Roman Holiday is one of the great classics, a jewel of a film produced and directed by William Wyler. It was also Audrey Hepburn's first starring film role, though she had just been a smash as Gigi on Broadway. She had only recently been discovered by Colette,the author of the Gigi novella, herself a one time actress, poet, and painter, and an all-around bon-vivant and personality. Colette had spotted Audrey in Monte Carlo making a French film, and asked to meet her. Since Colette had approval rights for the role of Gigi, Colette's immediate liking of Audrey won her the Broadway role. In the meantime a Paramount screen test was done of Audrey for the leading role in Roman Holiday, a long-steeping film project that went from Frank Capra to George Cukor to William Wyler, with Jean Simmons, Elizabeth Taylor, and Cary Grant all being sought for lead roles. Audrey's screen test showed a vivacious but classy personality, and with the cameras secretly rolling, captured a candid question and answer session, Audrey enchanted everyone involved. Since neither Taylor nor Simmons were available, William Wyler wanted Audrey very much to take on the role.
Roman Holiday is a Cinderella story in reverse, with a famous and beautiful princess wishing only to enjoy the simple pleasures of a commoner. Her oppressive formal duties bore her, and her "milk and crackers" routine before an early bedtime makes her feel like a child. So she decides to sneak out for an evening of fun and laughter, which she hears taking place nearby on a warm Italian night, never mind the sleeping pill she was given. Later in the evening, groggy and perceived as being a drunken young woman by news reporter Joe Bradley, played by Gregory Peck, she ends up innocently spending the night in his small apartment.
In the film's opening scenes, we see cameo shots and newsreels of Audrey as Princess Ann wearing beautiful formal gowns designed by Edith Head. In the first major scene with Audrey, she is wearing a formal white brocaded gown with a shoulder-bearing , decollete shawl collar, complete with sash and medals of the various royal orders to which Princess Ann belongs. When she sneaks out at night, she throws on a simple, full long skirt, cinched with a wide belt paired with a long-sleeved white blouse, buttoned up and worn with a white cravat. Yet even a princess on the lamb must take her short white gloves, and wear heels. Simple as this costume was, even though worn through most of the film, it would create major ramifications for the relationship between Audrey and Edith Head.
Photofest
Audrey Hepburn first met Edith Head in New York, while she was still appearing as Gigi. Audrey must have been flattered that the famous Edith Head would come all the way to New York to see her and begin discussing her costumes for Roman Holiday. Yet she must also have been taken aback that Edith Head had already produced costume sketches for Audrey's wardrobe when she hadn't even met her. On Edith's part, Audrey was likely perceived as an ingenue actress that was lucky to have landed the role. Edith customarily met actresses in her office, where her "picket fence" of Oscar statuettes usually humbled any large egos. Before they met Edith had viewed Audrey's screen test, and she had pre-determined the style of the garments that would best suit her face and figure. Edith immediately saw Audrey as having too long a neck, with prominent collar bones and arms too-skinny. Her waist was incredibly tiny, just under 20 inches. Edith judged Audrey to have the kind of figure perfect for modelling clothes but lacking in much sex-appeal. Audrey was in fact the antithesis of the current Hollywood ideal, where curvaceous figures and prominent breasts ruled. But Edith Head was not prepared for this very young woman of impeccably gracious manners, who knew what style she wanted and what looked best for her, and who was determined to have her own unique look, all without being confrontational. Audrey thought her neck was just right, and nothing was wrong with her arms. Edith's costume sketches covered up Audrey's arms and likewise her long neck, with full skirts to accentuate her small waist. For her bust line, Edith suggested breast pads. They did not see eye-to-eye on Audrey's basic style. The irony was that Edith was one of the most flexible of designers when it came to accomodating the tastes of her stars. The stars just did't align on this relationship.
Photofest
Audrey's "commoner for a day" costume is shown above, where Audrey as Princess Ann is seen with Gregory Peck as reporter Joe Bradley. Roman Holiday was filmed entirely in Rome and at the famous Cinecitta studio. The long full sleeves that Edith had designed to cover her skinny arms were quickly rolled up by Audrey, while trying to keep cool under the hot Roman sun. The somewhat bulky long rolled sleeves must have been turned into cut-offs at some point in the filming, since in later scenes they show a neater roll. The little scarf that Edith designed to camouflage Audrey's long neck was frequently taken off by Audrey, and appears or disappears during various outdoor scenes. The heels were exchanged for the cute strap sandals, which Princess Ann buys in an outdoor market.
But this story is not a fairy tale. The Princess must return to her hereditary duties, and the newspaperman must go back to his job. That Irving the photographer returned the unused photos to Her Majesty, and that our reporter Joe did not "tell" the real story of the Princess's disappearance, makes this movie sublime. During the filming of the goodbye scene in the car between Gregory Peck and Audrey Hepburn, as Princess and reporter, Audry could not bring up the necessary tears. Take after take was filmed. Finally, seeing that nothing was working to his satisfaction, Wyler scolded her for waisting time and footage. The rebuke was sharp enough, as Wyler suspected, that Audrey began to cry, and the scene was then perfectly captured on film. Such is the art of direction.
Roman Holiday won a Best Actress Oscar for Audrey Hepburn. Gregory Peck had been so sure that she would be a contender that he asked that his contract language be waived in order for her to share equal billing in the above-the-title credits. The film also won Best Screenplay for Ian McLellan Hunter, who in fact was fronting for his friend, the black-listed screenwriter Dalton Trumbo. Trumbo was posthumously awarded the Oscar in 1992, with the statuette given to his widow in 1993. Roman Holiday was also nominated for Best Picture and Best Director. William Wyler did not win in either category, though he would win three Best Director Oscars in his career, second only to John Ford's four.
As for Edith Head, she too won an Oscar for Best Costume Design in a black and white film (Oscars were then separately given for both color and b&w films), her fifth such Oscar out of a career eight. She had high hopes after the film's release that Audrey Hepburn would become her next big star. And when preparations were soon made for the production of Sabrina, Edith was thrilled that a role was being presented where she could design a wardrobe, completely called for in the script, and that would rival the Parisian couturiers. Needless to say, she was shocked when Audrey Hepburn came to meet her with her wardrobe for the film already selected at Hubert de Givenchy's. The great Edith Head had been relegated to designing the simple clothes of the pre-Paris chauffeur's daughter. And worse, Audrey would continue to be dressed by Givenchy for her subsequent films.
Edith Head customarily wore dark glasses inside when she worked, legend having it that this was to appear inscrutable. Sometimes Edith would just say it was to hide the tears.
Audrey Hepburn was given her entire wardrobe, including accessories, as a wedding present by Paramount. As it turned out her wedding to James Hanson was called off since he placed too many demands on her that she couldn't meet under her Paramount schedule.
There are a few cheerful anecdotes about the making of Roman Holiday. William Wyler's daughters Catherine and Judy played the two girls at the Trevi Fountain, where Gregory Peck tries to purloin a camera from Judy and Catherine tells on him. Roman Holiday was the first American film shot entirely in Italy. When Paramount execs wanted him to only do some outdoor scenes in Rome with doubles and shoot the rest at the Paramount studio, Wyler said, "You can't build me the Colosseum, the Spanish Steps. I'll shoot the whole picture in Rome or else I won't make it."
Peck had started out the film unhappily, having just separated from his first wife. During the production he met a French journalist, Veronique Passani, and they fell in love. They were married in 1955 and remained married for the rest of his life.
The scooter-riding scene started a waive of popularity in the U.S. for Vespas. The Vespa scooters from the 1950s are now valuable collector items.
Roman Holiday ranked #4 in the American Film Institute's top 10 romantic comedies. William Wyler won the 4th Life Achievement Award given by the American Film Institute in 1976. He was nominated a record 12 times for a Best Director Oscar.
Photofest
Roman Holiday is a Cinderella story in reverse, with a famous and beautiful princess wishing only to enjoy the simple pleasures of a commoner. Her oppressive formal duties bore her, and her "milk and crackers" routine before an early bedtime makes her feel like a child. So she decides to sneak out for an evening of fun and laughter, which she hears taking place nearby on a warm Italian night, never mind the sleeping pill she was given. Later in the evening, groggy and perceived as being a drunken young woman by news reporter Joe Bradley, played by Gregory Peck, she ends up innocently spending the night in his small apartment.
In the film's opening scenes, we see cameo shots and newsreels of Audrey as Princess Ann wearing beautiful formal gowns designed by Edith Head. In the first major scene with Audrey, she is wearing a formal white brocaded gown with a shoulder-bearing , decollete shawl collar, complete with sash and medals of the various royal orders to which Princess Ann belongs. When she sneaks out at night, she throws on a simple, full long skirt, cinched with a wide belt paired with a long-sleeved white blouse, buttoned up and worn with a white cravat. Yet even a princess on the lamb must take her short white gloves, and wear heels. Simple as this costume was, even though worn through most of the film, it would create major ramifications for the relationship between Audrey and Edith Head.
PhotofestAudrey Hepburn first met Edith Head in New York, while she was still appearing as Gigi. Audrey must have been flattered that the famous Edith Head would come all the way to New York to see her and begin discussing her costumes for Roman Holiday. Yet she must also have been taken aback that Edith Head had already produced costume sketches for Audrey's wardrobe when she hadn't even met her. On Edith's part, Audrey was likely perceived as an ingenue actress that was lucky to have landed the role. Edith customarily met actresses in her office, where her "picket fence" of Oscar statuettes usually humbled any large egos. Before they met Edith had viewed Audrey's screen test, and she had pre-determined the style of the garments that would best suit her face and figure. Edith immediately saw Audrey as having too long a neck, with prominent collar bones and arms too-skinny. Her waist was incredibly tiny, just under 20 inches. Edith judged Audrey to have the kind of figure perfect for modelling clothes but lacking in much sex-appeal. Audrey was in fact the antithesis of the current Hollywood ideal, where curvaceous figures and prominent breasts ruled. But Edith Head was not prepared for this very young woman of impeccably gracious manners, who knew what style she wanted and what looked best for her, and who was determined to have her own unique look, all without being confrontational. Audrey thought her neck was just right, and nothing was wrong with her arms. Edith's costume sketches covered up Audrey's arms and likewise her long neck, with full skirts to accentuate her small waist. For her bust line, Edith suggested breast pads. They did not see eye-to-eye on Audrey's basic style. The irony was that Edith was one of the most flexible of designers when it came to accomodating the tastes of her stars. The stars just did't align on this relationship.
PhotofestAudrey's "commoner for a day" costume is shown above, where Audrey as Princess Ann is seen with Gregory Peck as reporter Joe Bradley. Roman Holiday was filmed entirely in Rome and at the famous Cinecitta studio. The long full sleeves that Edith had designed to cover her skinny arms were quickly rolled up by Audrey, while trying to keep cool under the hot Roman sun. The somewhat bulky long rolled sleeves must have been turned into cut-offs at some point in the filming, since in later scenes they show a neater roll. The little scarf that Edith designed to camouflage Audrey's long neck was frequently taken off by Audrey, and appears or disappears during various outdoor scenes. The heels were exchanged for the cute strap sandals, which Princess Ann buys in an outdoor market.
One of the most endearing scenes in the movie, and indeed in all film history, is the scene filmed at the "Mouth of Truth" sculpture at the Santa Maria in Cosmedin church. The legend says that your hand will be bitten off if you are lying and stick it in the mouth of the sculpture. Gregory Peck had remembered an old schtick from Red Skelton where he would tuck his hand within his sleeve just before shaking hands. He asked William Wyler if he could try this trick at the Mouth on an unsuspecting Audrey Hepburn. Wyler agreed and so Peck inched in his hand, shortly afterwards writhing and yelling and totally fooling Audrey, who screamed and then laughed in a completely genuine and spontaneous moment that is a jewel of cinema.
With their many escapades during the day and night, the Princess and Joe fall in love. Joe's initial plot to have his buddy Eddie Albert playing Irving Radovich photograph the escaped princess for a newspaper story begins to unravel. Gregoy Peck's and Audrey Hepburn's amazingly beautiful chemistry was so strong that even rumors of an affair started. This is one of those films where magic resulted beyond what even the best acting and direction could produce. And difficult as it was, Wyler's method of shooting repeated takes until he was satisfied resulted in a major film achievement.
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| Audrey wears an embroidered white gown with wide shawl lapels for the final scene in the movie |
But this story is not a fairy tale. The Princess must return to her hereditary duties, and the newspaperman must go back to his job. That Irving the photographer returned the unused photos to Her Majesty, and that our reporter Joe did not "tell" the real story of the Princess's disappearance, makes this movie sublime. During the filming of the goodbye scene in the car between Gregory Peck and Audrey Hepburn, as Princess and reporter, Audry could not bring up the necessary tears. Take after take was filmed. Finally, seeing that nothing was working to his satisfaction, Wyler scolded her for waisting time and footage. The rebuke was sharp enough, as Wyler suspected, that Audrey began to cry, and the scene was then perfectly captured on film. Such is the art of direction.
Roman Holiday won a Best Actress Oscar for Audrey Hepburn. Gregory Peck had been so sure that she would be a contender that he asked that his contract language be waived in order for her to share equal billing in the above-the-title credits. The film also won Best Screenplay for Ian McLellan Hunter, who in fact was fronting for his friend, the black-listed screenwriter Dalton Trumbo. Trumbo was posthumously awarded the Oscar in 1992, with the statuette given to his widow in 1993. Roman Holiday was also nominated for Best Picture and Best Director. William Wyler did not win in either category, though he would win three Best Director Oscars in his career, second only to John Ford's four.
As for Edith Head, she too won an Oscar for Best Costume Design in a black and white film (Oscars were then separately given for both color and b&w films), her fifth such Oscar out of a career eight. She had high hopes after the film's release that Audrey Hepburn would become her next big star. And when preparations were soon made for the production of Sabrina, Edith was thrilled that a role was being presented where she could design a wardrobe, completely called for in the script, and that would rival the Parisian couturiers. Needless to say, she was shocked when Audrey Hepburn came to meet her with her wardrobe for the film already selected at Hubert de Givenchy's. The great Edith Head had been relegated to designing the simple clothes of the pre-Paris chauffeur's daughter. And worse, Audrey would continue to be dressed by Givenchy for her subsequent films.
Edith Head customarily wore dark glasses inside when she worked, legend having it that this was to appear inscrutable. Sometimes Edith would just say it was to hide the tears.
Audrey Hepburn was given her entire wardrobe, including accessories, as a wedding present by Paramount. As it turned out her wedding to James Hanson was called off since he placed too many demands on her that she couldn't meet under her Paramount schedule.
There are a few cheerful anecdotes about the making of Roman Holiday. William Wyler's daughters Catherine and Judy played the two girls at the Trevi Fountain, where Gregory Peck tries to purloin a camera from Judy and Catherine tells on him. Roman Holiday was the first American film shot entirely in Italy. When Paramount execs wanted him to only do some outdoor scenes in Rome with doubles and shoot the rest at the Paramount studio, Wyler said, "You can't build me the Colosseum, the Spanish Steps. I'll shoot the whole picture in Rome or else I won't make it."
Peck had started out the film unhappily, having just separated from his first wife. During the production he met a French journalist, Veronique Passani, and they fell in love. They were married in 1955 and remained married for the rest of his life.
The scooter-riding scene started a waive of popularity in the U.S. for Vespas. The Vespa scooters from the 1950s are now valuable collector items.
Roman Holiday ranked #4 in the American Film Institute's top 10 romantic comedies. William Wyler won the 4th Life Achievement Award given by the American Film Institute in 1976. He was nominated a record 12 times for a Best Director Oscar.
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34 comments:
This is a wonderful film and, as you say, Peck and Hepburn have so much chemistry together. Wyler was definitely right to insist on filming in Rome, which really made the film. Enjoyed your post and discussion of the costumes - great job!
What a terrific article!
Christian,
Your article was so interesting for me! Loved getting to read about Audrey's initial meeting with Edith to how her final 'out in about' outfit came to be. She really was so tiny and as you point out, not the typical curvy bombshell roaming around the studio lot during that time.
Also, as tall as Gregory Peck is, especially next to Audrey (your one pic points that out) I wonder why Edith chose such a long skirt for Audrey given that they tend to make those of us short in stature appear even shorter I realize that given her title in the film and that era that skirts would have to be below the knee but cutting off the ankle seems an odd choice. (I never really paid much attention to that while watching the film but after seeing your pics now it's bothering me. Ha Ha)
Very clever of Edith to have her Oscars openly on display to keep these actors in their place. : )
What a fun, interesting article on my second favorite Wyler film. (Jezebel will always be #1 for me)
I have a photo of Audrey actually cutting her own very long hair during filming and I was wondering what you know about that. It's not often an actress agress to cut her hair. Was her hair actually that long when she signed on for the film?
Having read so many reviews on these classics it's refreshing to see new behind the scenes info covered in such a clever way.
Have a great weekend Christian!
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Thanks Judy, I'm glad you enjoyed the post. I always find the back-story as interesting as the film, and this one is rich in that category.
Thanks Suz, I thought you would be interested in the interaction of Audrey and Edith Head, which I'm sure you knew all about anyway.
I'm glad you enjoyed my post Page. As to your questions, I believe Audrey had short hair when she made Roman Holiday, and therefore it was her hair extension that was being cut. She previously made Monte Carlo Baby (various titles) in Monte Carlo, and she had short hair then. Either way, her transformation in Roman Holiday to her pixie look was a lasting image. As to her long skirt, for some reason Edith Head thought her legs were thick (in proportion to her arms), given that Audrey was mainly a dancer at that time. The very long skirt was Edith's design to "overcome" that situation. This was all part of what separated Edith and Audrey from agreeing on her look, which as I mentioned was unfortunate since Edith was normally very obliging in keeping her stars happy in their dress.
Love this film (any surprise?). And her wardrobe isn't large in this movie, yet her skirt and blouse that she wears throughout most of the movie end up being very versatile. Even her haircut in the film adds to the different looks she creates. I really liked your look at the relationship between Hepburn and Head. Great post as always!
Thanks for the compliment Classicfilmboy, I'm glad you enjoyed the post - Roman Holiday is such a wonderful film.
Colette had good instincts; Audrey is so enchanting, in this film and in all her work. Fascinating info on her relationship with Edith Head; Audrey seems to have better instincts herself as to what clothes made her look good (today, a long neck is considered an asset, and is so much a part of Audrey's lovely 'look'). Really enjoyed your wonderful post!
Your article was a pleasure to read, as well as the self-assurance of young Audrey Hepburn in her long neck and skinny arms. Ha!
Christian, you applied your specialist expertise to this lovely film while at the same time dealing insightfully with the film itself. I'm aware of Audrey Hepburn's long association with Givenchy, but I wasn't consciously aware of Edith Head's work on "Roman Holiday." Head was expert at covering the flaws and accentuating the strengths of the actors and especially actresses she costumed. It was fascinating to read that she and Hepburn didn't necessarily agree on what these were! I get the idea that Head wanted to standardize Hepburn's features and that Hepburn wanted her uniqueness to show.
It's obvious that no matter who prevailed in individual costume choices, Audrey looks great throughout the film. The difference in style between her formal outfits and her "commoner" disguise really adds detail to her character. Her attire in her role as Princess looks serious, chosen to project an official royal image and camouflage the individual wearing it. In contrast, her commoner outfit, which you show in several wonderful photos, makes her look relaxed and in the mood to enjoy herself. It seems to express the inner person that must always stay buttoned up inside those regal showpiece outfits.
You did a great job in your post of showing how much costume added to the picture and of how shrewd Audrey Hepburn was about her own physical appearance on screen. Your post helps explain why she was THE fashion icon of the 1950s and continued to be right up to the middle of the 1960s.
If you could see inside my head, Christian, you'd see me scooting around on a Vespa, singing hosannas for this film. LOVE this film, always have, for the clothes, the romance, the adorable Audrey, the stalwart Peck...but also for Eddie Albert's hilarious turn as the cameraman!! This is a PERFECT movie and will never be duplicated, no matter what. The little Wyler touches of the barbara, the soldiers, the landlord--somewhat an homage to the Capra-esque love of regular folk. And yes, you're right, Audrey's hair was very short at that time. LOVED this! Thanks for alerting me that you were writing it. Divine, simply divine! Love, Kay www.moviestarmakeover.com
Grand Old Movies - thanks for your comments. Yes, she had such an individual look, and judging from how many women still consider her a style icon, a timeless one.
Thanks for your comments Caftan Woman. Yes, Audrey introduced a look with her skinny arms and long neck and pixie hair cut that generations of women have wanted.
I appreciate your comments and observations R.D., and thank you for giving me the opportunity to participate in your Wyler blogathon. I like your comment on Audrey's formal gowns being her "serious" and "formal" outfits and her "camouflage." Regardless of the pros or cons about Audrey's stylistic tastes versus Edith Head's, screen costumes have their own role to play in helping develop character, and in the formal vs casual outfits she designed for Audrey, they achieved that goal.
Thank you Kay - I would know, even if you hadn't told me, that this was one of your favorite films. It is such a treasure and so "right' in so many ways. It's always fun to see it again.
Christian, "Roman Holiday" is never considered an underrated film but as I read your post I began to think maybe it is. #4 on AFI's top 10 romcoms list? I looked at the list of 10 and concluded that "Roman Holiday" may well be underrated...This is one of the most sublime and enchanting films of any era. I can only imagine seeing it on the big screen when it was in release and, among many other things, being introduced to Audrey Hepburn for the first time. Thank God Elizabeth Taylor and Jean Simmons were unavailable!
I've loved every word, Christian, a perfectly captivating piece on a perfectly captivating film, one of William Wyler's very best.
Thanks for your comments Lady Eve. "Best" lists are always problematical. On the other hand, this is category loaded with wonderful films. One can argue, but "It Happened One Night" is #3 and "Annie Hall" is #2. Chaplin's "City Lights" is #1. Looks like a popularity contest, with Chaplin at the top because its a Chaplin. And as for Taylor (Elizabeth and Audrey were the same age) and Simmons, they were two greats but not for this movie as we've come to know it.
Love this film and especially love Hepburn. It was a treat to learn things about the making of it I hadn't know. With Hepburn such a style icon, the costume connection with Edith Head is a marvelous. Thanks for a terrific post!
I'm glad you enjoyed this post Ken. The costumes are always fun to write about in connection to the role thsy play in the movie. This one is especially rich in backstory.
This is a great post aout a wonderful movie. I had no idea ROMAN HOLIDAY was the first American movie shot exclusively in Rome! That's so neat!
I was wondering if you could tell me the source of those anecdotes about Edith Head's relationship with Audrey because I'd love to read it (if it's a book). Also just FYE, third paragraph from the bottom you have a couple repeated words and there are a few typos/grammatical errors throughout the post. I mean it's well written but maybe another set of eyes would help.
http://thegreatkh.blogspot.com/
Christian, nobody does a better job than you of describing the importance of costumes in a film. I think we often forget that everything a character wears was carefully selected by a costume designer and--in the case of Edith Head--always to achieve a certain effect. This is a terrific post all around, but especially in how you describe and show Edith's impact on ROMAN HOLIDAY. And by the way, I have never heard the film so aptly described as a "Cinderella story in reverse."
Audrey Hepburn and Edith Head are a topic tailor made for you, Christian! I loved all of the behind the scenes info, but I must say that your comment in the comment section that Edith thought Audrey's legs were too thick in relation to her arms knocked me off my chair. I still haven't recovered!
Thanks for the comment FlickChick. I must admit I thought Edith's purported observation about Audrey's legs too bizare to put in the body of the post. Who knows all the background story on that specific - so I won't make much more of it and just continue to think it was a fluke.
Thank you for the compliment Rick29 As you observe, the costumes are there to define character. Sometimes they start trends or become style setters, but their primary purpose was to further the plot or build the character. And as you say, Edith Head was a master at that and Roman Holiday had a definite reliance on costume helping the story.
Thanks for the tips Margaret Perry. You can check my book list in my blog and find a couple of very good biographies on Edith Head. There is also a fine one by David Chierichetti. My info comes from a variety of sources.
A wonderful article. I always think of this film and "The Prisoner of Zenda" together. In both films, duty wins out over love.
Wyler really could do it all, couldn't he. Love his retort to the studio executives about shooting in Italy. One of the all-time great movies. Thank you for your wonderful write-up.
Thanks for the compliment Kevin. I liked your comparison with "The Prisoner of Zenda." And the ending for Roman Holiday was so much more compelling the way it was filmed rather than a "happy ending."
Terrific post and, as a huge Edith Head fan, I loved all the attention you gave to Edith and the costumes. Well done!
Thanks Silverscreenings. What goes on "behind the scenes" is often fascinating and sometimes has significant ramifications. I'm sure Edith would have wanted to start her relationship with Audrey all over again.
I really enjoyed your post -- especially learning the tidbits of information, like Gregory Peck meeting his wife, and the popularity of the Vespas. I've still never seen this entire film -- only bits and pieces -- but your post makes me want to dust off my VHS tape and give it another try!
Karen - by all means dust off your videocassette or try a new DVD and watch Roman Holiday. Its parts are great but watching the whole film will be a very enjoyable, gratifying, and expansive experience.
Marvelous, beautiful article!!!!!!!
Thank you As Tertulias for the compliment. I'm glad you enjoyed this post.
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