The great movie-star man, Cary Grant, meets the great movie-star lady, Audrey Hepburn, in a souffle-light thriller-romance-comedy whipped up by Donen, who did blithe American elegance as well as anyone, and writers Marc Behm and Peter Stone. Audrey is a Parisian thief’s widow, now in ignorant possession of his loot, and Cary is a mystery man with a protective or pernicious interest in her. Walter Matthau plays an avuncular type over at the U.S. Treasury office, and James Coburn, George Kennedy and Ned Glass are bad guys whose consecutive demises were considered quite violent for the time. If Charade doesn’t allow the divine Audrey to reveal the aristocratic ache on sublime display in Sabrina (and, frankly, that film is missing from this list only because it would have meant a third Billy Wilder film), it exhibits the seemingly effortless buoyancy that, by the 60s, Hollywood had almost forgotten how to radiate.
Made in occupied France under the long noses of the Nazis in the last year of World War II, this story about the convergence of theater, crime and sex in 1830s Paris can be seen as an act of subversion, of artistic heroism. But it needs no making-of back story for inclusion here. At 3hr. 9min. the film is an epic romance viewed through an ironic prism. Baptiste the ethereal mime (Jean-Louis Barrault), Garance the worldly-wise courtesan (Arletty) and a dozen other scapegraces and victims are creatures with the fullness and ambiguity of a Balzac novel, thanks to Jacques Prévert, the poet and screenwriter who more than anyone shaped French cinema in one of its richest periods. A love story where soulmates are rarely matched, Les Enfants expresses the holy ache of poignance. Is marriage the repository of true love? “Oh,” declares Baptiste, “if everyone who was married was in love, the earth would shine like the sun.”
The Foo Fighters captured five Grammys and Adele won four, including the song of the year trophy for “Rolling in the Deep,” at a Grammy ceremony that had the difficult task of celebrating music’s best while mourning the loss of one of their greatest, Whitney Houston.
From Nicki Minaj’s Red Riding Hood getup to Katy Perry’s head-to-toe blue ensemble, TIME rounds up some of the best (and worst!) sartorial choices at the annual music awards show.