But as per usual with Billy Wilder, it has the just-right combo of laughs, drama, and overall cleverness. If Wilder made beds, the princess would never feel a pea under the mattress. If Wilder made porridge Goldilocks would never feel it was too hot or too cold. Sabrinais "just right." It's lovely to look at (not just for Audrey Hepburn) and a couple of images/scenes will stick with me for their sheer perfection; I'm thinking of two shots of otherwise prim and proper people smooshed up against one another hopping up and down on a sheet of plastic. Once as a plot point joke, the next as a beautiful refrain and comic aside. It's all just so graceful. Wilder is such a confident smooth filmmaker. And my favorite scene is a climactic one in which Sabrina (Hepburn) finally understands out what Linus (Bogart) is up to with their frequent dating. Watching it I'm marvelling at how Hepburn geniusly underplays it. It's the type of scene that I think most lesser actors and directors would have really pushed -and thereby lost it's quiet wounding force. As she leaves the scene in beautiful longshot b&w cinematography -(haven't seen it but I bet the remake used a closeup) I just said to myself 'Doo-Wah!*'
* 'Doo Wah' being a term once overused as personal shorthand amongst friends in the 90s whilst in the collective fan throes of dance group Deee-Lite's shortlived 'World Clique'dominance. 'Doo Wah' being pulled from the song "Good Beat" as in 'I just wanna hear a...' Doo Wah being a term of respect/endearment/drop-jawed awe usually provoked by some diva-esque action. In the vernacular family of the finger/vocal 'Snap' and "you go girl!" -- i.e. unneccessary verbal/physical punctuations to dramatic/showstopping moments. This lesson in personal 90s pophistory is brought to you by Nathaniel's early morning coffee.