How I felt about it. If you ever wondered whether Audrey Hepburn can dance and sing, the answer is yes. The next question is, does it make the film any better when she does so? The answer is no. But she is the world's cutest cutie despite mild malnourishment, and she has the sweetest voice and the most charming pseudo-British accent.
So, Hepburn is a doll. But while her presence is easy on the eyes, it won't lift Funny Face to greatness either. Fred Astaire's comic efforts help, but he's old enough to be Hepburn's father, except that he's not good looking enough to have provided half her genes.
One nonetheless must marvel at the efforts Paramount has put into this musical. The costumes, the sets, the choreography, are all as painstaking as a Quality magazine photo shoot. It's like a big, puffy French pastry, elaborately baked and sugared. It's a sweet confection, and it will taste good if your tastes run that way. But you may also marvel at its empty calories.
Aside from wanting to take Audrey Hepburn home to make her your favorite household pet, what does one get from this movie? Hepburn treasures her books, but then dumps them carelessly on the floor once they are out of order. Hepburn's (and Astaire's) irresponsible behavior leads to a wasted day on an expensive set and a disastrous fashion exhibition. All is too easily forgiven.
The depth isn't there, and that's why Donen's earlier musical Singin' in the Rain is so much superior. Take away the songs and dances from that masterpiece, and you still have memorable characters, a lot of laughs, and a glimpse into Hollywood at the dawn of the sound era.
Funny Face, on the other hand, is Audrey becomes a model, goes to Paris, and runs hot and cold with Astaire. Reality is especially strained when our three leads independently arrive at the Eiffel tower at the same time (and are the only people there) when presumably they should instead all be preparing for the upcoming fashion show.
It's not bad, and Paramount goes all out for the project. But even a genre as a light as a musical works best when there's substance behind it. Preferably, dark substance, to add a little pepper to counter all the sugar.
How others will see it. Many big budget musicals were made in the fifties. Funny Face is a typical entry, and is watchable either by the curious or the classic film veteran. As a study in technique, it is educational if not rewarding. As entertainment, it is passable. As art, it is fortunate to tread water.