Sabrina

Julia Ormond is sensational as the young Sabrina Fairchild, daughter of the chauffeur (John Wood) of a wealthy family. Sabrina has been in love with playboy brother (of wealthy family) David (Greg Kinnear) all her life, and is dismayed when her father sends her off to Paris to get a new view of the world. However, years later, when she returns as an older woman, David then realizes how 'right' she is for him, even if he's finally setting a date with one of his two-week lovers. Behind this interaction, older brother and businessman Linus (Harrison Ford), whose pleased about David's engagement, seeing that he's marrying the daughter of wealthy business competitor Mr. Tyson, knows that Sabrina just might end the marriage and the merger. To make things work out, Linus pretends to start being interested in her. This is a delightful tale about love with beautiful music and visual shots that will make you very pleased. The movie is unique enough to be considered a film of individuality, not another version of the same film. Both Sabrina (1954) and Sabrina (1995) are well done, just different. Rating: 4 1/2 out of 5 Stars.

I was surprised at how good this movie is. A remake of a movie starring Audrey Hepburn, Humphrey Bogart and William Holden, directed by one of the greats of American cinema, Billy Wilder, is not exactly the kind of task for the faint of heart. The fact that Sydney Pollack (They Shoot Horses Don't They? (1969), Tootsie (1982), Out of Africa (1985), etc.) decided to do it must have raised a few eyebrows in Hollywood land.

And let's just say I had preconceptions as I sat down to watch this. No way could this be anything near as good as the original. And for the first twenty minutes or so I was not dissuaded. Julia Ormond, who was given Miss Hepburn's title role, seemed nothing far removed from ordinary; and Greg Kinnear, who played the playboy David Larrabee, seemed a poor imitation of William Holden. Of course Harrison Ford, I told myself, is another story, since he is the embodiment of the fulfillment of the desire of many woman, and a fine, accomplished leading man. He would be, I suspected, the lone bright spot. In the original, Humphrey Bogart, a little past his prime, and in not exactly the best of moods, and not entirely pleased with the relatively inexperienced Audrey Hepburn, played the cool tycoon Linus Larrabee with some distracted forbearance in what many consider one of his lesser performances. Surely Harrison Ford could improve on that.

He did, but what really surprised me was just how diabolically clever the oh, so romantic script by Barbara Benedek and David Rayfiel turned out to be. I mean, Cinderella move over. Sabrina could not have achieved a more glorious existence had she died and gone to heaven. It is hard to imagine a more fulfilling fantasy for a chauffeur's daughter than what transpires here.

Quickly here's the premise of this celluloid fairy tale/romance: Pretty but ordinary Sabrina, born of working class parents, her father the chauffeur of the ultra rich Larrabees, grows up living above the garage in the palatial Larrabee estate. She watches the lavish parties thrown by the Larrabees from a spot in a tree and falls madly in the kind of puppy love that never goes away with the younger of the Larrabee brothers, David, who is the kind of guy who gives playboys a bad name. When she comes of age, she goes away to Paris (apparently to work for a fashion magazine: in the original Sabrina, she goes to a cooking school in Paris), picks up confidence and a new kind of eye-popping sophistication, comes back and...well, gets noticed.

The basic skeleton of this, the story from the first Sabrina (1954), which is dreamily romantic enough and then some, is greatly augmented here with some very fine psychological touches including developing Sabrina's character beyond the pretty and stylish to something bordering on the wise and heroic. Suffice it to say that we come away feeling she deserves every rainbow's end she gets. I can see Benedek and Rayfiel exclaiming with riotous joy as they are writing the script (trading e-mails perhaps): "They want romance, they want woman's fantasy? They want Sabrina to have a pot of gold and true love everlasting? How about riches beyond counting and the doting attention of the two handsome, very rich brothers? She can take her pick. We've give 'em romance, we'll give 'em dreams come true!" And they do. Not only that, but they keep us guessing about who gets the girl until the last possible moment, and they do that very cleverly.

Of course it helps to have professional direction by Sydney Pollack and a fine cast including Harrison Ford--at his best, by the way--and Julia Ormond, a hard-working and talented actress (I recall her from Smilla's Sense of Snow, 1997), who knows how to be cute without fawning, supported by Greg Kinnear, Nancy Marchand, John Wood and Angie Dickinson. I mention Miss Dickinson because, as the mother of a perspective bride about to throw an incredibly lavish wedding, she gets to deliver this "let them eat cake" line: "We thought we'd use recycled paper" (for the wedding invitations).

The script is full of similar witticisms, some verbal, some like eye candy. For example, when Sabrina removes her glasses (the usual Hollywood signal for the adolescent ugly duckling to become a beautiful swan) after gaining sophistication in Paris, she quotes aptly but surprisingly from Gertrude Stein: "America is my country and Paris is my home." (Of course Gertrude Stein never heard of Paris, Texas--but that is another film, and besides, I digress...)

I also liked it when Sabrina is in the arms of her Paris would-be lover who kisses her, and--noticing that she is not as engaged as she might me–observes with perfect decorum, "I'm embarrassed that you're somewhere else."

Memorable was the shot of Harrison Ford momentarily looking jealous and hurt. By the way, he has a number of good lines, and he delivers them well.

I especially liked it when he sadly confessed: "I was sent to deal with you. I sent myself."

It is probably better if you haven't seen the original and can experience this on its own merits without the odiousness that sometimes comes with comparisons. Comparing Audrey Hepburn with Julia Ormond is like comparing Grace Kelly with Jennifer Lopez. They really are very different people. And comparing Billy Wilder's 1954 film (from the play by Samuel Taylor) is a little like comparing Lon Chaney's Phantom of the Opera with Andrew Lloyd Webber's.

Bottom line: see this for both Harrison Ford who wears the business-first character of the "only surviving heart donor" very well, and for Julia Ormond whose intense and beguiling performance makes us forgive her for not being Audrey Hepburn.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

The temptation to compare it with the 1954 version is not small. And it is a good thing because the film has the force to use its voice. Julia Ormond is realy Sabrina. And Harrison Ford is a revelation as Linus. But, for me, the authetic good points are Miriam Colon as lovely Rosa and Nancy Marchand as wise,fascinating Maude Larrabee. Short, a seductive film.

Many critiques on this site suppose that it is somehow superior to the original. I am not sure how this can hold up. While Harrison Ford and Greg Kinnear are fine actors in their own right, comparing them to the coupling of Bogart and Holden is ridiculous. Just because a movie is OLD does not make it better, but if it is impeccably filmed and acted superbly, what is the point in redoing it to inferior standards? I suggest that the state of movie-making has in fact declined, as the art form has given way to popular sentiment, over-the-top portrayals of characters, and remakes which attempt to market themselves on previous successful attempts. To say that someone who repainted a Michaelangelo has made it somewhat made it better because painting has "evolved" is equally as stupid as saying any remake improves. And while Audrey Hepburn is not the world's finest actress, she has a unique cinematic quality which cannot be imitated or reproduced, much like her co-stars in this film. Please Hollywood, stop reproducing classics simply because there is a drought of originality and screenplays. Try rereleasing these classics so the public can see movies as they were meant to be viewed.

Sabrina Fairchild (Julia Ormond) grew up as the mousy daughter of the chauffeur (John Wood) of the wealthy Larrabee family on the north shore of Long Island. It was a grand estate and she would spy on their grand parties from a tree. Maude Larrabee (Nancy Marchand) inherited the Larrabee Corporation from her dead husband. Cold-hearted Linus Larrabee (Harrison Ford) took the company to even greater heights. David (Greg Kinnear) is the playboy son who Sabrina is completely infatuated with. She goes off to Paris to work on Vogue as a lowly assistant. She slowly moves away from her David infatuation to a love affair with a photographer. Meanwhile David is falling for Elizabeth Tyson (Lauren Holly) whose family business Linus wants to merge with. Elizabeth wants to marry David but he is reluctant to let go of his playboy lifestyle. Sabrina comes home and David doesn't recognize her at first. David becomes infatuated threatening to derail the marriage plans and Linus' big business deal.

The movie is asking too much of Julia Ormond. She looks too old to play a teenager. She is also too young to play the love interest for Harrison Ford. Their chemistry is way too cold. That is the biggest missing element. Greg Kinnear actually has better chemistry. They could have worked together in a romance. Harrison Ford is not good in this role. In fact, I have difficulty pointing to any good romantic leading roles for him that actually worked without an action thriller. However, the movie has the solid foundations of the '54 film. That much is there. It has some great scenes. It seems to always work when Julia Ormond gets emotionally walloped. She's possibly the best part of the movie. Ford just doesn't have that extra gear to be the sensitive romantic lead when the movie calls for it.