Love in the Afternoon (1957)

Claude Chavasse is een privé-detective die de amoureuze avonturen van een zekere Frank Flannagen onderzoekt. Hij ontmoet een bedrogen echtgenoot die wraak zweert en Frank wil neerschieten. Chavasse zijn dochter hoort dit en besluit Frank in te lichten. Dit doet ze 'in disguise' als een vrouw van de wereld. Frank heeft haar trucje al snel door, maar vindt haar toch wel leuk. Dan ontdekt Chavasse wat er allemaal gebeurt en tracht zijn dochter weg te houden van Frank.

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Another May-December romantic comedy from Wilder starring Audrey Hepburn, this one pairs her with Gary Cooper in the City of Lights. Ariane Chavasse (Hepburn) is the daughter of a private detective (Maurice Chevalier), who has been hired by Mr. X, (John McGiver), a suspicious husband, to find out who his wife (Lise Bourdin) is seeing on the side. When he discovers the woman in the grip of millionaire playboy Frank Flannagan (Gary Cooper), he informs the predictably livid husband who loudly announces his intention to kill the interloper while Ariane is eavesdropping. She rushes off to warn Flannagan of his impendi...
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ng demise, which begins a series of afternoon meetings where she adopts the pose of a jaded lover and woman of the world. Intially amused by the ingenue's charade, the middle-aged roue gradually becomes interested in the young woman, and after she disappears, becomes obsessed with finding her. After he unwittingly tells the story to the girl's father in a steam room, the detective agrees to help Flannagan find her. Wilder's sophisticated romantic fable, shot in spectacular Parisian locations, including the Opera and the elegant Chateau de Vitry, is nearly stolen by Chevalier as the protective pere.
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Gary Cooper more or less repeats his international-roue characterization from 1938's Bluebeard's Eighth Wife for the 1957 romantic comedy Love in the Afternoon (both films were co-scripted by Billy Wilder, who also directed the latter picture). Audrey Hepburn co-stars as the daughter of Parisian private eye Maurice Chevalier. Investigating the amorous activities of Cooper, Chevalier relates what he's discovered to cuckolded husband John McGiver, who declares that he's going after Cooper with a pistol. Overhearing this conversation, Hepburn rushes off to rescue Cooper. She keeps him far away from McGiver by adopti...
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ng a "woman of the world" pose. Cooper quickly sees through this charade; still, she is fascinated by Hepburn and attempts to relocate her after she disappears. Meeting Chevalier one day, Cooper relates the story of the Mystery Woman, never dreaming that he is describing Chevalier's daughter. Equally in the dark, Chevalier offers to locate the elusive Hepburn. Once he's tumbled to the fact that his quarry is his own flesh and blood, Chevalier advises Hepburn against contemplating a relationship with the much-older Cooper. She, of course, fails to heed this warning, setting the stage for an ultraromantic finale. Love in the Afternoon is highlighted by a superb running gag involving a quartet of gypsy violinists, who insist upon dogging Cooper's trail wherever he goes-including a steam bath. Love in the Afternoon was adapted by Wilder and I.A.L. Diamond from the novel Ariane by Claude Anet.
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