Smashing romantic comedy-drama about two youngsters in love. A movie-loving French boy and the daughter of Americans working abroad meet and eventually run away from Paris to Venice to seal their love within the bonds of a legend--never suspecting the romantic story they've been told is a tall one, thought up by a wily pickpocket (Laurence Olivier, hammy but not overdoing it) who ends up acting as their guardian. Herky-jerky continuity and a too-heavy police interrogation sequence do not mar otherwise lovely and funny film with a beautiful score by Georges Delerue (which deservedly won an Oscar). Diane Lane, in her debut, is a wise little princess with understanding eyes and a husky, charming voice. *** from ****
68 Reviews
A very good movie
subrot015 August 2006
This movie is very special to me. I saw it with my first girlfriend. I thought, "Wow, they made a movie about me." This is a truly amazing movie. Sure there are contrivances but really the romantic angle works.
This movie has everything, philosopy, romance, adventure, love, discovery of self love and France. Who could ask for more. It has a wonderful cast. Diane Lane is absolutely wonderful. Sir Laurence Olivier is just fabulous. The rest of cast is a wonderful collection of oddballs and nuts that are done superbly.
There is no overt sex, no violence but the movie manages to do very well without those things. It makes you wonder why they can't make more movies like this anymore. It is a complete movie. Thankfully they did not make a sequel to this one. It stands on its own. The test of a good movie is that after it ends you care and wonder about the characters. This movie really makes you wonder what happened after the movie ends.
Did she write back? Did he find another love? Will they find true love? Very few movies I have seen ever made me wonder what happened after the end.
This movie has everything, philosopy, romance, adventure, love, discovery of self love and France. Who could ask for more. It has a wonderful cast. Diane Lane is absolutely wonderful. Sir Laurence Olivier is just fabulous. The rest of cast is a wonderful collection of oddballs and nuts that are done superbly.
There is no overt sex, no violence but the movie manages to do very well without those things. It makes you wonder why they can't make more movies like this anymore. It is a complete movie. Thankfully they did not make a sequel to this one. It stands on its own. The test of a good movie is that after it ends you care and wonder about the characters. This movie really makes you wonder what happened after the movie ends.
Did she write back? Did he find another love? Will they find true love? Very few movies I have seen ever made me wonder what happened after the end.
A Liitle Romance is true romance and thats why I loved this movie
paradox25200326 July 2006
Something about this movie was extraordinary and beautiful. Its genuinely pure and genuinely innocent. If you can handle that kind of stuff you will love this movie. I first saw it in 1989 and it is still one of my all time favorites. The quality of the dialog was well scripted and the story was very watchable, simple pure and something in this movie brought me back to my adolescence and I could relate to not only the memory of those experiences, but the feelings of those memories, and this movie really understood the sensitivity and struggle of those times in the lives of young teenagers. Diane Lane was so special and beautiful, she really helped this movie to be something special.
delightful movie
mtvernonandfairway11 February 2006
I first saw this movie in 1979. I loved it then and it has not lost any of it's magic 37 years later. Lane and Bernard are sweet and captivating and of course Sir Laurence Olivier gives another wonderful performance in his long distinguished career. Like many who saw this movie so many years ago, I often wondered what ever became of the young actor who portrayed Daniel. Apparently he decided that acting was not a profession he would continue to pursue as I have recently discovered, ashame that he did'nt do more. The award winning score to this movie by Georges DeLarue is probably the movies greatest triumph, for without it the story may not have come across with quite the power that it did. This movie is a real blessing!
26 years later, still magical and a work of supreme craftsmanship
yawn-25 June 2005
I've never been able to get this out of my head since its first release; it is one of the best films I've ever seen. I just looked at the DVD and was amazed at how many details I still remember from that first viewing 26 years ago. Gunfire-addled IMDb voters are dead wrong; this should be a 9+, but I guess it gets docked two points for having no explosions and only one shooting (with a blank pistol, which probably doesn't count).
The only "modern romances" in the same league are Richard Linklater's "Sunrise/Sunset" films, which I urge all fans of "A Little Romance" to see.
As fine as Diane Lane has been in recent films, I don't believe she's ever been as good as she is here, 13 years old and simultaneously fresh as new snow and polished as silver plate. She absolutely belonged on that TIME magazine cover. It's a miraculous performance which may owe more to director Hill than to Lane herself, but who cares? Just enjoy it...her interview feature on the DVD is excellent, by the way.
With the exception of "Marathon Man" and a couple of British TV plays, you can't find better late-period Olivier. He's simply delightful. If you are really perverse (like me), watch this and then compare with "The Boys from Brazil," a dreadful Olivier movie from the previous year, which should have qualified Sir Larry as the all-time champion "great actor working like hell while thigh-deep in pure crap." Here it's the exact opposite: the consummate old pro, totally relaxed, tossing off another memorable performance because he's in a terrific movie that he doesn't have to try and save. This is how I choose to remember the older Olivier. Another old pro, Broderick Crawford, damn near steals the movie in his too-brief cameos. He has a wonderful moment with Thelonious Bernard that will charm anyone who's dealt with an aging person's fading memory.
Arthur Hill, yet another reliable old guy, puts a nice turn on the #2 step-dad character. Who ever looked better in a business suit? The only truly unbelievable thing in the movie is that such a smart and understanding man would actually marry Sally Kellerman's vapid, starstruck mother character. Heavens, what a bitch. She doesn't deserve Arthur, and the scene in which he ejects equally vapid Potential Next Husband David Dukes from their lives is a classic of real-world, real man macho.
It's a real shame that Thelonious Bernard didn't have a film career, but if you can only star in one movie, this is a pretty damn good one for it. The iconic freeze-frame final shot of him leaping above traffic to wave goodbye is something one never forgets. It's like the alternate universe version of the last shot in "The 400 Blows."
One more thing: thank heavens there was no sequel.
The only "modern romances" in the same league are Richard Linklater's "Sunrise/Sunset" films, which I urge all fans of "A Little Romance" to see.
As fine as Diane Lane has been in recent films, I don't believe she's ever been as good as she is here, 13 years old and simultaneously fresh as new snow and polished as silver plate. She absolutely belonged on that TIME magazine cover. It's a miraculous performance which may owe more to director Hill than to Lane herself, but who cares? Just enjoy it...her interview feature on the DVD is excellent, by the way.
With the exception of "Marathon Man" and a couple of British TV plays, you can't find better late-period Olivier. He's simply delightful. If you are really perverse (like me), watch this and then compare with "The Boys from Brazil," a dreadful Olivier movie from the previous year, which should have qualified Sir Larry as the all-time champion "great actor working like hell while thigh-deep in pure crap." Here it's the exact opposite: the consummate old pro, totally relaxed, tossing off another memorable performance because he's in a terrific movie that he doesn't have to try and save. This is how I choose to remember the older Olivier. Another old pro, Broderick Crawford, damn near steals the movie in his too-brief cameos. He has a wonderful moment with Thelonious Bernard that will charm anyone who's dealt with an aging person's fading memory.
Arthur Hill, yet another reliable old guy, puts a nice turn on the #2 step-dad character. Who ever looked better in a business suit? The only truly unbelievable thing in the movie is that such a smart and understanding man would actually marry Sally Kellerman's vapid, starstruck mother character. Heavens, what a bitch. She doesn't deserve Arthur, and the scene in which he ejects equally vapid Potential Next Husband David Dukes from their lives is a classic of real-world, real man macho.
It's a real shame that Thelonious Bernard didn't have a film career, but if you can only star in one movie, this is a pretty damn good one for it. The iconic freeze-frame final shot of him leaping above traffic to wave goodbye is something one never forgets. It's like the alternate universe version of the last shot in "The 400 Blows."
One more thing: thank heavens there was no sequel.
A kiss under the Bridge of Sighs
masonx18 February 2000
The wonder of Laurence Olivier was his flexibility. From Shakespeare to the light & fluffy he was not too proud and that he enjoyed his profession so is shown in all his last works. This film is one of the latter and it may delight you with its humour and insight. A story set in Paris(sigh) of two adolescents from very different backgrounds and their budding romance in this the city of love. Which raises a good question mr director, why go to Venice when you could have done it all here the most romantic place in the world. But I digress. Lauren(Diane Lane) & Daniel(Thelonius Bernard) are the leads. Two youngsters with very high IQ's, they both read Heidegger & Nitsche for kicks, and who are surrounded by incompetent adults led by Daniel's dad, a parisien taxi driver with questionable ethics and Laurens mum Kay( Sally Kellerman playing a snobbish ex-patriot socialite) who balks at the thought of returning to the states-"goddam Houston".There is also a fine supporting cast of David Dukes playing George, a very avant-garde film director(so he says) and to Kay a potential husband number three, and Arthur Hill playing the kindly stepfather Richard. Broderick Crawford also makes a cameo appearance as himself, sadly one of his last. Olivier makes his entrance as the comical old gentleman with a mysterious past who used to live at the Browning's Villa in Venice and who befriends the two youngsters regaling them with a romantic tale of eternal love which can only be sealed with a kiss in a gondola under the bridge of sighs in Venice.Enough said.
Director Hill directs against type here but imbues his story with some wonderful vignettes. When Daniel's friend Londet sneaks them in to watch a blue movie Laurens reaction is a typically adolescent, morbid curiousity followed by revulsion and then a pert clinical summary.As if to say this aint that kind of a movie folks. Interestingly the two teenage leads found the eventual physical contact an embarrasing experience for all and had to be firmly encouraged by the director.There is a hint of their discomfort on screen but only for a moment. Love conquers all(sigh). Oliviers humourous performance transfixes when he almost gags on his croissant when seeing his criminal identikit photo in the newspaper. Hill also finds time to place excerpts from previous movies into his latest film,but aptly so. Albeit all in a foreign language. I also loved the photography and the landscape, I dont remember Italy being this lovely. The performances by all are very affecting although Lane did go on to bigger though not always better things. Bernard with his gallic good looks and despite passable reviews was never heard from again. Olivier sadly has passed on and will be missed by all for a long time to come.The ending was predictable but touching all the same.It never won any awards but twenty years later it remains one of my firm favourites for love story of the decade.
Director Hill directs against type here but imbues his story with some wonderful vignettes. When Daniel's friend Londet sneaks them in to watch a blue movie Laurens reaction is a typically adolescent, morbid curiousity followed by revulsion and then a pert clinical summary.As if to say this aint that kind of a movie folks. Interestingly the two teenage leads found the eventual physical contact an embarrasing experience for all and had to be firmly encouraged by the director.There is a hint of their discomfort on screen but only for a moment. Love conquers all(sigh). Oliviers humourous performance transfixes when he almost gags on his croissant when seeing his criminal identikit photo in the newspaper. Hill also finds time to place excerpts from previous movies into his latest film,but aptly so. Albeit all in a foreign language. I also loved the photography and the landscape, I dont remember Italy being this lovely. The performances by all are very affecting although Lane did go on to bigger though not always better things. Bernard with his gallic good looks and despite passable reviews was never heard from again. Olivier sadly has passed on and will be missed by all for a long time to come.The ending was predictable but touching all the same.It never won any awards but twenty years later it remains one of my firm favourites for love story of the decade.
Young Love In Venice
bkoganbing15 June 2010
If A Little Romance had only been made 15 years earlier it would have been a perfect vehicle for the greatest boulevardier of all, Maurice Chevalier. The part of the aging conman and pickpocket was made for Chevalier. But with Maurice beyond the casting calls instead we got an ersatz Frenchman and a most reasonable substitute in Laurence Olivier.
Set in Paris, Venice, Verona, and the countrysides of France and Italy, A Little Romance is a charming film about two teens reaching puberty, the daughter of actress Sally Kellerman who is filming in Paris played by Diane Lane and Thelonius Bernard, the son of a Parisian taxi driver with all that that profession's reputation brings to bear.
Bernard is an American film fanatic and when he hears about Kellerman shooting in Paris he sneaks on the set and meets Lane. The two start spending an awful lot of time together and also meet up with Olivier who as his profession of conman brings to bear has quite a line for them. They conceive of a plan to follow a legend to have a romantic kiss under the Bridge of Sighs in Venice. And they have to get it done quick because Kellerman's husband Arthur Hill is being transfered to Houston from Paris by his company.
The kids are charming, but they sure have to go some to keep up with Laurence Olivier. Sir Larry pulls out the entire bag of scene stealing tricks for his performance.
Broderick Crawford who also in the film Kellerman is shooting plays himself and in this cameo is brutally and frankly himself. Crawford's well known fondness for liquor is talked about here by Crawford with incredible frankness. I was surprised to that it was thusly so.
Film fan Bernard was in Parisian cinema houses seeing some old films and among those he saw were Butch Cassidy and the Sundance Kid and The Sting both directed by George Roy Hill who directed A Little Romance. I guess Hill was saying Bernard had excellent taste in American cinema.
A Little Romance could easily be remade today, but I wonder where you would find a Maurice Chevalier or a Laurence Olivier for the aging matchmaker. Perhaps Ian McKellan would be best.
Set in Paris, Venice, Verona, and the countrysides of France and Italy, A Little Romance is a charming film about two teens reaching puberty, the daughter of actress Sally Kellerman who is filming in Paris played by Diane Lane and Thelonius Bernard, the son of a Parisian taxi driver with all that that profession's reputation brings to bear.
Bernard is an American film fanatic and when he hears about Kellerman shooting in Paris he sneaks on the set and meets Lane. The two start spending an awful lot of time together and also meet up with Olivier who as his profession of conman brings to bear has quite a line for them. They conceive of a plan to follow a legend to have a romantic kiss under the Bridge of Sighs in Venice. And they have to get it done quick because Kellerman's husband Arthur Hill is being transfered to Houston from Paris by his company.
The kids are charming, but they sure have to go some to keep up with Laurence Olivier. Sir Larry pulls out the entire bag of scene stealing tricks for his performance.
Broderick Crawford who also in the film Kellerman is shooting plays himself and in this cameo is brutally and frankly himself. Crawford's well known fondness for liquor is talked about here by Crawford with incredible frankness. I was surprised to that it was thusly so.
Film fan Bernard was in Parisian cinema houses seeing some old films and among those he saw were Butch Cassidy and the Sundance Kid and The Sting both directed by George Roy Hill who directed A Little Romance. I guess Hill was saying Bernard had excellent taste in American cinema.
A Little Romance could easily be remade today, but I wonder where you would find a Maurice Chevalier or a Laurence Olivier for the aging matchmaker. Perhaps Ian McKellan would be best.
One of my new all-time faves
rzajac17 March 2003
One of the finest movies I have ever seen. Let no one ever again say that intelligent movies can't be deeply moving, spiritual, and just plain fun.
I was utterly stupefied at the seamless way this movie exposes the spiritual landscape. I'm really at a loss to explain this movie in the normal way one speaks of theatrical productions; in terms of components, like writing, direction, acting, etc. This movie was marvelously "of a piece", which is very, very relaxing and refreshing. Analyzing it would feel like dissecting a living thing, which I won't do.
Just one of the gems: This movie makes perfectly plain the essential role of familial love for the full and timely flowering of romantic love. At a time when people are accused of ascribing to movies an inordinate responsibility for social conditions, this movie reminds you why it might be reasonable to do so. It can be fairly well depended upon to stand as a model for father-daughter love, true husbandry under difficult circumstances (a spiritually impoverished mother), and exploring your first love.
And there are lots and lots and lots of other gems in this movie. There's sweet chaos, Sir Laurence Olivier, an excellent balance of English and subtitled native speech, a truly fine and unaffected portrayal of European life, and on and on and on. SEE THIS MOVIE!
I was utterly stupefied at the seamless way this movie exposes the spiritual landscape. I'm really at a loss to explain this movie in the normal way one speaks of theatrical productions; in terms of components, like writing, direction, acting, etc. This movie was marvelously "of a piece", which is very, very relaxing and refreshing. Analyzing it would feel like dissecting a living thing, which I won't do.
Just one of the gems: This movie makes perfectly plain the essential role of familial love for the full and timely flowering of romantic love. At a time when people are accused of ascribing to movies an inordinate responsibility for social conditions, this movie reminds you why it might be reasonable to do so. It can be fairly well depended upon to stand as a model for father-daughter love, true husbandry under difficult circumstances (a spiritually impoverished mother), and exploring your first love.
And there are lots and lots and lots of other gems in this movie. There's sweet chaos, Sir Laurence Olivier, an excellent balance of English and subtitled native speech, a truly fine and unaffected portrayal of European life, and on and on and on. SEE THIS MOVIE!
cute young love
SnoopyStyle15 February 2017
Daniel Michon is a young Parisian obsessed with American movies. He sneaks onto a film set and meets smart American girl Lauren King (Diane Lane). Her mother Kay (Sally Kellerman) is a three-times married actress flirting with her director. Daniel and Lauren start hanging out. They encounter Julius Santorin (Laurence Olivier) in the park who tells them about a romantic tradition under the Bridge of Sighs in Venice. Lauren invites Daniel to her birthday party but Kay is instead holding a wrap party for the film. Her stepfather announces that they're moving to Houston. The young couple hatches a plan to go to Venice with Julius' help. Kay launches an international search for her missing daughter.
This is young puppy love. They're more like friends. Diane Lane is incredibly young in her film debut. She's quite charismatic. On the other hand, the boy is only fine. He's a young kid and his character needs an endearing scene. Then there is Sir Laurence Olivier. He adds some serious comedic flair to the proceedings. Without him, the movie is sweet and quirky without substance or laughs. This is an odd movie. It's not that funny but some of it is. The romance is light and innocent. The trio's chemistry is good. The adventure is light but it has the weight of the exotic European locations. Mostly, it's interesting to see Diane Lane as a very young actress. It's always fun to see a famous person as a young performer.
This is young puppy love. They're more like friends. Diane Lane is incredibly young in her film debut. She's quite charismatic. On the other hand, the boy is only fine. He's a young kid and his character needs an endearing scene. Then there is Sir Laurence Olivier. He adds some serious comedic flair to the proceedings. Without him, the movie is sweet and quirky without substance or laughs. This is an odd movie. It's not that funny but some of it is. The romance is light and innocent. The trio's chemistry is good. The adventure is light but it has the weight of the exotic European locations. Mostly, it's interesting to see Diane Lane as a very young actress. It's always fun to see a famous person as a young performer.
A lovely movie about movies and love
boblipton14 March 2002
This movie seems to be about the problems of growing up smarter than everyone else, but it's a very complicated little movie. Everyone in this movie wants to be like the people in the movies, even though they fall far short. There is a brief cameo by Broderick Crawford at a wrap party. Crawford is not interested in art. He wants booze and broads. The director, who is romancing Diane Lane's mother, is a schlock director, but is flattered by people's belief he is an artist. Olivier plays an old man who pretends to be many things, but turns out to be a petty crook. As for the two young lovers who want to seal their love by kissing under the Bridge of Sighs in Venice as the church bells sound, they want to be Bogey and Bacall.
Well, didn't we all? Don't we all?
Well, didn't we all? Don't we all?
a little romance, afterall
Sepvira1 September 2021
Lauren.. Call me Bogie.
Why?
Because... Because they belong together, Lauren Bacall and Humphrey Bogart. They were married. Movie stars. She called him Bogie. That's why I said to call me Bogie.
A really sweet, delightful romance between 13-year-old-film buff French boy Daniel and 13-year-old-Heidegger American girl Lauren. Such great chemistry and performances from the two leads, especially Diane Lane in her debut.
It's A Little Romance afterall or maybe Before Sunrise Jr with a little help from a charming old fella with over-the-top French accent played by Sir Laurence Olivier.
Ps. I just can't believe that director George Roy Hill showing his earlier film, "Butch Cassidy and the Sundance Kid" in the opening scene.
Why?
Because... Because they belong together, Lauren Bacall and Humphrey Bogart. They were married. Movie stars. She called him Bogie. That's why I said to call me Bogie.
A really sweet, delightful romance between 13-year-old-film buff French boy Daniel and 13-year-old-Heidegger American girl Lauren. Such great chemistry and performances from the two leads, especially Diane Lane in her debut.
It's A Little Romance afterall or maybe Before Sunrise Jr with a little help from a charming old fella with over-the-top French accent played by Sir Laurence Olivier.
Ps. I just can't believe that director George Roy Hill showing his earlier film, "Butch Cassidy and the Sundance Kid" in the opening scene.
Intelligent and timeless
maryjanemouse5 April 2005
I came across this film on one of the movie channels a few weeks back, and was immediately bowled over by the seamless dialog and simple, refreshing story about adolescent love. What I particularly enjoyed about this movie was how the roles for the children were actually quite adult in theme, and watching all of them interact. The characters are extremely bright schoolchildren, as well as wise beyond their years, but yet not pretentious or self-conscious of it. Had the makers of this film used lesser actors the dialog exchanged between the characters of Daniel and Lauren would have been laughable and cheesy, but given the actors' command and understanding of the script, the movie is credible. I was also pleased to see such smart roles written for children, not to mention that the characters are far better role models than the characters they have now in movies. Given the smart, young girl actors they had in the '70s (Jodie Foster, Tatum O'Neal, Diane Lane), one wonders what's happened since - no way a movie this well thought out could be made now, or at least be made without it being ruined with some horrible casting choice like Hilary Duff or the insipid Lindsay Lohan. Overall, "A Little Romance" is a great film that has everything working for it, and is a great treat to watch with anyone, anytime.
A Piece of Charm, and Lord Larry's Probably Last Good Film
theowinthrop25 July 2010
Warning: Spoilers
Lauren (Diane Lane) is the daughter of an American woman (Sally Kellerman) now married to her third husband (Arthur Hill) and showing far too much interest in a self-important film director (David Dukes). One day Lauren is taken to see the shooting of a scene in the director's latest opus, with Broderick Crawford as one of the stars. She finds more interest in a book (an introduction to Martin Heidegger's philosophy) than the filmed scene (an attempted assassination). But she meets Daniel, a French boy who was taking a school trip to the châteaux the film was being shot. He is a movie fan, a bright boy who has worked out an almost flawless system to win horse races, and as bright on the subject of Heidegger as Lauren is.* The kids click, and a small romance develops. They also meet an elderly gentleman (Lord Laurence Olivier) who tells them of how Elizabeth and Robert Browning sealed their love by sailing in a gondola in Venice under the Bridge of Sighs at sundown while the bells of St. Marco are chiming. Lauren likes that story very much.
Due to Daniel defending Lauren's honor at her birthday party (he punches the drunken film director for making a stupid insinuation) he is made persona non grata to his girlfriend. Daniel and Lauren meet secretly and plan to flee to Venice to put the Browning legend to their own use. They get assistance from the elderly gentleman, and soon manage to raise the necessary funds to flee. But they are caught in only a few days of possible freedom for this. Part of the reason is that their funds disappear too quickly. Also Lauren 1) fails to mention she and her parents are returning to America in two weeks, and 2) she forgets to ask a friend to cover for her. The funds soon are replenished, but Daniel begins to have suspicions about the elderly old gentleman.
A LITTLE ROMANCE came out in 1979, and with THE BOYS FROM BRAZIL represents the last two good movies that Laurence Olivier appeared in. He would be in a few other films and give a variety of appearances (most notably as General Douglas MacArthur in INCHON) but these films were below quality in most standards. A cameo in WAGNER starring Richard Burton was in a good film, but Olivier was in support in that film.
The reason really was age and health - Olivier could do film and television, but on a limited basis (BRIDESHEAD REVISITED, LOST EMPIRES). In comparison Alec Guiness was doing far more work in the 1980s of any interest. But A LITTLE ROMANCE was a charming comedy romance dealing with two kids coming of age, and aided by a kindly old rogue. It was an easy role (except for the French accent, which to be truthful comes and goes a little). But his age is apparent here too. As the old gentleman is in his 70s it was not a big problem for Olivier to show that age. Still he looks frail here (as he did in THE BOYS FROM BRAZIL), and his frailty is covered in another way - he is supposed to be running in several scenes, but they are shot in distant shots (with an obvious younger double). But his deliver of his lines is still first rate, and he manages to make his rogue lovable and believable to the end.
So does the rest of the cast. The two young teenagers are lovable, and believable because they are bright (and vulnerable: Lane is upset by Kellerman's romance with Dukes, which she knows bothers Hill; Daniel is aware that his father is a barely legitimate taxi driver (who cheats his fares). Kellerman (usually a free spirit in her films) shows a bigoted edge towards Frenchmen, and a hypocrisy towards her daughter's coming of age versus her own sexuality promiscuity. Hill turns out to be bright and caring (similar to Tom Bosley in THE WORLD OF HENRY ORIENT) - finally rousing himself to confront his rival when the time comes.
When A LITTLE ROMANCE came out in 1979 I saw it in a first run theater. Now I have seen it again on DVD. It has not aged badly at all.
*Martin Heidegger's reputation in 20th Century Philosophy has been established, but it is tarnished by his being a supporter of National Socialism in Germany under Hitler. Still apparently it has been a major support in French philosophy studies until fairly recently. Interestingly enough Lauren is initially more favorably impressed by Heidegger than Daniel is (he has plowed through Heidegger's mentor's works).
Due to Daniel defending Lauren's honor at her birthday party (he punches the drunken film director for making a stupid insinuation) he is made persona non grata to his girlfriend. Daniel and Lauren meet secretly and plan to flee to Venice to put the Browning legend to their own use. They get assistance from the elderly gentleman, and soon manage to raise the necessary funds to flee. But they are caught in only a few days of possible freedom for this. Part of the reason is that their funds disappear too quickly. Also Lauren 1) fails to mention she and her parents are returning to America in two weeks, and 2) she forgets to ask a friend to cover for her. The funds soon are replenished, but Daniel begins to have suspicions about the elderly old gentleman.
A LITTLE ROMANCE came out in 1979, and with THE BOYS FROM BRAZIL represents the last two good movies that Laurence Olivier appeared in. He would be in a few other films and give a variety of appearances (most notably as General Douglas MacArthur in INCHON) but these films were below quality in most standards. A cameo in WAGNER starring Richard Burton was in a good film, but Olivier was in support in that film.
The reason really was age and health - Olivier could do film and television, but on a limited basis (BRIDESHEAD REVISITED, LOST EMPIRES). In comparison Alec Guiness was doing far more work in the 1980s of any interest. But A LITTLE ROMANCE was a charming comedy romance dealing with two kids coming of age, and aided by a kindly old rogue. It was an easy role (except for the French accent, which to be truthful comes and goes a little). But his age is apparent here too. As the old gentleman is in his 70s it was not a big problem for Olivier to show that age. Still he looks frail here (as he did in THE BOYS FROM BRAZIL), and his frailty is covered in another way - he is supposed to be running in several scenes, but they are shot in distant shots (with an obvious younger double). But his deliver of his lines is still first rate, and he manages to make his rogue lovable and believable to the end.
So does the rest of the cast. The two young teenagers are lovable, and believable because they are bright (and vulnerable: Lane is upset by Kellerman's romance with Dukes, which she knows bothers Hill; Daniel is aware that his father is a barely legitimate taxi driver (who cheats his fares). Kellerman (usually a free spirit in her films) shows a bigoted edge towards Frenchmen, and a hypocrisy towards her daughter's coming of age versus her own sexuality promiscuity. Hill turns out to be bright and caring (similar to Tom Bosley in THE WORLD OF HENRY ORIENT) - finally rousing himself to confront his rival when the time comes.
When A LITTLE ROMANCE came out in 1979 I saw it in a first run theater. Now I have seen it again on DVD. It has not aged badly at all.
*Martin Heidegger's reputation in 20th Century Philosophy has been established, but it is tarnished by his being a supporter of National Socialism in Germany under Hitler. Still apparently it has been a major support in French philosophy studies until fairly recently. Interestingly enough Lauren is initially more favorably impressed by Heidegger than Daniel is (he has plowed through Heidegger's mentor's works).
Great Olivier in a "crumbling" film
mjj2002-809-94699416 January 2020
Warning: Spoilers
The film left a complex impression. It would seem that all the components of success are obvious - charming young heroes, first love, joint adventure, wonderful acting of the legendary Laurence Olivier ... But it seemed to me that the film is too stretched, it contains a lot of unnecessary, absurd. And vice versa, what was necessary to emphasize is absent in the script. For example, it would be nice to know the real, not fictitious, life story of a strange but sincere elderly character. Or to show what the sympathy of the funny best friend of Lauren for the best friend of Daniel resulted in. The feeling that despite the considerable length of the film, some important scenes were thrown out during editing. For example, how did a boy, girl and old man get to Venice without money and baggage? How did the police find Lauren and Daniel and what was the reaction of the relatives at the meeting? Why didn't the old man go to jail after stealing money at a racetrack? How could one explain the discovery of a huge amount of money in a train compartment? I would like to give the film a higher rating - after all, there is some charm in it, but the plot is too unfinished.
I plan to take this gondola ride with MY true love next summer!
sizzerhands15 October 2004
We were the first family in our neighborhood to have a VCR. The first movie I can remember watching was A Little Romance!! Can you imagine being a 5 year old girl and seeing Europe for the first time through the eyes of these two beautiful teen agers. Seeing true LOVE for the first time in such a genuine, honest story! I was overwhelmed by the beauty of it all. I LOVE this movie! I have watched it many times in my life, at various ages. I have shared it with friends and family and watched with some odd sort of pride as they too fell in love with the story and its characters. Such a whirlwind story. Never a dull moment. And can I just say that the soundtrack is incredible!!!
I still own our original VHS tape. It came encased in plastic inside a large cardboard, front-opening box. It has traveled with me, moved with me countless times, been watched repeatedly, and probably even cried on. But, like the true love it represents, it has withstood the test of time. However, last Spring, my own sweet, wonderful boyfriend did buy me the DVD, "for when your copy goes to that big VCR in the sky". (what a keeper he is)
I cannot express the depth of emotions this movie triggers in me. And I can't explain how I managed to cling to the belief that love, can indeed be as simple and beautiful as the characters portray. But I can say that it has been my quest "to kiss under the bridge of sighs, at sunset, while the bells toll". It has become a dream to be fulfilled. Summer of 2005, my boyfriend and I will be in Europe. And we WILL visit Venice. And we WILL take that gondola ride. And as the incomparable Sir Laurence Olivier says in the movie " What are legends anyways, but stories about ordinary people doing extraordinary things.....Something that two people who are in love create together, against impossible odds, CAN hold them together...forever!"
We believe the legend is real!!!!
I still own our original VHS tape. It came encased in plastic inside a large cardboard, front-opening box. It has traveled with me, moved with me countless times, been watched repeatedly, and probably even cried on. But, like the true love it represents, it has withstood the test of time. However, last Spring, my own sweet, wonderful boyfriend did buy me the DVD, "for when your copy goes to that big VCR in the sky". (what a keeper he is)
I cannot express the depth of emotions this movie triggers in me. And I can't explain how I managed to cling to the belief that love, can indeed be as simple and beautiful as the characters portray. But I can say that it has been my quest "to kiss under the bridge of sighs, at sunset, while the bells toll". It has become a dream to be fulfilled. Summer of 2005, my boyfriend and I will be in Europe. And we WILL visit Venice. And we WILL take that gondola ride. And as the incomparable Sir Laurence Olivier says in the movie " What are legends anyways, but stories about ordinary people doing extraordinary things.....Something that two people who are in love create together, against impossible odds, CAN hold them together...forever!"
We believe the legend is real!!!!
Lovely
sbalderdash25 April 2006
Warning: Spoilers
This is the cutest, sweetest movie in the history of movies. In my opinion, it is the best romantic movie ever made, because it is so sweet and pure and the relationship doesn't go farther than a kiss. Diane Lane's best movie, as a rich American girl and Laurence Olivier doesn't exactly do damage to the cast list with his amazing acting (as always). So adorable, made me want to watch it 20 times, especially the kiss scene under the Bridge of Sighs *sigh*. Every 13 yr old girl's romantic fantasy is revisited in this impulsive, puppy love story of "little romance" that sparks the urge to "kiss under the bridge of sighs in a gondola at sunset when the bells toll". Come on guys, if you did that to a girl, any girl, she'd love you for life, just like I LOVE THIS MOVIE. <3
Innocence personified
SBowe772217 June 2006
There are no words to express the real beauty of this movie, nor the depth of its import. There are those who have lived in such innocence and courage as the children in this movie, but in this new millennium such would be as rare as purity itself. After 106 minutes of near flawless value, it makes one wonder what has happened to wonder and gentleness; it seems they have journeyed far away, taking with them respect and graciousness. Such a treasure as this film makes one long for a time of civility and trust. Diane Lane had an auspicious beginning here, though too many of her later films lacked the substance of this one. Sally Kellerman does what she does best, and Arthur Hill seems the father of whom all daughters dream. By all means, rent this film and share the adventure!
Young love
gbill-748774 July 2020
Seeing Diane Lane in her film debut at age 13 and Laurence Olivier at age 72 were the main attractions for me, and they don't disappoint. Lane's performance is very good, especially during the film's touching moments, and Olivier's character has a nice little twist along the way which he performs well. I was also happy to see beautiful shots in Paris, Verona, and Venice, especially the latter towards the end.
I have to say, the movie doesn't do itself any favors by straining the plot's credibility to the point of annoyance - Lane's character (also 13 years old mind you) reads Heidegger, her boyfriend (Thelonious Bernard) has developed a system for picking the winners of horse races, and Lane helps a computer scientist fix the algorithm he's been working on for a long time. It seems to want to treat the kids as adults in many other ways that don't seem authentic, which led to a lot of groan-out-loud moments in the first half of the film.
Additionally, and I suppose it's a small thing in the overall story but it was annoying to me nonetheless - I thought there is an air of misogyny in the stepfather's character, who is husband #3 and positioned as the voice of reason in Lane's family. He decides to move the family back to Houston without talking to his wife, and condescendingly tells her to stay behind while he goes after the girl (her child, not his). I detected an echo of this in how Bernard's character speaks in commanding ways to Lane's (and certainly in how his friend acts towards girls), which was off-putting.
The film is lifted up at the end because of its scenery and how the romance plays out, which is sweet and touching, and I might have rated it a smidgeon higher because of this on a more generous day. If you like Lane, Olivier, Venice, or movies that tug on the heartstrings in defiance of what your brain is telling you is contrived, this one may be worth checking out.
I have to say, the movie doesn't do itself any favors by straining the plot's credibility to the point of annoyance - Lane's character (also 13 years old mind you) reads Heidegger, her boyfriend (Thelonious Bernard) has developed a system for picking the winners of horse races, and Lane helps a computer scientist fix the algorithm he's been working on for a long time. It seems to want to treat the kids as adults in many other ways that don't seem authentic, which led to a lot of groan-out-loud moments in the first half of the film.
Additionally, and I suppose it's a small thing in the overall story but it was annoying to me nonetheless - I thought there is an air of misogyny in the stepfather's character, who is husband #3 and positioned as the voice of reason in Lane's family. He decides to move the family back to Houston without talking to his wife, and condescendingly tells her to stay behind while he goes after the girl (her child, not his). I detected an echo of this in how Bernard's character speaks in commanding ways to Lane's (and certainly in how his friend acts towards girls), which was off-putting.
The film is lifted up at the end because of its scenery and how the romance plays out, which is sweet and touching, and I might have rated it a smidgeon higher because of this on a more generous day. If you like Lane, Olivier, Venice, or movies that tug on the heartstrings in defiance of what your brain is telling you is contrived, this one may be worth checking out.
What a great movie
willie-lawson1 September 2005
You know it is rare that in ones lifetime one get to enjoy a movie that appeals to what is sweetest about young love. The purity of love and the joy of discovery without being vulgar. A Little Romance is that movie. Skillfully written, wonderfully acted and beautifully acted. This movie should had won every award given. Please if you get a chance to see this movie see it.
Sir Laurence, is wonderful as the old crook that inspires the star-struck lover to fulfill the legend of kiss under the bridge. He draws you into his character as only a master actor can and acts as your guide as these great young actors live out this legend.
The two kids are super. Just the right mix of smart and innocence.
Sir Laurence, is wonderful as the old crook that inspires the star-struck lover to fulfill the legend of kiss under the bridge. He draws you into his character as only a master actor can and acts as your guide as these great young actors live out this legend.
The two kids are super. Just the right mix of smart and innocence.
Really enjoyable but what happened to Olivier?
ksarkies28 January 2009
I found this a really enjoyable movie, about two children (about 13 years old?) finding a romantic friendship, and seeking the help of an older man to fulfil a dream that required them to overcome a number of obstacles. It is the childlike simplicity of the story and of their relationship that appeals.
Unfortunately Olivier was disappointing, despite his reputation as an actor. He was quite unable to play the part of an elderly Frenchman. He was certainly doddery enough, but seemed very unsure of his role, and often did not speak his part clearly. I suspect that putting on a convincing french accent was not one of his greatest talents.
Ken
Unfortunately Olivier was disappointing, despite his reputation as an actor. He was quite unable to play the part of an elderly Frenchman. He was certainly doddery enough, but seemed very unsure of his role, and often did not speak his part clearly. I suspect that putting on a convincing french accent was not one of his greatest talents.
Ken
Innocence, Fate, and Charm
imca27 October 2006
Few films command the lasting affection of A Little Romance. An indictment of the cinematic cynicism of the 1970s, here is a wonderful, often magical film awash in sentiment, but never sentimental. In spite of its title and even the story itself, its genre is somewhat ambiguous. It is, rather, an evocative survey of several: romance, melodrama, mystery, comedy, and above all, fantasy.
Set in Paris, it's the story of two children (Diane Lane and Thelonious Bernard) who meet by accident at Versailles amidst the confusion and hubbub of a film shoot. One is the prodigious, mathematically savvy young son of a cab driver, while the other is the equally facile daughter of a wealthy, vivacious, and spoiled American woman (Sally Kellerman) and her new husband, an ironically compassionate corporate executive (Arthur Hill). The two kids "click", but their burgeoning love is soon compromised by a kind, well meaning, if incompetent petty thief. (Laurence Olivier)
If there is a single theme upon which its endearing appeal continues to thrive, nearly thirty years after its release, it's innocence: the innocence of children, the innocence of adults who behave like children, and the surprising innocence -- naiveté, really -- of a society that would still, in the end, respect it. It's about fate, too, and how it favors and rewards innocence uncorrupted, even if it is only in the movies that such an emotional Shangrila is possible. That the filmmakers send up, with comical gentility, the film industry itself as a source of such corruption is certainly testimony to that.
The legendary, fairy-tale quality that informs A Little Romance was no accident. Removed from the splendid châteaux and opulent gardens of Versailles, or the gentle slopes of rural Italy, or the pristinely elegant, aquatic antiquity of Venice, A Little Romance would have been shorn of its resonance. Director George Hill was nothing if not savvy, exploiting as he did the rich geographical and architectural environments as characters in their own right. Had this story been set in New York, for example, along with a more indulgent, self-conscious script populated exclusively with adults, it would have ended up emulating the gooey sentimentality of Love Story.
The 13 year old Diane Lane's radiant debut was complimented by the no less engaging Thelonious Bernard, who has long since disappeared from film, and from public view altogether for that matter. (Word has it he is now a dentist in Nantes, famous for its opera company). Of course, neither of them had to move too far out of their own gifted skins to portray the prodigies they do here. Their abundant intelligence and wit take no time at all to succumb, in this story of real and not merely puppy love, to adolescent longings. In fact, Ms. Lane and Mr. Bernard are so convincing as to lead to speculation about their relationship off screen. That's probably unfair, though; the odds are that they, like their characters, were just two brainy, fabulous kids and consummate professionals who had mastered the craft of acting and grasped, with unerring precision, the subtext of the Allan Burns' superbly crafted screenplay.
The wonderful Arthur Hill, who died just today (and whose passing inspired me to write this), exudes firm but caring authority in his role as Ms. Lane's father and the beleaguered husband of the philandering Sally Kellerman, seen here in one of her edgier, bitchier performances. Both Hill and Kellerman's thoughtful readings, deftly defined, provided the perfect counterpoint to the developing feelings explored by Ms. Lane and Mr. Bernard. But rather than glibly extolling, like two proud parents, the innocence of those feelings, both actors expose instead what spoiled cynicism and lack of faith can do to corrupt them.
The miracle of this movie, its heart, if you will, is Mr. Olivier. His performance is pure confection, as delicious as the French pastry he fawns over in a café early on in the film, yet no less detailed and picaresque than the Doge Palace in Venice where he ends up. As he confessed in his autobiography, acting was, for Mr. Olivier, an artificial construct; he was no fan of the method or realism. He preferred to invent a character from the outside, like a painting, rather than cultivating it from the inside whilst tipping his hat to every possible motivation. Whatever attendant techniques he engaged to create his Julius, no matter. It is in the end a most remarkable bit of thespian virtuosity, a performance of enormous buoyancy at once playful and passionate, vulnerable and astute. Mr. Olivier is the angel of this fantasy, while Ms Lane and Mr. Bernard are the cherubs under his wing, making a perfect match and underlying metaphor for the old world paintings and frescoes to which the viewer's gaze is often drawn. The final scene -- the penultimate "adieu" you might say -- remains in memory long after the last celluloid flicker for the unmistakable authenticity of its poignant denouement.
Smart turns by an eminently sober Broderick Crawford as himself, Graham Fletcher-Cooke as Daniel's randy young friend, and Jacques Maury as a deadpan, unintentionally hilarious police inspector round out one of the most charming G-rated films of the 20th century.
-John Bell Young
Set in Paris, it's the story of two children (Diane Lane and Thelonious Bernard) who meet by accident at Versailles amidst the confusion and hubbub of a film shoot. One is the prodigious, mathematically savvy young son of a cab driver, while the other is the equally facile daughter of a wealthy, vivacious, and spoiled American woman (Sally Kellerman) and her new husband, an ironically compassionate corporate executive (Arthur Hill). The two kids "click", but their burgeoning love is soon compromised by a kind, well meaning, if incompetent petty thief. (Laurence Olivier)
If there is a single theme upon which its endearing appeal continues to thrive, nearly thirty years after its release, it's innocence: the innocence of children, the innocence of adults who behave like children, and the surprising innocence -- naiveté, really -- of a society that would still, in the end, respect it. It's about fate, too, and how it favors and rewards innocence uncorrupted, even if it is only in the movies that such an emotional Shangrila is possible. That the filmmakers send up, with comical gentility, the film industry itself as a source of such corruption is certainly testimony to that.
The legendary, fairy-tale quality that informs A Little Romance was no accident. Removed from the splendid châteaux and opulent gardens of Versailles, or the gentle slopes of rural Italy, or the pristinely elegant, aquatic antiquity of Venice, A Little Romance would have been shorn of its resonance. Director George Hill was nothing if not savvy, exploiting as he did the rich geographical and architectural environments as characters in their own right. Had this story been set in New York, for example, along with a more indulgent, self-conscious script populated exclusively with adults, it would have ended up emulating the gooey sentimentality of Love Story.
The 13 year old Diane Lane's radiant debut was complimented by the no less engaging Thelonious Bernard, who has long since disappeared from film, and from public view altogether for that matter. (Word has it he is now a dentist in Nantes, famous for its opera company). Of course, neither of them had to move too far out of their own gifted skins to portray the prodigies they do here. Their abundant intelligence and wit take no time at all to succumb, in this story of real and not merely puppy love, to adolescent longings. In fact, Ms. Lane and Mr. Bernard are so convincing as to lead to speculation about their relationship off screen. That's probably unfair, though; the odds are that they, like their characters, were just two brainy, fabulous kids and consummate professionals who had mastered the craft of acting and grasped, with unerring precision, the subtext of the Allan Burns' superbly crafted screenplay.
The wonderful Arthur Hill, who died just today (and whose passing inspired me to write this), exudes firm but caring authority in his role as Ms. Lane's father and the beleaguered husband of the philandering Sally Kellerman, seen here in one of her edgier, bitchier performances. Both Hill and Kellerman's thoughtful readings, deftly defined, provided the perfect counterpoint to the developing feelings explored by Ms. Lane and Mr. Bernard. But rather than glibly extolling, like two proud parents, the innocence of those feelings, both actors expose instead what spoiled cynicism and lack of faith can do to corrupt them.
The miracle of this movie, its heart, if you will, is Mr. Olivier. His performance is pure confection, as delicious as the French pastry he fawns over in a café early on in the film, yet no less detailed and picaresque than the Doge Palace in Venice where he ends up. As he confessed in his autobiography, acting was, for Mr. Olivier, an artificial construct; he was no fan of the method or realism. He preferred to invent a character from the outside, like a painting, rather than cultivating it from the inside whilst tipping his hat to every possible motivation. Whatever attendant techniques he engaged to create his Julius, no matter. It is in the end a most remarkable bit of thespian virtuosity, a performance of enormous buoyancy at once playful and passionate, vulnerable and astute. Mr. Olivier is the angel of this fantasy, while Ms Lane and Mr. Bernard are the cherubs under his wing, making a perfect match and underlying metaphor for the old world paintings and frescoes to which the viewer's gaze is often drawn. The final scene -- the penultimate "adieu" you might say -- remains in memory long after the last celluloid flicker for the unmistakable authenticity of its poignant denouement.
Smart turns by an eminently sober Broderick Crawford as himself, Graham Fletcher-Cooke as Daniel's randy young friend, and Jacques Maury as a deadpan, unintentionally hilarious police inspector round out one of the most charming G-rated films of the 20th century.
-John Bell Young
Neat little movie that is not much of a romance
jordondave-280859 September 2023
(1979) A Little Romance
ROMANTIC DRAMA/ COMEDY
Adapted from a novel written by Claude Klotz, co-written and directed by George Roy Hill centering on a young French boy who loves classic American movies, Daniel (Thelonious Bernard) meeting young girl, Lauren (Diane Lane) believing a fairy tale told by an eccentric old man, Julius (Lawrence Olivier) they eventually would become inspired after listening to him. Neat little movie that is untypical for George Roy Hill, synonymous for bringing us "Little Big Man" and "Bonnie and Clyde" to name a few. This is a very young Diane Lane on her first on screen movie role.
Adapted from a novel written by Claude Klotz, co-written and directed by George Roy Hill centering on a young French boy who loves classic American movies, Daniel (Thelonious Bernard) meeting young girl, Lauren (Diane Lane) believing a fairy tale told by an eccentric old man, Julius (Lawrence Olivier) they eventually would become inspired after listening to him. Neat little movie that is untypical for George Roy Hill, synonymous for bringing us "Little Big Man" and "Bonnie and Clyde" to name a few. This is a very young Diane Lane on her first on screen movie role.
Enchanted youthful quest for the Bridge of Sighs
roghache4 March 2006
What an under-rated and, alas, not very well known movie! This innocent and magical romance tells the tale of two brainy, wise for their years, and altogether charming adolescents who meet in Paris...a pretty American girl named Lauren, who is temporarily in the City of Light with her (less than ideal) family, and a street savvy young French citizen called Daniel. The pair encounter Julius, a rather mysterious and cunning older gentleman, who turns out to be a pickpocket. He takes a sympathetic interest in the young couple's budding romance and their unfortunate plight of impending separation. Alas, Lauren's family circumstances are forcing her to move away from Paris, and thus away from Daniel, back to the States.
Assorted amusing and entertaining adventures await this unlikely trio as they must journey through France and Italy, endeavoring to reach Venice, with most of the adults they encounter attempting to thwart their mission. The reason for this quest? Legend has it, at least according to Julius, that a couple's love will be sealed and last forever if they kiss in a gondola under the Bridge of Sighs at sunset..and with the bells of the Campanile tolling, no less.
The young actors in the lead roles are both amazing. Diane Lane plays the lovely, intelligent young Lauren, and Thelonious Bernard is absolutely endearing and charming as Daniel. Apart from these appealing adolescents, the film belongs to Lawrence Olivier, who brilliantly captures the role of the crafty old pickpocket and romantic story teller, Julius. Sally Kellerman portrays Lauren's totally superficial, starstruck mother, Kay, and Arthur Hill her kind stepfather, Richard.
A Little Romance is an altogether beautiful, refreshing, and highly entertaining movie. It's a sparkling tale of youth and first love that no one should miss.
Assorted amusing and entertaining adventures await this unlikely trio as they must journey through France and Italy, endeavoring to reach Venice, with most of the adults they encounter attempting to thwart their mission. The reason for this quest? Legend has it, at least according to Julius, that a couple's love will be sealed and last forever if they kiss in a gondola under the Bridge of Sighs at sunset..and with the bells of the Campanile tolling, no less.
The young actors in the lead roles are both amazing. Diane Lane plays the lovely, intelligent young Lauren, and Thelonious Bernard is absolutely endearing and charming as Daniel. Apart from these appealing adolescents, the film belongs to Lawrence Olivier, who brilliantly captures the role of the crafty old pickpocket and romantic story teller, Julius. Sally Kellerman portrays Lauren's totally superficial, starstruck mother, Kay, and Arthur Hill her kind stepfather, Richard.
A Little Romance is an altogether beautiful, refreshing, and highly entertaining movie. It's a sparkling tale of youth and first love that no one should miss.
Call me Bogie if you're Lauren!
lasttimeisaw6 March 2016
Warning: Spoilers
George Roy Hill's charming puppy romance takes place in Paris and centres on a 13-year-old French boy Daniel Michon (Bernard) and a 13-year-old American girl Lauren (Lane, in her film debut), both precocious and sensitive, Daniel lives with his negligent father, he is a frequent cinema-goer and well versed in Hollywood pictures, while Lauren is from a rich family, her mother Kay (Kellerman) has been married for a third time with a gentle-hearted entrepreneur Richard (Hill), but her heart doesn't stop her from flirting with the movie director George de Marco (Dukes), who is shooting a new picture with Broderick Crawford in the city of romance.
Daniel meets Lauren in the movie set, his opening line is "call me Bogie!". They find each other quite compatible, both are old beyond their years, and too smart among their peers, if the pompous discussions about their high IQs and Heidegger fail to put you off, the film will turns you head over heels. Hill grants generous close-ups of Bernard's charming smile, so one can forget about the bugging fact that a French boy is able to speak such fluent English simply by watching English films (at a time almost all of them are dubbed in French). Nevertheless, the meet-cute works, especially when Julius Edmond Santorin (Olivier, juggles with accents) comes on board, he seems to be a well-bred flâneur, old but sprightly, completely catches Lauren's attention with his yarns, which makes Daniel expose his shortcomings: impatience, jealousy and lack of respect towards the elder, and later in the horse race, his conceit affirms that gambling is never a good recreation no matter how whip-smart you are. Still, they are the cutest underage couple to a man.
Soon, with Julius as their chaperon, they embark on an adventure to Venice, to consummate their declaration of true love, sharing a kiss beneath the Bridge of Sighs at sunset. En route, a chain of mishaps emerge, money is lost, lies are divulged, parents are involved and Julius' real identity makes them the target of police force, both from France and Italy. Will they stick to the original plan? The answer is a big YES.
Self-references of his most well-known works BUTCH CASSIDY AND THE SUNDANCE KID (1969) and THE STING (1973) aside, George Roy Hill has never surpassed himself with his later output, but thanks to the unbelievably gratifying story and the two adorable leads, A LITTLE ROMANCE is undeniably endearing, in spite of a fews hiccups: the characterisations of the minor roles are problematic, the ignorant American tourists, a chauvinistic French policier and his violence- exercising Italian analogue, a money-grubbing gondoliere, all too generic and vapid; and one of the biggest mystery remains - what does Richard see in Kay as the woman he desires?
Georges DeLerue pellucid score wins him a well-earned Oscar, and the original author Claude Klotz (under his nom de plume Patrick Cauvin) has published a sequel in 2001, tells the story after the finale, but with Sir Olivier has been long gone, Thelonious Bernard does't pursue an acting career afterward and Diane Lane now in her fifties, a brand-new remake sounds more apposite than a cast-shifting sequel, after all it is about love in its uncontaminated and purest state, something we all need to be reminded from time to time surviving in this dreadful world.
Daniel meets Lauren in the movie set, his opening line is "call me Bogie!". They find each other quite compatible, both are old beyond their years, and too smart among their peers, if the pompous discussions about their high IQs and Heidegger fail to put you off, the film will turns you head over heels. Hill grants generous close-ups of Bernard's charming smile, so one can forget about the bugging fact that a French boy is able to speak such fluent English simply by watching English films (at a time almost all of them are dubbed in French). Nevertheless, the meet-cute works, especially when Julius Edmond Santorin (Olivier, juggles with accents) comes on board, he seems to be a well-bred flâneur, old but sprightly, completely catches Lauren's attention with his yarns, which makes Daniel expose his shortcomings: impatience, jealousy and lack of respect towards the elder, and later in the horse race, his conceit affirms that gambling is never a good recreation no matter how whip-smart you are. Still, they are the cutest underage couple to a man.
Soon, with Julius as their chaperon, they embark on an adventure to Venice, to consummate their declaration of true love, sharing a kiss beneath the Bridge of Sighs at sunset. En route, a chain of mishaps emerge, money is lost, lies are divulged, parents are involved and Julius' real identity makes them the target of police force, both from France and Italy. Will they stick to the original plan? The answer is a big YES.
Self-references of his most well-known works BUTCH CASSIDY AND THE SUNDANCE KID (1969) and THE STING (1973) aside, George Roy Hill has never surpassed himself with his later output, but thanks to the unbelievably gratifying story and the two adorable leads, A LITTLE ROMANCE is undeniably endearing, in spite of a fews hiccups: the characterisations of the minor roles are problematic, the ignorant American tourists, a chauvinistic French policier and his violence- exercising Italian analogue, a money-grubbing gondoliere, all too generic and vapid; and one of the biggest mystery remains - what does Richard see in Kay as the woman he desires?
Georges DeLerue pellucid score wins him a well-earned Oscar, and the original author Claude Klotz (under his nom de plume Patrick Cauvin) has published a sequel in 2001, tells the story after the finale, but with Sir Olivier has been long gone, Thelonious Bernard does't pursue an acting career afterward and Diane Lane now in her fifties, a brand-new remake sounds more apposite than a cast-shifting sequel, after all it is about love in its uncontaminated and purest state, something we all need to be reminded from time to time surviving in this dreadful world.
Terrible direction displayed in the acting
wapotter11 April 2013
Warning: Spoilers
I was embarrassed for Sir Laurence Olivier who must have been in dire need of money to allow himself to be involved in this picture. The only two actors that actually seemed to know what they were doing in this film were Mr. Olivier who played Julius and Arthur Hill who played the father. Sally Kellerman was way over the top as the neurotic, hypocritical and overbearing mother (reminding of Hot Lips Houlihan in "M*A*S*H"). It appeared to me that the director was only interested in placing the children in adult situations and seeing how filthy he could get their language to be. The film might have been better if it had been completely subtitled or in English (with poor or unintelligible French and Italian accents). The only reason to actually view this film is because of Olivier. His character was believable. The story line was predictable and contrived. The direction looked like it may have been done by a film student who was unsure of how to direct...which is surprising, since George Roy Hill directed such watchable and enjoyable films as "The Sting," (which had a prominent placement in the film) "Thouroughly Modern Millie," and "The World According to Garp." If you have 2 hours to spend, it might be better to find something else to watch...maybe "Bridge to Terebithia," or "My Girl."
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