Roman Holiday: Meeting Audrey Hepburn for the very first time

William Wyler's 1953 romantic comedy Roman Holiday introduced Audrey Hepburn to the world. With the film's re-issue, the power of her first leading role hasn't diminished one bit.

William Wyler’s 1953 romantic comedy Roman Holiday, which has just been re-released, concerns a dissatisfied young princess (Audrey Hepburn) who chooses while on tour with an unidentified European royal family to go rogue in Rome; there she meets and falls for a dashing journalist (Gregory Peck). Neither cottons on to the other’s identity, at least at first. Much of the jaunty humour arises from our omniscient awareness of who knows what, and at which point. The film never gets tangled up in its complications. Lightness of touch and deftness of plotting are the key.

I went to see Roman Holiday one evening recently, not only because it’s a charming and playful picture but also because the air conditioning at BFI Southbank, where the film is playing, is second to none. I emerged from the cinema after two hours with icicles on my cinephilia. And if you think there is a whiff of philistinism about harbouring such priorities then you have demonstrably not been in the business of trying to keep cool in London during the past three weeks or so.

My fellow audience members were a delight. Had I taken down their names in a notepad I could give them their due credit here, much as one might celebrate Wyler’s unwaveringly interested direction (how he loves his characters!) or Frank Planer and Henri Alakan’s graceful cinematography or Georges Auric’s fond score. I’d love to include the audience in my praise: “Brenda Ferguson and her fiancé Raymond are to be commended for calibrating precisely a reaction to the slapstick scenes which was two parts carefree laughter to two parts knowing groans”—that kind of thing. But I didn’t, so I can say only that I knew it was going to be the perfect audience with which to watch Roman Holiday from the moment a ripple of amused excitement spread through the auditorium at the sight of the following title card in the opening credits: “Introducing Audrey Hepburn.”

Introducing. Can you imagine what it must feel like to be unfamiliar with Audrey Hepburn? Like never having tasted ice-cream or made a snowball or felt the crunch of frost under your feet. (No, you’re not imagining it: all similes, analogies and metaphors will have refreshing properties until the hot weather abates.) Seeing her again here in her first leading role (at the age of 24) has only reinforced my determination not to buy anything from the company which is now using Hepburn’s digitally reanimated body to flog chocolate bars on the say-so of her sons, who maintain that their mother “often spoke about her love of chocolate and how it lifted her spirit.” Rationalising a highly suspect decision after the fact? That’s not for me to say.

The story of Hepburn’s casting in Roman Holiday has passed into legend. Here is the critic Stanley Kaufmann recounting the tale of her screen test in American Film magazine:

Hepburn played a scene from the script, then [Thorold Dickinson, who directed the screen test in London] called ‘Cut!’ but, by prearrangement with the crew, the camera and sound track kept rolling. Hepburn relaxed and spoke conversationally; then saw that everyone was quiet and surmised what was happening, and they caught that reaction, too. (Masquerade, plus two unmaskings.) Wyler saw the test in Rome, and didn’t hesitate.

So you have to use manipulation to get something that natural. By 1964, Kaufmann was judging Hepburn more harshly, accusing her of undervaluing her own freshness, or losing access to it. In his review of My Fair Lady, he wrote:

She has long been accustomed to tailor-made roles and she tries to tailor Liza to herself as she goes. It is one thing for an actress to infuse a role with her personality, quite another to make the role a showcase for a personality. Miss Hepburn often tries to supply what her fans expect.

If Hepburn had few such fans before Roman Holiday, she had plenty after it (not to mention a Best Actress Oscar—her only one, though she was nominated a further four times). No wonder. She has such openness in Roman Holiday. Near the start of the film, she says to a servant who is overseeing her buttoned-up bedtime routine: “Do you know I’ve heard that there are people who sleep with nothing on?” It’s not a chaste remark, exactly, but nor is it a fully sexualised one. It’s somewhere in between. The naughtiness comes not from the image (though there is that) but from her speculative delight. From this seed sprouts the exquisite relish and abandon in her character’s subsequent detour from humdrum reality.

Here’s Kaufmann again:

[O]nce in a rare while our discovery of a star is part of a film’s power: Peter O’Toole in Lawrence of Arabia, Liv Ullmann in Persona, Hepburn here. (And in almost every such case, re-seeing the film brings a paradoxical double pleasure: familiarity and remembrance of the discovery.) Most of the world’s filmgoers met Hepburn just about when Peck did in the film, the men in the audience tumbling, the women delegating…

Roman Holiday is on release at selected cinemas nationwide.

Hepburn with Gregory Peck on the set of Roman Holiday in 1953. Photograph: BFI.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

Scott Cresswell on Flickr via Creative Commons
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Podcasting Down Under: Tom Wright on how Australia is innovating with audio

The ABC producer, formerly of the Times and The Bugle, makes the case for Australian podcasting.

In September last year, Ken Doctor wrote that “We can mark 2016 as the year the podcast business came of age.” Statements like this have been coming thick and fast since the first series of Serial dropped in October 2014. We’re either living through a golden age of podcasting, or the great podcast advertising boom, or the point when podcasting comes of age, or some combination thereof. For the first time, everyone seems to agree, podcasts are finally having their moment.

Except this isn’t the first podcasting gold rush. Tom Wright, now a producer for the Australian Broadcasting Corporation (ABC), was there the first time media organisations rushed to build podcasting teams and advertisers were keen to part with their cash. Speaking to me over Skype from Australia, he said that seeing podcasts attain “hot” status again is “very strange”. “The first iteration had similar levels of excitement and stupidity,” he added.

In 2006, Wright left BBC Radio 1 to join the Times newspaper in London as a multimedia producer. The paper was “very gung ho” about using podcasts, he explained, particularly comedy and sport shows, as a way of reaching new audiences. There, he launched The Bugle with comedians Andy Zaltzman and John Oliver, The Game with football writer Gabriele Marcotti, and a number of different business shows. “This was ahead of the crash of 2008,” Wright noted.

The shows found large audiences almost immediately – “in my time, The Bugle had 100,000 weekly listeners,” Wright said – and The Game (plus periodic special podcasts pegged to the football, rugby and cricket world cups) brought in good sponsorships. Both podcasts and the videos that Wright also worked on were seen by the Times as “an add-on to the main deal” – ie, the paper’s news stories and features.

“Podcasts, especially in comedy, are still kind of seen as a marketing exercise for something else. . . My feeling is that a lot of comics – let's just pick on one country – in America, say, do a podcast and it's not particularly funny or good, but they flog their tickets for their tour relentlessly so you come and see the really good stuff.” Wright, however, saw the podcast form as something more than a marketing exercise. “My feeling was that we had this opportunity to do comedy, and maybe make it a bit more ambitious, you know?”

It all changed after the financial crisis of 2008, when the advertising money dried up. A new boss came in at the Times and Wright said the focus shifted to online videos and a greater emphasis on hard news. “Amazingly, they let The Bugle continue, which is fantastic,” he said.

(For long-term listeners of The Bugleof which I am one – Wright is a much loved presence from the first 100 episodes. He is referred to solely as “Tom the Producer” and used to chip in regularly to try and keep Zaltzman and Oliver to time, and to express his disgust for the former’s love of puns. Listeners used to write emails for the show straight to “Tom”, and he has his own section on the slightly bonkers Bugle wiki.)

Wright left the Times and moved to Australia in 2010. That year, the paper had introduced a hard paywall, and Wright said that he and other colleagues felt strongly that this wasn’t a good idea. “Who wants to be writing or making stuff for 5,000 subscribers?” he said. “It was also a cost of living decision for me,” he added. “I'd been living in London for ten years with my wife, and we did the sums and just realised we couldn't afford to live in London if we wanted to have kids.”

Wright tried to keep producing The Bugle from Melbourne, a decision which he now describes as “insane”. “It was around 2am [Australian time] when they started recording,” he explained. “I was using my in laws’ Australian-speed wifi, and because I was uploading huge reams of data to the Times, they got stung with an enormous bill. I thought maybe this is a message that I should seek some local employment.”

Wright joined the ABC and went back to live radio, producing for a call-in programme on a local Melbourne station, before moving over to triple j – a station he describes as a bit like BBC Radio 1 in the UK. It was hard work, but a great introduction to life in his new country. “The best way to learn about Australian culture and the way of life was being at the ABC,” he said. “It's the most trusted organisation the country has, even more so I think than the BBC in relation to Britain, given all the scandals recently.”

After the success of Serial, he said he remembers thinking “are podcasts back now?”. “The Nieman Lab in America came out with a journalism survey about reader engagement, and it said the average interaction with a video is one minute, the interaction with a page is almost ten seconds, and with podcasts it's 20 minutes. That was just this eureka moment – all these people thought wow, that's an aeon in online time, let's try doing this.”

In Australia, Wright explained, as in the UK and elsewhere podcasts had been “just the best radio shows cut up to a vast extent”. But in 2014 publications and broadcasters quickly moved to take advantage of the renewed interesting in podcasting. He is now part of a department at the ABC developing online-only podcasts “that will hopefully feed into the radio schedule later on”. It’s a moment of unprecedented creative freedom, Wright said. “That sense of risk has been missing from radio, well media, for a long time. . . Like at the Times, we’re told ‘just go do it and come back with some good ideas’, and it's fantastic.”

Wright is focusing on developing comedy podcasts – as “Australian comedy is great and criminally underrepresented,” he said. One show that has come out of his department already is The Tokyo Hotel, an eight-part series following the inhabitants of an eccentric hotel in Los Angeles. It’s a great listen: there’s a lot of original music, and the fast-paced, surreal script feels at times reminiscent of Welcome to Night Vale. “It was hugely gratifying but immensely hard work,” Wright said. “It had its own score, numerous actors, a narrator who was Madge from Neighbours. It was quite literally a big production.”

The plan for 2017 is to bring out another, similarly ambitious production, as well as “a couple more standard ‘comedians chatting’ things”. Australians are already big podcast fans, and Wright reckons that enthusiasm for the form is only growing. “I think that Australia is a place that's not afraid to embrace the new in any way,” he said. “Podcasts are a new thing for a lot of people and they're really lapping it up. . . It's very curious because I think in Britain anything old is seen as valued, and the new is sometimes seen with suspicion. It's almost the exact opposite here.”

Five Australian podcasts to try

Little Dum Dum Club

Comedians Tommy Dassalo and Karl Chandler run a charming weekly interview show.

Free to a Good Home

Michael Hing and Ben Jenkins, plus guests, chat through the weird and wonderful world of Australian classified ads.

Let’s Make Billions

Simon Cumming and his guests aim to launch a new billion-dollar startup every week.

Meshal Laurie’s Nitty Gritty Committee

The commercial radio host shares the stories she’s been most surprised and moved by.

Bowraville

Dan Box, the crime reporter at the Australian newspaper, investigates the unsolved serial killings of three Aboriginal children.

Do you have ideas for podcasts I should listen to or people I should interview? Email me or talk to me on Twitter. For the next instalment of the New Statesman’s podcast column, visit newstatesman.com/podcasts next Thursday. You can read the introduction to the column here.

Caroline Crampton is assistant editor of the New Statesman. She writes a weekly podcast column.