Love in the Afternoon is a 1957 American romantic comedy film produced and directed by Billy Wilder. It stars Gary Cooper, Audrey Hepburn, and Maurice Chevalier. The screenplay, written by Billy Wilder and I. A. L. Diamond, is based on the 1920 novel Ariane, jeune fille russe (Ariane, Young Russian Girl) by Claude Anet. The film follows the relationship between a well-known American businessman in his middle years and the young daughter of a private detective hired to investigate him. Other actors in the film include John McGiver and Lise Bourdin.

Plot

Young cello student Ariane Chavasse lives in Paris with her father, Claude, who is a private detective specializing in finding evidence of unfaithful spouses. One day, she hears her father tell a client, "Monsieur X," that he has proof of the client’s wife meeting American businessman Frank Flannagan daily in Suite 14 of the Paris Ritz. Monsieur X promises to shoot Flannagan that night. Claude remains calm, expressing only regret about losing business, as Flannagan is a well-known international businessman with a history of casual relationships. When Ariane cannot contact Flannagan through the hotel and the police refuse to act until a crime occurs, she decides to warn him herself. Sneaking into his suite, she finds Flannagan dancing with Madame X and alerts them about Monsieur X’s plan.

As promised, Monsieur X waits outside Flannagan’s suite at the Ritz. He enters the room and finds Flannagan with Ariane, while Madame X escapes through a ledge outside. After searching the room and speaking with them, Monsieur X apologizes for the misunderstanding and leaves. Intrigued by Ariane, who does not reveal her name or background, Flannagan guesses her name from the letter "A" on her purse. When she refuses to share it, he calls her "thin girl." Pretending to be a mysterious woman from her past, Ariane invents stories to interest him. She agrees to meet him the next day, hiding her evening orchestra practice. Though uncertain, she waits with him before his flight to the airport.

Ariane’s father, who has tried to keep her away from his work’s complicated details, notices her mood change but does not connect it to his case.

A year later, Flannagan returns to Paris and the Ritz. Ariane, who has followed his relationships through the news, sees him at an opera from a balcony. She ensures they meet again in the lobby, and they begin seeing each other. When Flannagan asks about her past, she invents stories about imaginary lovers, claiming he is her 20th. He shifts from amusement to jealousy but remains unsure if her stories are true. Later, he meets Monsieur X, who recommends Claude to him, and Flannagan hires Ariane’s father to investigate.

Claude quickly identifies the mystery woman as Ariane. He visits Flannagan at the Ritz, reveals her name, and explains she made up her romantic history. He tells Flannagan that Ariane is his daughter and urges him to let her go, as she is serious and he is not looking for a long-term relationship.

That afternoon, Ariane visits Flannagan, who is packing quickly, pretending to leave Paris for "two crazy Swedish twins" in Cannes. At the train station, they act as if they do not care for each other, though Ariane quietly cries, blaming soot. As the train departs, she runs beside it, telling Flannagan she will soon travel with her many lovers. Her pretend persona breaks, and she insists, "I’ll be all right, I’ll be all right." Flannagan changes his mind, lifts her onto the train, kisses her, and calls her by her real name.

In a voice-over, Claude explains that their "case" was judged in Cannes on August 24, and they now live in New York City under a long-term sentence.

Music

The film includes the following songs and music:

• "Fascination" by Fermo Dante Marchetti; lyrics by Maurice de Féraudy (1905) and English lyrics by Dick Manning; performed by the Gypsies
• "C'est si bon" by Henri Betti; lyrics by André Hornez; performed by the Gypsies
• "L'ame de Poètes" by Charles Trenet; performed by the Gypsies
• "Love in the Afternoon," "Ariane," and "Hot Paprika" by Matty Malneck

Production

Love in the Afternoon was the first screenplay written by Billy Wilder and I. A. L. Diamond. They met when Wilder contacted Diamond after reading an article Diamond had written for the Screen Writers Guild monthly magazine. The two men became friends quickly, and Wilder suggested they work together on a project based on a German-language film he had co-written in the early 1930s. The screenplay was inspired by the 1920 novel Ariane, jeune fille russe (Ariane, Young Russian Girl) by Claude Anet. This novel had been adapted into films called Scampolo (1928) and Scampolo, a Child of the Street (1932), the latter with a script co-written by Wilder. Wilder was also inspired by a 1931 German film adaptation of the novel, Ariane, directed by Paul Czinner.

Wilder’s first choices for the role of Frank Flannagan were Cary Grant and Yul Brynner. Wilder later said it was disappointing that Grant never accepted any of his film offers. He believed Grant had strong preferences about the roles he wanted to play. Wilder decided to cast Gary Cooper instead, because they shared similar interests, and Wilder knew Cooper would be a good companion during filming in Paris. Co-star Audrey Hepburn was Wilder’s only choice for the role of Ariane.

Talent agent Paul Kohner suggested Maurice Chevalier for the role of Claude Chavasse. When asked if he would accept the role, Chevalier said, “I would give the secret recipe for my grandmother’s bouillabaisse to be in a Billy Wilder picture.” Love in the Afternoon marked Chevalier’s first non-singing role in a film since 1947. The film also marked the American feature film debut of character actor John McGiver.

Wilder insisted on filming in Paris. Outdoor scenes were shot at the Château of Vitry in the Yvelines, the Palais Garnier (home of the Paris Opera), and the Hôtel Ritz Paris. Interior scenes were filmed at the Studios de Boulogne. However, Cooper reportedly felt nervous because this was his first time filming outside the United States. To hide Cooper’s age and make his face less noticeable, Wilder used shadows and special filters on the camera. The camera was also often placed behind Cooper’s back during filming.

For the American release of the film, Chevalier recorded a narration at the end of the film to tell audiences that Ariane and Flannagan had married and were living in New York City. Although Wilder did not want this addition, he included it to avoid complaints about the characters’ relationship.

Music plays an important role in the film. A four-piece band called “The Gypsies” entertains Flannagan and his lovers in his hotel suite, as Frank says he is “not much of a talker” and lets music create the romance. The Gypsies remain with Flannagan through difficult times, singing to him as he grieves, joining him in a Turkish bath, and following him to the train station.

A long scene set in the Palais Garnier opera house includes music from the 1865 Richard Wagner opera Tristan und Isolde. Matty Malneck, a friend of Wilder’s from their time in Vienna, wrote three songs for the film, including the title tune. Other songs featured include “C’est si bon” by Henri Betti, “L’ame Des Poètes” by Charles Trenet, and “Fascination,” a 1932 song based on a European waltz, which Ariane hums repeatedly. Haydn’s Symphony No. 88 is also included in the film.

Malneck later wrote lyrics for “Fascination” and “Hot Paprika.” “Fascination” became a popular song performed by Chevalier and other singers. “C’est si bon” was also recorded by many artists and became an international hit.

Johnny Mercer later wrote lyrics for “Love in the Afternoon.” The song became a hit for Jerry Vale and others.

Release

The film cost $2.1 million to make, but it faced financial problems. The debt Allied Artists had from making the movie Friendly Persuasion led the studio to sell the European distribution rights for Love in the Afternoon to get more money.

The film's world premiere was in Paris on May 29, 1957. It opened in Los Angeles on June 19, 1957, and in New York on August 23, 1957.

The film was not successful in the United States. It did not connect well with American audiences because Gary Cooper looked too old to be in a romantic relationship with Audrey Hepburn's younger character. Billy Wilder, the film's director, said, "It was a failure. Why? Because I cast Coop when he suddenly looked old." Allied Artists released the film again in 1961 with the new title Fascination. However, in Europe, the film was very successful and was released under the title Ariane.

Reception

In his 1957 review, Bosley Crowther of The New York Times described the film as a "grandly sophisticated romance … in the great Lubitsch tradition." He noted, "Like most of Lubitsch's masterpieces, it is a light and delicate story, not focused on a strong moral or deep plot. Mr. Wilder uses a unique style of subtle, sophisticated slapstick to add energy and charm to his work. Both actors perform beautifully, with clever and graceful expressions. They even handle the sentimental ending well, which feels warm and gentle."

Wilder is often compared to Lubitsch. In a 2007 essay for Stop Smiling magazine, Jonathan Rosenbaum wrote that Love in the Afternoon was "the most obvious and explicit, yet also the least smooth of Wilder's tributes to Lubitsch. It was partly inspired by Lubitsch's 1938 film Bluebeard's Eighth Wife, which Wilder and Charles Brackett also helped write. That film also starred Gary Cooper, who played a womanizing American millionaire in France." John Fawell wrote in 2008 that "Lubitsch was most creative when he filmed scenes from outside doorways, especially when something secretive happened behind the door. His student, Billy Wilder, copied this habit. In Love in the Afternoon, we know Gary Cooper's rich playboy has had another romantic partner when we see a group of gypsy musicians (who travel with Cooper to help him win Ariane's heart) quietly leave the hotel room, holding their shoes."

An undated and unsigned review in TV Guide noted that the film has "the friendly charm of Hepburn, the playful and mischievous energy of Chevalier, a smart script by Wilder and Diamond, and a light, breezy feel that carried the audience along." However, the review criticized Gary Cooper, who was 56 years old at the time and looked too old to convincingly play opposite the youthful Hepburn. It added that without Cooper's weak performance, the film was dominated by Chevalier's strong and lively acting.

Channel 4 stated that the film is weakened by the unlikely connection between Cooper and Hepburn.

In her analysis, Marilyn Throne described the script as an examination of the myth that "the girl-virgin can seduce a successful American man." She explained that Ariane is surrounded by men, including her father, who all support men's right to flirt and have many romantic partners, while women are expected to remain pure. The film shows the unfair double standard when Ariane's father confronts Flannagan. Both men realize their mistakes. The detective father, who made his money by investigating Flannagan's romantic exploits, now discovers that Flannagan has seduced his own daughter. Flannagan, who has mocked other men who were cheated on, now faces the father of the girl he seduced. Flannagan's final decision to carry Ariane onto a moving train and later marry her adds an unrealistic romantic ending to the story, given Flannagan's history of cheating and Ariane's lack of experience with men and money. Throne concluded, "One might wish he had adopted the girl instead of marrying her."

On the review website Rotten Tomatoes, 79% of 28 critics' reviews are positive.

Accolades

Screenwriters Wilder and Diamond received the award for "Best American Comedy" at the 1957 Writers Guild of America Awards. Wilder was nominated for Outstanding Directing in Feature Films by the Directors Guild of America.