Mary Helen Porter

Two Funny Faces

 

Jo Stockton (Audrey Hepburn), the face of late 1950s intellect, is passionate about materialism, empiricism, epiphenomenalism, psycho-physical parallelism, and empathy. Ms. Prescott (Kay Thompson) is the chief editor of Quality Magazine and is as passionate about about the color pink as Jo is about empathy. These characters' polarity immediately creates conflict in the film. When Ms. Prescott storms into Jo’s Greenwich bookstore in pursuit of turning the setting into a back drop for designer dresses, Jo throws a fit. Not only is Ms. Prescott invading and destroying private property along with going against all of Jo’s beliefs, but she’s also disorganizing all of Jo’s precious books. Yet, the end still justifies the means in the fashion world, so the invaders lock Jo out of her safe haven. This is the beginning of a beautifully ugly friendship between two headstrong women, played by the miraculous Audrey Hepburn and lovely Kay Thompson.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Funny Face, directed by Stanley Donen has some of the biggest names in 50’s Hollywood involved. Donen even said himself, “People have often asked me “Why did you do Funny Face?” and I said “What are you talking about?” It had George and Ira Gershwin, Audrey Hepburn, Fred Astaire, Paris and Richard Avedon. It was filled with things that were wonderful.” Amidst all these “wonderful” starlets a story filled with friction and power struggles lives. The action of this film occurs in no better place than the romantic city of Paris and in no better fashion designs than those of  Hubert de Givenchy.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Dick Avery (Fred Astaire), the photographer that convinced the anti-fashion, philosopher to join him and his magazine company in Paris. Jo’s dream was to go to Paris and if it meant participating in an aspect of society she did not agree with, then so be it. But eventually, Jo is given a run for her money. As Dick takes her photos in elegant dresses in the middle of Paris, Jo slowly starts to become more comfortable with showing off her sassy side. In almost every picture, she glows with liberation and is freed from her disposition.

 

As Jo warms up to her duties as “cover girl,” Ms. Prescott warms up to Jo as well. In a scene where Hepburn and Thompson perform a musical number, "On How to be Lovely." Hepburn is not known for her voice per say, but she is for her performance skills and personality. For these reasons Hepburn is able to make audiences fall in love with her, even if she hits the wrong note. Also, within this scene the two ladies put aside their beliefs and find common ground on the subject of how to be liked. They agree that the secret is to glow with joy, instead of wearing makeup or having a college degree (concepts that are both near and dear to the two characters). This is the first step the women take to seeing eye to eye. They do this, of course, by using methods of empathy.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

After the women have spent time literally in each others’ shoes (Jo on the runway, and Ms. Prescott exploring the Artists’ District), they are finally able to empathize and work together to accomplish a task. Ms. Prescott’s ‘ah-ha moment’ is captured in these lines just before the final fashion show, “I know how you feel. I’m sure you think I don’t, but believe me I do. I can put myself in your place.” Jo is ecstatic that Ms. Prescott finally understands her and responses, “Maggie, that’s empathy!” After this connection, the two work together to make the fashion show a success as well as help Jo win a romantic ending with Dick. Funny Face’s biggest theme is the uniting of women. This film shows what happens when women conquer their differences to achieve something, and the results are nothing but successful.