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on January 21, 1999
"Love in the Afternoon" is a beautiful tale of a young woman,Audrey Hepburn, growing up in Paris and her father is a private eye who for years has been traching the affairs of a "Playboy", Gary Cooper. She has fallen in love with Cooper even before she has meet him, she sails into rescue him before on of his lovers husbands slices him open. Hepburn turns the tables on Cooper and becomes the mysteriouse woman/girl who will not fall under his spell. Cooper is taunted by the background that Hepburn gives to him relating her tales of torrid love affairs she has had over the years. Cooper finally doesn't know which way is up and needs to find out who this beautiful temptress really is. This movie is by far one of the best movies to see either Hepburn or Cooper in. Cooper may be a little on the older side for this role but then anyone opposite of Hepburn would look older than the forever young Hepburn. I highly recommend this movie.
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on March 30, 2002
This is delightful romantic romp between Gary Cooper and Audrey Hepburn. Cooper is an internationally known wealthy womanizer. Hepburn is a young and inexperienced innocent whose greatest delights in life had been her father (Maurice Chavalier), a private investigator, her chello, and reading her father's accounts of the infamous Mr. Cooper.
Hepburn finds out that Cooper's life is in danger when an irrate husband shows up at her father's Paris flat demanding Cooper's whereabouts.
Hepburn comes to Cooper's rescue, not only from the irrate husband, but eventually she manages to save him from himself as well.
It is a delightful movie and Hepburn as always is gorgeous and Cooper ruggedly handsome. It's a movie that will rest gently on both the heart and mind. It truly is a must see for any Cooper and/or Hepburn fan.
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on January 30, 2005
especially in the aftenoon..."

I began watching "Love in the Afternoon" with the intent of watching only half of it that night and then finishing the rest the next morning. At two hours and ten minutes, I felt that would be simply too much schmaltzy romance for one night. So I pressed play. A half hour passed. Then another. And another. And another. And then the painstakingly gorgeous final ten minutes that will be ingrained in any true romantic's memory forever.

I was so incredibly enchanted by this delightful bit of old-fashioned romance. This is a love story that, at least for me, has stood the test of time. The bittersweet beauty of this love story rang so true with me. I was utterly astounded that I found myself relating to a love story that was intended to have taken place nearly fifty years ago in Paris. The essence of love has obviously not changed over the years, no matter how drastically the world we inhabit has changed.

Billy Wilder, the man behind such classics as "Sabrina", "Some Like it Hot", "Sunset Boulevard", and "The Seven Year Itch", directed and co-wrote this timeless romance. Starring two of Old Hollywood's greatest stars, Audrey Hepburn and Gary Cooper, this film is flawless. It is marvelously filmed, contains a bounty of witty dialogue, and, most importantly, at its core is a surprisingly relatable and realistic romance that is perfectly set-up, executed, and finished in true glorious Old-Hollywood fashion. "Love in the Afternoon" is not to be missed by anyone looking for a romance that really "gets" what real love is and realistically depicts the pain and joy of it all.
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HALL OF FAMEon November 13, 2009
TCM/Warner's ongoing series of "Greatest Films" collections gets a little romantic with four fondly-remembered titles on 2 double-sided DVDs, starring the likes of Bette Davis, Audrey Hepburn and Natalie Wood.

LOVE IN THE AFTERNOON: Despite being directed by the great Billy Wilder, this is sadly one of Audrey Hepburn's lesser vehicles. She plays Ariane, the daughter of a private detective (Maurice Chevalier), who is fascinated by the antics of an aging playboy (Gary Cooper). Once you get past the uncomfortable pairing of Hepburn and Cooper it's actually quite enjoyable.

SPLENDOR IN THE GRASS: William Inge's sensitive portrait of young love, destroyed by 1930s small-town morés. Warren Beatty makes his screen debut, with Natalie Wood as Deanie, the role that kicked her career into high-gear as an adult star. Special features: trailer, Oscar-nominated cartoon short "Beep Prepared".

MOGAMBO: Clark Gable stars in a Technicolor remake of his 1930s potboiler "Red Dust", with splendid support from Grace Kelly and Ava Gardner as the two women competing for his affection. Special features: trailer.

NOW, VOYAGER: Bette Davis is hapless spinster Charlotte Vale, repressed into a nervous breakdown by her icy mother (Gladys Cooper) until she's transformed by love and psychiatry. Special features: music scoring sessions.

If you haven't yet purchased these movies individually, the savings made by buying all four in this box-set will be quite substantial.
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on January 5, 2000
This is a charming movie with a lot of class and sophistication. The ending is so adorable it brings a tear to the eye. Surprisingly, the age difference between Hepburn and Cooper doesn't hinder the story all that much. Some cute little comic moments in it as well. A must see for the true Hepburn fan!
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on December 28, 1999
On the same level as "Ninotchka" and "Ball of Fire," this movie can't get any better. As it is expected from Wilder, it has a taut script where every scene makes the main story stronger and funnier. The tempo may sometimes be slow during the scenes with no dialogue, but that is well done because it helps develop the delicate psychology of seduction by Hepburn and its crumbling effects on Cooper. In this process, she shows her most impish and mischievous side while not losing her inherent vulnerability. A review by Edwin Jahiel (from newsgroup reviews on the internet movie database) states that this movie is very delicate and original, and that the public has been sadly and gradually losing its sophistication since this movie was made. Here is a quote that I completely agree with him: "Cooper's unusual, un-rakish ladykiller, for example, is deemed improbable by some people, yet it adds something new to the traditional depiction of Don Juans. Love in the Afternoon has wit, humor, slapstick, sentiment that never cloys, gags and naughtiness a la Ernst Lubitsch with whom Wilder had worked and whose major inheritor he became, though with original creations rather than imitations." This movie should be in any short list of best movies.
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on February 15, 2001
I'm not a big chick flick type of girl, but this romantic comedy is so superbly done, how could I not love it! Audrey Hepburn is enchanting, still young enough to play the innocent believably, even for a Parisianne, and Gary Cooper is PERFECT as the sophisticated ladies' man. From what I've read, this role is more like the real life Gary Cooper than the "aw, shucks," type of man he usually played, and it works. At first you think, "Why would she fall for a guy she knows is a love 'em and leave 'em type?" but then Cooper's magnetism starts showing, and you know why!
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on February 6, 2003
I first saw "Love In The Afternoon" when I stayed home from school one day. I had been an Audrey fan, but never knew about this film. I'll admit at first I wasn't liking Gary playing opposite of young, beautiful Audrey. But after watching more than half of the movie I realized that the age difference didn't matter. Age isn't nothing but a number. Gary and Audrey had such chemisty that I don't think she could've had as well with anyone else for this movie. It's a wonderful movie from the start to the finish. I suggest you go and buy this movie now!
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on March 1, 2003
Looks like I'm going to be going in the opposite direction of most reviewers when I say I didn't much care for this romantic comedy from director Billy Wilder. I've made it a point to see as many of Wilder's films as I can, and I found that this film was missing the edge that his others have. The basic story is wealthy ladies man Gary Cooper who has many women in every town he travels to, becomes involved with a mysterious, apparently experienced Audrey Hepburn, who in reality is a student and lives with her detective father Maurice Chevalier. She falls for him quickly, and he gradually begins to fall for her, despite knowing remarkably little about her. But can such an oddly matched couple find lasting love together? There is some sharp dialogue in the film, as one would expect from Wilder. He also knows how to milk a gag for what it's worth. The ending is also very satisfying, something he was known for. But all of that didn't add up to enough for me to really like the film. Hepburn lights up the screen as she usually did. Cooper, however, I think was not the best choice, lacking the worldly quality of a playboy. He is also badly photographed in the film, although I have read that it was done purposely to downplay his age. As for the frequently discussed age gap between the stars, they're both adults so it was not a big deal to me. However, their lack of real chemistry and the thinness of the plot was a bigger deal. In the hands of a director like Wilder, I expected more substance and polish. This is certainly one of his lesser efforts.
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on April 28, 2003
When teenage Arienne (Audrey Hepburn)decides to follow one of her father's clients, a middle-age bachelor with a penchant for seducing married ladies (Gary Cooper), she accidentally discovers herself succumbing to "Love In The Afternoon". Arienne's father (Maurice Chevalier) is dead set against the match until he realizes it is true love. This is an elegant little nothing from director, Billy Wilder and, sandwiched somewhere between Sunset Blvd. and the ultra chic, Sabrina, it generally tends to get overlooked. A real shame, because this is a great romantic comedy/drama with an unusually sober ending.
Warner Home Video has given us a rather dull looking transfer. The gray scale starts out good but then deteriorates to a rather blurry mess mid-way through. The picture is incredibly soft focused at times with the entire image presented as one big blurry mess. When the picture is sharp, background detail is fairly accurately rendered with only a hint of edge enhancement, pixelization or aliasing problems. However, at least 30% of the image is very weak in its visual clarity. Black levels are weak. Contrast levels are often worse. The audio is mono and unusually strident, with a considerable amount of background hiss that is not usually the norm for Warner Brother DVD's. NO EXTRAS. A genuine shame.
BOTTOM LINE: This is a great film badly in need of another transfer. I recommend the movie. Not the DVD.
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