The valet brings Audrey's bags down - and Audrey says, "If we miss our plane, we'll have our wedding in prison." She had earlier said after the Venus had been taken care of - "Now, I don't have to go to America" (which struck me as amusing).
She then leaves her father in the house and gets into the car with O'Toole.
Where are they going? And if immediately to be married in some foreign country (O'Toole's England?) why aren't they having the father to the wedding?
This may sound silly, but it occurred to me as I heard Audrey - WHAT PLANE? I wondered.
Here's a hypothesis...they ARE going out of the country, and Dermott does not want Papa traveling out of France, in case he tries perpetrating more forgeries elsewhere?
Understandably, Dermott would not want his new father-in-law exposed as a criminal. Perhaps Dermott feels the English detectives would sniff him out more quickly?
Clover says: Never underestimate the power of cashmere!
Except as he is leaving, he thinks his future father-in-law is done with forgery for good - remember he promises not to furnish evidence to prosecute ONLY because his father shook hands with him on it. (Audrey says as she comes down and sees them shaking hands "There's no time for Indian wrestling").
Besides, no one even mentions him going to England - and he has said he's employed by apparently half the museums of Europe and several in America.
It's kind of a glitch - there should have been a conversational exchange that they are going somewhere - not just "Well, we'd better catch our plane".
Maybe he's got to go off on another job so they're running to the next city and will be married there?
I dunno, I'm not convinced (even before the 'cousin from South America' shows up) that Papa is going straight. He just seems too convinced of his own skill and wiles. I don't think Dermott is 100% convinced, either...at least not for the long haul.
But you are right, the conversation makes no sense. Maybe there was a cut scene in there which explained it?
Well, Papa certainly isn't doing it willingly - just under the threat of prosecution from his prospective son-in-law.
Marriage isn't mentioned between the two of them before that last scene (we see no proposal, etc.), but I don't mind, since it was so obviously in the cards. But there's simply no explanation for the "We'd better make that plane to get married if we don't want to wind up in prison".
Are they going to marry in another country to escape France? After all, there was lots of publicity about the burglary, maybe they are afraid of getting caught eventually and having to explain everything? But still, to abandon her dear Papa and prevent him from attending this wedding doesn't make sense to me as part of her character.
So yes, there seems like a scene missing.
It's interesting also that at one point early in the movie, he says to her, "you've worked too much with the Americans" - it's a flattering comment (to Americans) about honesty or efficiency or something. But we never do learn what she does, do we?
Catherine Wyler, the director's daughter, implies in the commentary on the DVD that the movie ran a bit long - she believes it may be due to the absence of the productive creative tension between her father as director and a separate producer - William Wyler produced his own films from the 1950s. (She's a good commentator - quite clear-sighted about her great father's work and reputation and why - and very interesting with her personal anecdotes about her father.
On the other hand, Eli Wallach - a truly wonderful actor - is woeful in his commentary - either getting his facts completely wrong (he tells us all about Audrey growing up in Belgium, etc.) or simply telling us what we are already seeing (e.g., "and now we see that O'Toole is planning how to steal this Cellini Venus" as we watch O'Toole do that very thing. However Wallach is interesting in his comments about Darryl Zanuck, O'Toole, Boyer and Hepburn - and he is ASTONISHINGLY humble - I'd no idea he was as modest about his own reputation relative to these other fine film actors - or as thrilled to be simply working with them).
No, Audrey's from the Netherlands, from Holland. In fact, if you ever watch the outstanding war movie, A Bridge Too Far - the town in most of the movie (historically and in the movie), fought for by the British (Anthony Hopkins and Sean Connery) and leveled by order of the Germans - is the Dutch town of Arnhem where Audrey was living as a 15 year old at the time.
During the war (Audrey was 10 when it began and 16 when it finished), she tried her best to keep up her dance training - and sometimes took along messages in her shoes to pass to the Dutch Resistance.
Her wealthy English father had been a Nazi sympathizer before the War - her aristocratic Dutch mother (a baroness) had not been AT ALL - and the father's outspoken politics while living with the family in Holland had been in the 1930s something of an embarrassment to his wife and her family. The parents divorced (not over politics) the year before the War began -- and the father essentially abandoned the family and returned to England in 1938.
Audrey was the only daughter but had two older brothers - both were seized by the Germans when they occupied the Netherlands (one was in hiding to avoid it for a long time, but he was discovered) and they served in labor camps in Germany throughout the War.
After Arnhem was destroyed, Audrey and her mother were homeless, and even had to resort like many other Dutch to eating flowers found by the side of roads. They almost starved.
V-E Day brought both her brothers home - and the new U.N.R.R.A (the UN Relief and Recovery Administration - the forerunner of UNICEF) brought much needed food, clothing, blankets, shelter to her and her family.
Audrey often spoke of how she survived at the end of the War only due to the new U.N. - and thus had a big debt to pay - she became a UNICEF Ambassador over the last years of her life, traveling all over the world. Soon after the War, she left the Netherlands to dance ballet in London - but was told that she was too tall (at 5'7") and already too old to join the training program. So she danced in dinner clubs, and eventually in the choruses of various musicals on the London stage.
She was seen in one such dinner club - kind of like a nightclub I understand - and was absolutely charming - and chosen for the part of Roman Holiday. Then she got the part of Ondine and was a smash on Broadway. She got a Tony for her Broadway performance a few days after winning the Oscar for Roman Holiday - quite a time for her.
In his biography, Alexander Walker claims that Audrey's mother was quite active in the Dutch Fascist movement even contributing article to the local Nazi press. Later on, she became disillusioned and changed her views.
It's used to be all girls with no clothes. Now, it's all clothes and no girls.
there are quite alot of lines in the film taking the piss out of americans, i think its all very funny, basicly it takes the piss out of everything; spy movies, forgeries, etc
There was a paperback with this same title that appeared around the time of the movie. i think the paperback was taken from the movie. Interestingly, Nicole was named Gabrielle (like the Nun's Story) and there were scenes that fleshed out a lot of this.
Nicole worked for an American computer company, hence the reference to efficiency, etc. "You work?" "Some people do, you know."
Papa mentions in the scene where the two learn of the testing for insurance purposes ("...which you have just authorized.") that he wants Nicole to go to America. it's very hard to distinguish.
In the movie, I think Simon mentions at the end that if they don't leave soon they will end up in a Swiss prison. or maybe I read it in the paperback?
What a great movie. The soft focus on Audrey is a little intense in close ups, But I'd like some soft focus, too, at my age. I'd still like to have the Givenchy clothes. And Simon's blue eyes over the painting when he first gets caught...sigh.
It was necessary for the two kids to leave so that we could have that hilarious & poingnant ending with Papa's "South American cousin". Thus the writer faces the question: under what pretense can the two lovebirds go off?
In real life, they'd just be going off on a love tryst together (which is how I interpret it). But movies were a bit more puritanical back then, so they had to inject the idea of marriage to make it kosher. But I think we can interpret it (figuratively) that they just decided to run off together, perhaps to meet his parents, I dunno. The word "marriage" was just thrown for the sake of morality.
I'd love to get my hands on the original George Bradshaw story to see how it was intended.
My understanding was that they already obtained the marriage license off-screen and are leaving on what's supposed to be their honeymoon. They are are going abroad to ensure they are safe even if the police picks up the trail.
It's used to be all girls with no clothes. Now, it's all clothes and no girls.
A good explanation - but Audrey says, "...unless we want to get married in prison." The implication being that they haven't married yet. Maybe the line's just a joke between insiders - the only people who know what really happened.
I was rather irritated that they didn't bother to put in the film where Audrey worked. It's just lazing writing to leave a thread like that hanging. How long would it take? At one point Papa mentions her job negatively. "Papa, I ENJOY having an honest job at (blank)." A job working with computers would explain a lot - although I was rather hoping that her job would be somewhere in haute couture. Nicole knows a lot about stylish dressing for a computer geek. Not that I have anything against computer geeks.
I always figured they were going away, partly to celebrate their marriage (somewhere, somehow, not particularly relevant to the plot) and partly to get out of town for awhile in case the investigation gets too close. I figured they were off to "lay low" in some exotic locale in case anyone started asking awkward questions.
I was rather irritated that they didn't bother to put in the film where Audrey worked. It's just lazing writing to leave a thread like that hanging.
Oh no, I'm glad they didn't! You don't have to explain everything in a film; everything would become so much matter-of-fact. Interesting for bookkeepers? You have to leave something to the imagination of the viewer. Isn't it great that you can fill in those details of the story yourself?
I imagine her as a shop assistant at Cartier's. Her wardrobe certainly would help in this setting and occasionally she may have customers staying at the Ritz ("I know where it is"). And Leland may have met her in the shop.
No, wait. That doesn't fit the line "...working with the Americans..."