Before Her Death, Audrey Hepburn Named Her 6 Favorite Movies
Before Her Death, Audrey Hepburn Named Her 6 Favorite Movies
Few stars in the history of cinema possess the rare combination of grace, vulnerability, and compassion that defined Audrey Hburn. Born in Belgium in 1929, she survived the hardships of World War II, trained as a ballerina. the country had been invaded to not even appear at the windows to close the curtains and so forth telling me that of course I was behind the curtains and I saw these German tanks come in for hours marching driving >> and blossomed into one of Hollywood’s most beloved leading ladies yet behind
the glamour and javanche gowns was a woman deeply introspective about her craft once said that acting was not about pretending but about feeling truthfully in imagined circumstances is by the time of her passing in 1993, she had already become a legend not only for films like Breakfast at Tiffany’s and Roman Holiday and enabled me to work with some of the greatest talents this industry has ever known and for that I get an award. >> But also for her humanitarian work with UNICEF. Near the end of her life she was
often asked to reflect on her favorite performances. She would smile and deflect, calling the question impossible, like choosing between chocolate cake and spaghetti. Still, she quietly admitted that some films held a special place in her heart. Roles that challenged her, moved her, or made her laugh. Tonight, we revisit the six films Audrey Heburn cherished most, told through her words, her memories, and the artistry that made her timeless. Number six, Charade, 1963. When people think of Audrey Heburn, they
often picture her in romantic comedies or elegant dramas. But Charade gave her the rare chance to blend both charm and suspense. Released in 1963, this stylish thriller set in Paris paired Heepburn with Carrie Grant, creating one of the most sophisticated duos in film history. Directed by Stanley Donan, Charade is often called the best Hitchcock movie that Hitchcock never made. For Heburn, it was a joy. Witty dialogue, glamorous costumes, and a co-star she adored. >> How about that? >> With Stalling, I want some
identification now. >> I wouldn’t mind a license. >> I’m a beginning. You’re still trying to marriage license. >> Audrey played Reggie Lambert, a newly widowed woman who becomes the target of several men searching for her late husband’s stolen fortune. She’s pursued through the streets of Paris, trying to decide whether she can trust Peter Joshua, played by Grant. The film swings effortlessly between humor and danger, and Heburn loved that duality. According
to her biographers, she frequently spoke fondly of Sheride, describing it as one of her most enjoyable shoots. One reason was Carrie Grant himself. By 1963, he was 59 and Heepburn was 33. A 26-year age gap that initially made Grant hesitant to take the part. He worried audiences might find the romance inappropriate. The filmmakers turned that into a running joke, making Heburn’s character the one who flirts and pursues him. How do you shave in that old-fashioned mirror without cutting your throat?
>> How do you shave in there? >> What was it? >> What was what? >> She teases him in one scene, perfectly capturing their sparkling chemistry. Heburn later called Grant the most completely professional gentleman she had ever worked with. He made her laugh constantly on set and the respect between them shines through every frame. The film also reflected something deeper about Hepern’s appeal. Her Reggie is vulnerable but resourceful. Stylish, yes, but never shallow. Whether being
chased through the Paris Metro or trading playful banter with Grant, she balances fear and wit with effortless grace. Costume designer Huber de Givveni once said that charade allowed Audrey to embody the perfect modern woman. Independent, intelligent, and still irresistibly feminine. Critics agreed. Roger Eert later wrote that Heepern and Grant had chemistry to spare, like two virtuoso musicians riffing on the same melody. The film became a major hit and is still considered a masterclass in blending romance with mystery. Even the
soundtrack composed by Henry Mancini, who also worked with her on Breakfast at Tiffany’s, added to its elegant tone. Behind the scenes, Heburn relished being in Paris, the city she loved and where she would later live part-time. Crew members recalled that she often walked to set from her apartment rather than using studio cars, greeting fans with her trademark kindness. The warmth she radiated offscreen translated directly to her character. >> The child needs love and understanding and shall have the right to grow up in
an atmosphere of affection and security. >> When reflecting on charade years later, Heburn didn’t single it out as her favorite, but she called it immense fun. It captured what she valued most in film making. Collaboration, laughter, and storytelling that entertained without cruelty. >> For what is friendship if not a willingness to give to give laughter where there are tears, comfort when there are fears? >> Do you prefer Heburn in suspenseful roles like Charade or in romantic dramas
like Roman Holiday? And if you’ve seen Charade, what do you think makes the chemistry between Audrey Hepburn and Carrie Grant so unforgettable? Number five, Funny Face, 1957. If Charade showed Audrey Heburn’s elegance and suspense, Funny Face revealed her radiant joy. Released in 1957, this musical comedy gave Heburn the rare chance to sing, dance, and express her lifelong love of movement. It’s one of the few films that let her inner ballerina take the spotlight. Decades later, she still looked back on
it fondly. A film where she could embrace whimsy, fashion, and freedom all at once. >> I went to ballet school once I knew I was settled there for quite a while. Didn’t know how long the war was going to last. So, I went to a ballet school and learned to dance. And in about 1944, about a year before the end of the war, I was quite capable of forming. In Funny Face, Heburn plays Joe Stockton, a shy bookstore clerk in Greenwich Village who dreams of philosophy and truth, not fashion spreads. When a high-end fashion
photographer played by the legendary Fred Estair, discovers her, Joe becomes an unlikely model whisked away to Paris. Between glamorous shoots and dazzling musical numbers, she finds both love and self-expression. Audrey adored working with a stair a childhood idol. She had trained as a dancer before becoming an actress, and funny face allowed her to reconnect with that discipline. She once joked that she was asked to act when I couldn’t act and to sing and dance with Fred a stare when I couldn’t sing or dance. But somehow I
managed. Of course, she did far more than manage. Her grace and natural rhythm earned universal admiration. The film’s most iconic scenes, Joe twirling in a red gown beneath the Eiffel Tower or performing the romantic duet, “He loves and she loves in a Paris garden,” remain some of Heburn’s most visually stunning moments. She performed most of her own dancing, guided closely by a stare, who was reportedly charmed by her humility and professionalism. The two shared a quiet mutual respect. He once
said she had the best timing of any actress he had ever danced with. Behind the camera, Funny Face was also a landmark collaboration with director Stanley Donan and costume designer Uber de Jivoni, whose partnership with Heburn defined her image both on and offcreen. Givvanchi designed many of her gowns in the film, turning it into a moving fashion show set to music. Audrey often credited him for shaping her confidence and style, saying, “His clothes are the only ones in which I am truly myself.”
Though critics in 1957 gave Funny Face modest reviews, audiences fell in love with its color, choreography, and spirit. Over time, it became one of Heburn’s most rewatched films, especially among fashion lovers. The song Bonjour Perry and the energetic think Pink montage captured the optimism of postwar glamour. For hepern, funny face was more than just a musical. It represented the harmony of art forms she loved. Dance, photography, and cinema blended into one. She told interviewers that working in a musical was like
living in music and that she could never separate joy from movement. Watching her in Funny Face, that joy is contagious. Even years later, when asked about her career highlights, she mentioned this film among the ones she most enjoyed making. It reminded her of her roots as a dancer and of the dreamlike magic of creating something beautiful for its own sake. films. Yeah. >> Mhm. >> Do you think Audrey Heburn’s background in dance gave her a unique screen presence? Which funny face number from
he loves and she loves to the high fashion runway montage captures her spirit best? Number four, Roman Holiday 1953. If there’s one film that captured Audrey Heburn’s natural charm and innocence, it’s Roman Holiday. Long before she became a global fashion icon, this 1953 romantic comedy introduced her to the world and earned her the Academy Award for best actress in her very first major film role. Ladies and gentlemen, in New York City, Miss Audrey Hepern in Roman Holiday. It’s too much.
I I want to say thank you to everybody who in these past months and years have helped, guided and given me so much. I’m truly truly grateful and terribly happy. Heepburn often said she held deep affection for Roman Holiday, not just because it launched her career, but because the experience itself was pure joy. Directed by William Wiler, the film follows Princess Anne, a young royal overwhelmed by her duties during a European goodwill tour. Exhausted and yearning for normal life, she escapes
her guards and wanders through the streets of Rome, where she meets Joe Bradley, an American journalist played by Gregory Peek. What follows is a day of stolen freedom, laughter, and quiet heartbreak. Heburn’s performance is a masterclass in authenticity. Wiler once recalled that she didn’t act the princess, she was the princess, bringing grace, curiosity, and emotional honesty to every moment. Her spontaneity made the role feel effortless. One famous scene where Joe pretends his hand has
been bitten off in the mouth of truth statue captures her real laughter. It wasn’t scripted. Peek improvised the prank and Heepburn’s startled reaction became one of the film’s most memorable moments. >> I said to Willie, “Would it be too corny if I put my hand in there and then I pulled it out like this, which is an old stick that Red Skeleton used to do all the time. I had not been told nor did we rehearse uh about what was going to happen in the >> Gregory Peek himself recognized her
brilliance immediately during production. He reportedly told Wiler that Heburn’s name should appear above the title alongside his a rare gesture of generosity from a major star. She’s going to win the Oscar, Peek predicted. And he was right. When she accepted the award, her humility and disbelief mirrored the same warmth audiences saw on screen. For Heburn, Roman Holiday represented a moment of innocence, both for her character and for herself. She later described it as a dream come true,
not only because of the success, but because of how it felt to work with such a kind cast and crew. Filming in Rome also meant something special to her. She often said the city felt like a second home and her love of Italy endured for the rest of her life. Decades later, Heburn would return to Rome as a UNICEF Goodwill ambassador, helping children in need, perhaps echoing the freedom and compassion she first expressed through Princess Anne. The film’s ending remains bittersweet. The princess returns to her
royal duties, leaving Joe behind, but with newfound dignity and understanding. Heburn’s ability to convey heartbreak through silence alone is breathtaking. As the camera lingers on her face during the press conference, she doesn’t cry. She simply feels and the audience feels with her. Critics often call Roman Holiday a timeless fairy tale. But it’s more than that. It’s a story about fleeting freedom, about tasting life, even if only for a day. And Heburn’s light made it unforgettable. When you
think of Roman Holiday, what moment stands out to you most? The scooter ride, the haircut scene, or that final farewell? And do you think any other actress could have captured Princess Anne’s innocence quite like Audrey Hepburn did? Number three, Breakfast at Tiffany’s, 1961. If Roman Holiday made Audrey Hepburn a star, Breakfast at Tiffany’s made her a legend. Released in 1961, this film redefined her public image and created one of the most iconic characters in cinema. Holly golightly. The little
black dress, the pearls, the cigarette holder. These are more than costumes. They’re part of pop culture itself. But beneath that surface glamour lies one of Heburn’s most complex and misunderstood performances. Based on Truman Capot’s novella, the film follows Holly, a free-spirited New York socialite who hides her loneliness behind elegance and charm. Capot famously wanted Marilyn Monroe for the role, but once he saw Heppern’s performance, even he admitted she gave the character unexpected depth.
Director Blake Edwards later said that Heepburn transformed the material. She made Holly not a call girl, as in the nolla, but a dreamer. Audrey herself felt a strong connection to Holly. She once said, “I’m an introvert.” Playing Holly was a stretch for me, but that’s why I liked her. She was fragile under all that sparkle. Behind the scenes, she struggled with the role, doubting whether she could embody such a flamboyant woman. But her instincts were right. She turned Holly into a symbol of
yearning for love, for belonging, for identity in a fast glittering city. One of the most memorable sequences, Holly singing Moon River on her apartment fire escape, was nearly cut from the film by the studio, which feared her untrained voice wouldn’t sound professional. Heburn fought to keep it in, reportedly declaring, “Over my dead body.” The song stayed, and it went on to win the Oscar for best original song. Her quiet, unpolished singing became one of the film’s most tender moments.
Oh, the winners are Henry Mancini and Johnny Mercer from Moon River. >> I’ve said my bit. Go ahead. >> I’d like to uh say that I’m very proud that you like our song. I’d like to thank you Audrey. Thank you Andy and Martinis for everybody. >> Thank you. >> Cinematographer France Planner and costume designer Uber de Jivoni helped craft the film’s timeless aesthetic. Givvanchoni’s black dress and planer’s soft lighting turned Heburn into an emblem of grace, poised yet vulnerable.
She later said that working with Givoni again on this film was like coming home, describing him as her best friend and protector. Despite its charm, Breakfast at Tiffany’s is not without controversy, particularly the outdated and offensive caricature of Mr. Yunyoshi, played by Mickey Rooney. Heburn herself reportedly expressed regret about that aspect later in life, saying she wished the character had been portrayed differently. Still, her performance as Holly Gollightly remains magnetic because she gives the
role emotional grounding. Beneath the party scenes and witty oneliners, there’s a moment when Holly breaks down clutching her cat in the rain. A scene that encapsulates everything Heepburn stood for: beauty, fragility, and emotional truth. Critics were divided at the time, but audiences adored her. Roger Eert later wrote that Heepburn made vulnerability chic, that her holly golightly is not a fantasy, but a portrait of loneliness disguised as glamour. For Audrey, the film was more than just a career highlight. It was
personal. She said it reminded her to keep dreaming even when life feels unkind. The elegance, the humor, the melancholy, all came together to define what people still mean when they say Audrey Hepburn. When you think of Holly Gollightly, do you see her as a symbol of independence or loneliness? What does Moon River mean to you now? A love song or a goodbye? Number two, My Fair Lady, 1964. By the time My Fair Lady premiered in 1964, Audrey Hepburn was already an international superstar. But this role
as Eliza Doolittle pushed her into an entirely different realm of artistry. Adapted from George Bernard Shaw’s Pigon, the story follows Eliza, a poor Cockny Flower girl who’s transformed into a refined lady by the arrogant phonetics professor Henry Higgins, played by Rex Harrison. When asked in a 1991 interview to name her favorite film, Audrey playfully compared the question to choosing between chocolate cake and spaghetti. But after a moment’s thought, she smiled and said that if she had to choose, it
might be My Fair Lady. Because, as she explained, I loved working with music. Music is the greatest helper in the world in all situations. That small admission gives us a glimpse into her heart. Even though she wasn’t a trained singer, she cherished the rhythm and joy that music brought to film making. Heburn’s love for music dated back to her early years studying ballet. To her, movement and sound were inseparable forms of emotion. In My Fair Lady, that connection is visible in every scene. From Eliza’s rough,
exuberant laughter in Wouldn’t it be Loverly to the restrained dignity of I could have danced all night. Even though most of her singing was dubbed by the professional vocalist Marne Nixon, Heburn poured her soul into the performances. She later confessed that she initially felt hurt by the dubbing decision, especially since she had rehearsed and recorded all her own songs. But with time, she came to accept it gracefully, saying that what mattered most was that the film turned out beautifully.
Behind the scenes, production wasn’t always smooth. Director George Cukor, known for his perfectionism, demanded exact timing and elegance in every frame. Heburn was sometimes exhausted from long rehearsals, yet she never lost her warmth on set. Crew members remembered her offering snacks and laughter between takes, a small reflection of the kindness that defined her offcreen. The film’s grandeur was undeniable. Lavish costumes designed by Cecil Beaton, opulent sets depicting Edwardian London, and a sweeping score
by Frederick Loy combined to create a cinematic event. My Fair Lady went on to win eight Academy Awards, including best picture, though Heburn herself wasn’t nominated, a decision many critics called an injustice. Still, she never expressed bitterness. Instead, she celebrated the film’s success and called it a joy to make. Mr. George Cucor. [Music] [Applause] The winner is Tes. The winner is Rex Harrison. Rex Harrison, who reprised his stage role as Henry Higgins, publicly praised Heburn after the film’s release, calling
her the only Eliza who made me truly believe the transformation, their chemistry was charmingly oppositional. His bluster and her sincerity balanced perfectly. In retrospect, My Fair Lady stands as a testament to Heburn’s professionalism and humility. She navigated immense pressure, stepping into a role originally defined by Broadway legend Julie Andrews and still made it her own. Whether delivering comic moments like Move Your Bloom and Ars or standing in elegant defiance before Higgins, Heburn proved she could
embody both grit and grace. For fans, the film is pure enchantment, a visual symphony of style and storytelling. For Audrey, it was a personal triumph, a chance to merge her love of music, movement, and performance into one unforgettable experience. How do you feel about Heburn’s performance in My Fair Lady? Do you think her voice should have been kept in the final cut? And which version of Eliza do you prefer, the roughed flower girl or the refined lady she becomes? Number one, The Nun’s
Story, 1959. When asked which of her films meant the most to her, Audrey Heburn didn’t hesitate. The Nun Story was her favorite. Released in 1959 and directed by Fred Zinnamman, this quiet, deeply introspective film stands apart from her lighter romantic work. It’s a story not about glamour or romance, but about faith, doubt, and self-discovery. Themes that mirrored Heppern’s own gentle nature. In the film, Heburn plays sister Luke, Gabrielle Vandermal, a young Belgian woman who joins a convent with
pure intentions of serving God, but finds herself in constant conflict between spiritual obedience and her independent spirit. The story based on a true account follows her journey from the convent to the Belgian Congo, where her compassion as a nurse begins to challenge the rigid rules of her order. According to multiple biographies, Heppern identified deeply with Gabrielle’s inner struggle. She had grown up during World War II in Nazi occupied Holland, witnessing suffering firsthand. That experience gave her an
acute sense of empathy, and playing Sister Luke allowed her to express that humanity on screen. She once confided to a friend that she felt a strange kinship with Gabrielle, a woman who wanted to do good yet wrestled with doubt. To prepare for the role, Heppern trained extensively with real nuns and medical staff. She learned the rituals of convent life, studied hospital procedures, and even met Marie Louise Hab, the real nurse whose story inspired the film. The two women formed a lifelong friendship. Hab reportedly said
that Heppern’s portrayal was so accurate that watching the film felt like reliving her own experiences. Critics and audiences alike were astonished by Heepburn’s performance. Gone were the witty smiles and glittering gowns. Instead, she delivered a restrained spiritual intensity rarely seen in Hollywood actresses of the time. Director Fred Zineman later said, “Audrey didn’t just play the part and she lived it.” The film was both a critical and commercial success. It earned eight Academy Award nominations,
including best actress for Heburn. Though she didn’t win, many critics consider it one of her finest performances. Decades later, reviewers still praise the film for its quiet courage. Its refusal to offer easy answers about faith and identity. Behind the scenes, The Nun story had a profound emotional effect on Heburn. Those close to her noticed she became quieter and more introspective after filming. The discipline and silence required by the role seemed to echo in her life. Years later, when she devoted herself to
humanitarian work with UNICEF, friends saw the same spirit of selfless service that had defined Sister Luke. The final scene of the nun’s story when Sister Luke walks through the convent gates leaving the order remains one of the most powerful moments of Heburn’s career. There is no music, no dialogue, just the echo of footsteps. That silence says everything about her strength and sorrow. It’s a moment of both loss and liberation. A perfect metaphor for Heburn herself. Graceful, thoughtful,
and quietly resilient. For Audrey Hepburn, The Nun’s story wasn’t simply another movie. It was a spiritual journey. It connected her art to her soul. When asked years later about her legacy, she didn’t talk about fame or awards. Instead, she said, “I tried always to live simply, to be kind.” That same simplicity and kindness radiate through every frame of the nun story. Have you seen The Nun story? How did it make you feel? Did you see reflections of Audrey’s real personality within
Sister Luke’s Silent Strength? As we look back on Audrey Heburn’s life through the lens of her favorite films, one thing becomes beautifully clear. Her choices reveal not a celebrity chasing glamour, but an artist searching for meaning. Each of these movies, The Nun Story, My Fair Lady, Breakfast at Tiffany’s, Roman Holiday, Funny Face, and Charade reflects a different side of her heart. They show a woman who valued truth over fame, sincerity over spectacle, and connection over applause.
In The Nun Story, she explored faith and sacrifice. In My Fair Lady, she celebrated transformation and the joy of music. Breakfast at Tiffany’s captured her complexity, elegant yet fragile, radiant yet real. Roman Holiday introduced the world to her luminous charm. While Funny Face let her dance, laugh and embrace pure creativity. And in Charade, she proved that even in Thrillers, kindness and intelligence could steal every scene. Offscreen, Audrey carried the same grace that defined her characters. She spent her
later years traveling the world as a UNICEF Goodwill ambassador, helping children in famine-stricken countries. When asked what drove her, she said simply, “I was born with an enormous need for affection and a terrible need to give it.” That desire to give through her work, her humanity, and her compassion became her true legacy. Even decades after her passing in 1993, Audrey Hepern remains a symbol of beauty, not just in appearance, but in spirit. Her favorite films remind us that art can be elegant without
arrogance, emotional without excess. She once said, “The best thing to hold on to in life is each other.” And perhaps that’s the essence of her work, the belief that kindness in the end is the most lasting form of beauty.