Video of the Day


Alex Carnevale

Features Editor
Mia Nguyen

Reviews Editor
Ethan Peterson

This Recording

is dedicated to the enjoyment of audio and visual stimuli. Please visit our archives where we have uncovered the true importance of nearly everything. Should you want to reach us, e-mail alex dot carnevale at gmail dot com, but don't tell the spam robots. Consider contacting us if you wish to use This Recording in your classroom or club setting. We have given several talks at local Rotarys that we feel went really well.

Pretty used to being with Gwyneth

Regrets that her mother did not smoke

Frank in all directions

Jean Cocteau and Jean Marais

Simply cannot go back to them

Roll your eyes at Samuel Beckett

John Gregory Dunne and Joan Didion

Metaphors with eyes

Life of Mary MacLane

Circle what it is you want

Not really talking about women, just Diane

Felicity's disguise

Live and Active Affiliates
This area does not yet contain any content.

In Which We Find A Romance To Fulfill Us Deeply


Object of Desire


In a way, Audrey Hepburn is responsible for hundreds of below-par romances.

She inspired the idea that a charming single New York girl deserves good love and good fashion, and we've been suffering the after-effects of that assertion for the past 40 years. What's exceptional about Audrey Hepburn isn't her silhouette, her enunciation, or her manners.


It's the extraordinary way she elevated the perception of her co-stars. She flirted, she sighed, she pined, she even loved. But most importantly, she had faith—not delusional, I hope you will turn out to be who I want—but utter satisfaction that he was exactly right.

It was a love that was cognizant of someone's foibles and impersonal in its grace. A romantic comedy is about a pairing of equals—equals in wit or strength or passion. In the best ones—The Philadelphia Story, for example--there's a larger thematic question at play and romance is the by-product not the intended goal.


Charade has the most absurd premise: a misfit ensemble is searching for a quarter of a million dollars.


Somehow, Hepburn has the money without knowing it.

Along the way, she develops a chaste romance with Grant's multiple-identity-ed older man, exposing his insecurities in each incarnation, infuriating him with her insights, inventing her own Shakespearean dialogue. She manages to unnerve and support Cary Grant, who'd been hesitant to star with the much younger actress.

Like dozens of noir thrillers, the movie asks if it's ever possible to know the object of your desire; Charadeanswers the question affirmatively. Yes, if you're Audrey Hepburn.

Karina Wolf is the senior contributor to This Recording. She tumbls here.


she never did wear a misfit ensemble