'Comedy' and 'thriller' are not genres that often go together; or if they do, the emphasis is generally on the comedy aspect and not the thrills. If there are thrills, they are usually brushed off as unserious enough to relax without concern for the well being of the characters that you might get to know over 90-100 minutes.
But this is not the case with Charade. As one image in the (amazing) opening title sequence by Maurice Binder shows, this film is a definite mix of comedy, thriller, and romance. And all are equally on display and relevant to the story. It makes for something of an atypical film, looking through the lens of any one of these genre on the other two. But perhaps that's what makes the film both unique and still enjoyable more than 60 laters later. Criterion has re-issued its disc of the film with a new restoration in 4K UHD.
A film that begins with a body being thrown off a train would seem to suggest a serious and possibly violent thriller. And though Charade begins like this, it quickly moves to a beautiful winter scene in the Alps, where the wealthy yet morose Regina (Audrey Hepburn, in the first of many glorious outfits) has decided to end her marriage. This would immediately be followed by a standard romcom meet-cute with Peter (Cary Grant), a much older man who nonetheless seems to charm the young woman. And she might need that, as when she gets back to Paris, she finds her apartment stripped of all furniture and belongings, is told her husband has been murdered, that he had multiple identities, and was in possession of a quarter million dollars that three other men thinks belongs to them.
And so begins this often weird switch between comedy and thriller: one of these three men seems quietly nerdy; a second, Scobie (George Kennedy with a scary hook hand) sticks a pin in the body at the open-casket funeral to make sure the man is dead; but the third, Tex, played by the eerily frightening James Coburn, looks like he's barely being held back from torturing Regina to find the money, even though she has no idea where it is. But any time she is with Peter, the banter is flying. She must become a detective, and he her Watson, to find out how her late husband has hidden the money.
It is extraordinary how Donen and his actors manage to evoke a comedic tone, considering that this could easily play much dramatically: Peter turns out to be Carson Dyal, though that name too is temporary. Regina has already fallen for him and accepts each new name and persona he presents, despite these and other red flags telling her to run away from him. Even the two of them walking along the Seine, eating ice cream, and watching a Punch and Judy puppet show is played for laughs rather than symbols of the danger the woman is in. Both Grant and Hepburn can turn to both comedy and drama, and understand what each scene needs. But this is also where the difference in time periods of the film's production versus being watched today makes a difference.
But this is not a James Bond or other super-spy story of professionals or international intrigue or gadgets. This is a film that favours conversation, witty banter than can serve as subterfuge or flirtation, escape via misdirected taxis or window ledges. None of the characters are professional spies, and a few are little more than thugs, but Regina, while perhaps a little distracted by love, is stil smart enough to figure out how to get away when necessary. It's also nice to see that she goes back to a job, rather than just lament no longer having a wealthy husband.
When released, the use of Technicolor was important enough to put right below the title. Since at that point in time, cinema was trying to lure people away from their televisions, this isn't surprising. But the colour, in a literal sense, really belongs to Hepburn and her glorious outfits. The costume designer was Givenchy, so no wonder she looks glamorous even when she's running for her life. The Paris setting also doesn't hurt; it adds that sophisticated air for the American viewer, while feeling like this groups of Americans and Brits have to work extra hard to find the hidden money.
The film really is about the banter (okay, and the clothes), between all the characters, though mostly Grant and Hepburn. Donen had worked with both actors before, and knows that a focus on the two of them, even with Peter's constant deceptions, was the heart of the story. Peter Stone's excellent script allowed all the actors to play as much between the lines as with them, and even gives Walter Mathau, as another man attempting to deceive Regina, a chance to show some of his darker acting skills.
While perhaps not all its factors have aged well, Charade is still highly entertaining, with an excellent mystery, laughs and thrills, gorgeous scenery and clothes, and evenb at nearly two hours, feels like it flies by.
Special Features
As expected with a Criterion disc, the restoration looks terrific. Especially with the technicolor films of the era, the colors really need to pop in a certian way, and the work by NBCUniversal StudioPost is great. The release can be bought as a double disc Blu-ray and 4K UHD, only the Blu-ray, or as a DVD, so you can take your pick.
The release is a little light on disc features; there is the original trailer, which is fascinating from a historical perspective, to see its very different construction and tone from the trailers of today. There are also subtitles in English for the deaf and hard of hearing (which should be standard with all physical releases, so thank you Criterion). The highlight is a great audio commentary from 1999, with Donen and Stone. Commentaries from those who were a part of the film might not impart cultural context and perspective, but rather personal insigh and anecdote, and both these men are very well spoken.
An essay from journalist and producer Bruce Eder does provide that cultural and historical context. It points out how atypical Charade was for a spy movie at that time, its important place in both Grant's and Hepburn's careers, and how is often tongue-in-cheek style was both odd and necessary for its box office success.