To Bathe in Filmic Waters

Roman Holiday | William Wyler, 1953

Acclaimed American filmmaker William Wyler was in fact born in Germany at the beginning of the 20th century, and these European roots can be seen to influence his films throughout a career spanning 45 years. Wyler made films in England and France but perhaps his most successful projects abroad were filmed in Italy, at Cinecittà studios in particular. The latter of these, Ben-Hur, was a Roman epic that swept the Oscars with 11 awards in 1959. With his first film in Rome however, Wyler employed just two main characters; handsome American actor Gregory Peck and the as-yet-unheard-of Belgian actress Audrey Hepburn for Roman Holiday in 1953. Hepburn plays Princess Ann, a young and almost fictional character of unspecified royalty who is on a ‘good will’ tour around Europe. Once in Rome everything becomes too much for her highness, and she escapes the attentions of her minders to experience a little freedom. Her frolicking is cut short however as the drug her doctor had prescribed for calm begins to kick in, hence she is found asleep on a wall by American journalist and general man-about-town Joe Bradley (Peck). It isn’t long before Joe realises Ann’s true identity, so goes about trying to get the latest scoop by inviting his photographer friend to take furtive shots as the trio enjoy the sights. Inevitably enough romance blossoms, and Joe must choose between the girl and the money his exclusive story would undoubtedly bring.

There’s no doubting that both Hepburn and Peck make a beautiful couple here, the two play off each other wonderfully well in performances that are heavily improvised. I’ve never held either in the highest esteem as far as raw acting is concerned and they do little to disprove this, though each owns an aura that speaks volumes on the screen. Wyler’s decision to allow them a certain amount of freedom here (despite Hepburn’s lack of experience) is the confident move of a seasoned filmmaker that ends up paying dividends. Roman Holiday plies a fairly traditional tale upon an exciting backdrop but that would be nothing without the input from our lead duo. The film chugs along under the blacklisted Dalton Trumbo’s delightful little script, and offers a professional tourist’s guide of the Italian capital which is worked into the plot rather well. As previously mentioned the story is a little on the fantastical side. Yet while hinting briefly at exploring the notions of integrity and honesty the film never pretends to take itself too seriously, which is a good thing. Indeed it is quite the opposite of the neorealist films that had depicted Rome for the last decade or so. In the end Roman Holiday fulfills its own title, a breezy comedic trip through an unforgettable city with a little romance thrown in for good measure. I challenge anyone to sit through the film without ever once succumbing to a smile, for I’m fairly sure that would be nigh-on impossible.

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