Very very predictable, including the post credit scene !!!

A brilliant film that helped define a genre

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

One of the most extraordinary films you will see this year. Take that as you want.

Songs: "Funny Face" (Astaire, reprized Astaire), "'S Wonderful" (chorus, reprized Astaire and Hepburn), "How Long Has This Been Going On?" (Hepburn), "Let's Kiss and Make Up" (Astaire), "Clap Yo' Hands" (Astaire, Thompson), "He Loves and She Loves" (Astaire), — all music by George Gershwin, lyrics by Ira Gershwin. "Think Pink" (Thompson), "Bonjour Paris!" (Astaire, Thompson, Hepburn), "On How To Be Lovely" (Hepburn, Thompson), bridge for "Clap Yo Hands", — all music by Roger Edens, lyrics by Leonard Gershe. "Marche Funebre" (Slifer), music by Roger Edens, lyrics by Lela Simone. "Bullfight Dance", music by Alexander Courage. "Clap Yo' Hands", dance music by Skip Martin. "Basal Matabolism", music by Alexander Courage. Music directed, adapted and conducted by Adolph Deutsch. Choreography: Eugene Loring, Fred Astaire. Songs staged by Stanley Donen. Dance assistants: Dave Robel, Pat Denise. Music arrangements and orchestrations: Conrad Salinger, Mason Van Cleave, Alexander Courage, Skip Martin. Copyright 1957 by Paramount Pictures Corp. New York opening at the Radio City Music Hall: 28 March 1957. U.S. release: April 1957. U.K. release: 27 May 1957. Australian release: 15 August 1957. Sydney opening at the Prince Edward: 16 August 1957 (ran six weeks). 9,302 feet. 103 minutes. SYNOPSIS: Fashion photographer introduces bookshop beatnik into the world of Parisian couture. NOTES: Here's a breakdown of the orchestrations. Van Cleave did "Bonjour Paris!" Courage handled "Let's Kiss and Make Up", Salinger was assigned "He Loves and She Loves", Skip Martin worked on "Clap Yo' Hands", Deutsch did both "Think Pink" and "On How To Be Lovely". Background music was orchestrated by Deutsch, Courage and Van Cleave. Nominated for the following Academy Awards: Best Original screenplay (won by Designing Woman), Best Cinematography (won by The Bridge on the River Kwai), Best Art Direction (won by Sayonara), Best Costumes (won by Les Girls). One of Bosley Crowther's Ten Best Pictures of 1957. Sixth on the National Board of Review's list. Special Citation for "photographic innovations" from the National Board of Review.COMMENT: Top-billed Audrey Hepburn is perfectly cast in this inventively staged and most stylishly photographed musical. Fred is no slacker either, and it's good to see Kay Thompson in such an excellent role (her only previous film appearance was a brief singing spot with her radio choir in "Manhattan Merry-Go-Round" way back in 1937). Following Hollywood custom, one of France's top stars, Michel Auclair, is inappropriately dubbed (though he does get to speak his own opening lines in French), whilst normally reliable British "other man" Robert Flemyng is likewise inexplicably miscast as a Parisian fashion designer. However, Dovima is fine as a Bronx- accented model, and keen fans will have no trouble recognizing Suzy Parker in the "Think Pink" number. OTHER VIEWS: Actually lensed on real Paris locations with Fred and company dancing through the main streets and boulevards and on to the Eiffel Tower, Funny Face is both a visual and musical treat. The story is engaging too, with wit and satire directed against the cleverly contrasted worlds of high fashion and beatnik intellectualism. True the romantic complication with a bearded Michel Auclair is rather old- hat. But with songs like these, who's complaining? Fred, Audrey and Kay are all in marvelous form, production values are appropriately super-glossy, and the photography contrives to be amusing and clever in its own right. Funny Face has so many stylish elements, I'm surprised it has never been adopted as a cult movie. Perhaps its expose of the phony, pretentious claptrap underlying undergraduate philosophy strikes too close to home. Whatever, Funny Face is still an absolute delight. — JHR writing as George Addison.

I rated the movie a 4 because of the second half of the movie. Kay as a Woman's magazine editor was wonderful. Exaggerated her bossiness but enjoyable never the less.Contrary to many of the reviewers I think the match between Fred and Audrey was wonderful throughout the movie. Fred Astaire had a sexiness that could easily sweep a woman off her feet regardless of age. If you can possibly get to see the movie "The Pleasure of His Company" which I believe has not been released officially on DVD, you learn when Fred no longer had the sexiness to attract women young or old. Audrey metamorphosis into a divine model while slightly hard to believe, it makes no difference. I want to believe it!My problem with Kay Thompson is in the second half of the movie. Kay doing a song and dance routine seemed ridiculously out of place. She appeared to be an utter clod. The director should have gotten someone else or just had Fred dancing and singing alone.

Funny Face is a musical about fashion and love. The story and music for this musical, I thought was OK but the story lost me at parts where it was more about fashion or the song and didn't really expand on the people around the story/song. The music was good and had changes of pace to all of them being different and the dancing involved is some of the best I've seen in a musical, for example the scene where Audrey Hepburn's in the café and misses hair and make up and she starts dancing is great. Also another great thing about this movie is how likable Hepburn is in the role, starting off working in a book store then becoming a model is an interesting ride. Overall, I give Funny Face a 7/10.

Splashy colors, Paris locations, Fred Astaire's dancing, Audrey Hepburn's pixie-ish charm, Stanley Donen's direction, and George Gershwin's music should have melded into an enduring musical classic in 1957's "Funny Face." However, the talented individuals involved produced a dated, clumsy film with but a few bright moments. Poor tweedy philosophizing shop girl is transformed into an elegant stylish fashion model, a "My Fair Lady" wannabe. While Audrey Hepburn is never convincing as a mousy clerk garbed in shades of drab, she comes alive in designer clothes, and, quicker than you can say "Givenchy," the character swaps her principles for a haircut and makeover, a walk down the runway, and a trip to Paris. Hepburn was often paired with older men in her films; however, Cary Grant, William Holden, and Gary Cooper had enough masculine sex appeal to be convincing love interest for a young woman. Fred Astaire, however, was never romantic material, even for those of his own age. In "Funny Face," Astaire in his late 50's is about 20 years older than Hepburn and looks it; oddly, neither the age difference nor Astaire's reason for advanced bachelorhood is ever remarked upon or mentioned in the script.Leonard Gershe's screenplay for "Funny Face" is planted firmly in the Eisenhower 1950's. Astaire's chauvinistic attitude, "the man asks the woman to dance," is archaic and would have been poison to a free-thinking young woman like Hepburn's Jo Stockton. Kay Thompson's magazine editor is a post-World War II stereotype of the working woman: unmarried, hard, bossy, mannish, and abrasive. Only in mid-20th-century America would a harem of lemming-like "yes-women" blindly follow Thompson and mindlessly praise her every mundane uttering. Further undermining the film's credibility, the supposed pictorial output of Dick Avery, a successful fashion photographer, and Maggie Prescott, editor of "Quality" magazine, is limp at best; Avery's photos are mediocre, and Prescott's earth-shattering idea is "think pink." As always, Fred Astaire's dancing is worth watching, and, although her singing is more flat than melodic and her dancing mixed, Hepburn is always a winning charmer. However, under Donen's direction, the film does not soar, but rather lumbers from clumsy number to embarrassing parody; bearded beatniks, soul-searching laments, Parisian dives, empathetic philosophers, and even fashion magazines seem so last century. "Funny Face" may be worth a view as a mid-20th-century curiosity piece, but otherwise the film is most suitable as source material to excerpt scenes for documentaries on Astaire and Hepburn. Most viewers will have to think pink to plod through "Funny Face."