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Dec 15, 1995 · Roger Ebert. December 15, 1995. 5 min read. Musing about “Sabrina,” I formed some notions about why the plot is so powerful: It gives us the myths of Cinderella and the Ugly Duckling, inserts some powerfully murky Freudian impulses, and wraps them up in a romantic comedy. If it’s halfway well done, it can hardly fail.
Kids say (3 ): Based on Billy Wilder's 1954 film by the same name, SABRINA has few, if any surprises. The best parts are of the Larrabees' sumptuous social gatherings, which could well be taken from a happier version of The Great Gatsby. There is technically nothing wrong with the film, but it does drag at points.
- Sydney Pollack
- Carly Kocurek
- Greg Kinnear, Harrison Ford, Julia Ormond
Sabrina Fairchild (Julia Ormond) is a chauffeur's daughter who grew up with the wealthy Larrabee family. She always had unreciprocated feelings for David (Greg Kinnear), the family's younger son ...
- (53)
- Sydney Pollack
- PG
- Harrison Ford
6/10. Strange adaptation. Galicius 17 February 2008. Warning: Spoilers. This adaptation of an almost classic film makes some weird changes and leaves others that look like an anachronism in a world forty years later. It's better to take the new film for what it is and judge it on its own merits and flaws. Sabrina's sojourn in Paris is too brief ...
The movie made extensive use of this mansion's interiors during the filming. [5] [8] Another difference between the two versions is the famous line "Paris is always a good idea," spoken by Julia Ormond as Sabrina in the remake; there is a common misconception that Audrey Hepburn, portraying Sabrina in the earlier movie, also uttered the line. [9]
Sabrina is not the type of comedy calculated to send anyone rolling into the aisles, but it is a bright, polished piece which imparts a warm glow of humor. Full Review | Mar 28, 2024
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Why is 'Sabrina' so powerful?
Dec 15, 1995 · This new Sabrina stresses the material's Cinderella love story - the part, that is, that was corny and somewhat dated even in the '50s. What director Sydney Pollack and his screenwriters (Barbara Benedek and David Rayfiel) have done is a little like redesigning the Ford Pinto and keeping the unfortunate old gas tank. [15 Dec 1995, p.19]
