovely, light romantic movie about a chauffeur's daughter who is in love with the rich boy next door. He doesn't know she exists until she returns from school in France, all grown up and newly sophisticated. As she gets to know him and his brother it seems she has two admirers.
I found this easy to watch and undemanding. Far from ditching it, I think I will watch it again sometime!
A playboy becomes interested in the daughter of his family's chauffeur. But it's his more serious brother who would be the better man for her.
It is wonderful to sit down and watch a film that simply captivates you and charms you the whole way through. There are almost no films that do that today, but 50 years ago that was the standard. This film is no different. Three of the biggest stars of all time: Humphrey Bogart, William Holden, and Audrey Hepburn teamed up with one of the best directors of all time, Billy Wilder, to create a beautiful and charming story that simply doesn't stop. The acting is good, as expected, and the screenplay is pure Wilderesque: a touch of romance combined with snappy dialogue and humorous one-liners. The movie may not end as the audience wants it to, but deep down we know that it is the way it should have ended. Wilder always knew how to make an opening (Sunset Blvd., Double Indemnity) and he also knows how to make a great final scene. This film has one, and it makes the film a classic. It's all in the family.
this is truthfully wilder's hypothesis of possiblities of the bond between two social classes, as the chauffeur father's remarks about a glass board comparted in the middle of limousine as well as the difference of front seats and back seats, therefore democracy is a lie since most people would set eyes upon the chauffeur's daughter judgementally. at the end credit, linus decides to retrieve his dishonourability by re-unifying sarbrina and david...eventually he turns out to sarbrina's craved salvation.....if sarbarina's a bit less innocent and slightly less vulunerable, our cynical hero might not choose to do the right thing at last.
"sarbrina" is a social satire wannabe, but hepburn's lengendary luster overshadows wilder's usual cynical touch as well as bogart's complexity as the last minute hero. wilder tends to dub saving grace for these characters at the final moment(such as miss kubelik's return to baxter in "the apartment"), and he also consent such redemption to "sarbrina" as well. but somehow hepburn's endearing charm overlayers any sarcastic remarks wilder might assign in the script....imagine if sarbrina was played by another actress in the 50s, it would just be as bittersweet as "the apartment" instead of an overwhelming romance. same happens with the sorbid capote tale "brakfast at tiffany's".....audrery hepburn could transfigure any material into a crowd-pleasing romantic piece, and it's my so called "hepburn myth"