Review of Roman Holiday (1953) by Joel C — 08 Sep 2009

I had never seen the ending to ?Roman Holiday?. I caught it on television in Toronto last year, but my friend?s TiVo had axed the last two minutes, just before Princess Ann (Audrey Hepburn) introduces herself (officially) to American reporter Joe Bradley (Gregory Peck). Imagine not having closure on one of the cinema?s great love affairs for over a year. After finally getting to see it, I realize that what makes the affair so effective is its lack of closure. Audiences of these kinds of pictures love to create scenarios for themselves in which the lovers, given the necessary space and time, reunite again one day. The cinema offers that possibility, suggesting a narrative that continues beyond the frame.

The plot is a classic case of mistaken identity. Feeling the stress of her obligations on a European tour, the princess wants to live like a pauper for a while and goes AWOL after being loaded up with a serum to calm her nerves. Bradley finds her sleeping drowsily in the middle of town and can?t get an address out of her. He stows her at his tiny apartment. The next morning, he makes the discovery and pursues her with the help of his trusty cameraman Irving (Eddie Albert), who snaps covert shots with a camera concealed in a cigarette lighter. The two hope to put together an exclusive news story that will bring them a lot of dough. Misadventures ensue and we marvel at the exoticism.

Hepburn is an actress I could watch forever. This was her first starring role, winning her an Academy Award. Her performance as Princess Ann is never overstated, never too dramatic ? the character is funny, invigorating, always alluring and even pitiable despite her wealth. Small-shouldered and wide-eyed, Hepburn makes us believe she could weave through chaotic traffic effortlessly and emerge feverishly carefree. Bradley does not look after her so much as follow in the wake of her next wish fulfillment.

Peck and Hepburn have terrific chemistry as they employ one another for physical comedy. In one scene, the two approach Rome?s ?Mouth of Truth?, a circular marble sculpture with an open mouth thought to bite the hands of liars clean off. Peck places his hand in the mouth and reacts violently, causing Hepburn to cover her eyes in shock. That?s not acting. Peck was mimicking a Red Skelton gag and didn?t tell Hepburn beforehand. The sudden change in the score effectively catches us off guard, uniting the experience of viewer and actor alike.

The film is a travelogue for Roman adventure, making it clear off the top that all of its footage was shot in the city. Some scenes seem to exist simply to brag about their own ornamentation. Perhaps the film?s most famous scene is a scooter ride through the crowded city streets in which cars and cyclists are barely missed, artwork is torn and fruit stands are upset. All of this culminates into a bit of pantomime at the local police station after which everyone leaves happy. Director William Wyler keeps the danger only at the level of excitement without worrying too much about the repercussions, making ?Roman Holiday? a lot of fun.

Hinging on being a screwball comedy, ?Roman Holiday? spends a little too much time being light and breezy for Bradley?s character to realistically change his mind about his feelings for Ann. There are funny moments in which he abuses poor Irving, who always seems to say the wrong thing at the wrong moment. When it is time for Bradley to come clean, he does so with a bemused smirk, towering above every other reporter in the room. Ann says goodbye the same way she says hello: ?So happy?. It?s the way ?Roman Holiday? wants you to feel.