I imagine this movie receives so many negative reactions because it is not the romantic comedy it was advertised as or that one would expect. This is less Sabrina and more Mel Brooks with a healthy helping of meta-fictional commentary on Hollywood tropes and the writing process. Paris When It Sizzles is goofy camp more in the vein of The Great Race than anything. If you're a writer or storyteller in any medium, then surely you will understand Holden's pain as he constantly runs out of drive and inspiration, going through draft after draft. The film within the film changes genre, characterization, and tone constantly. Everything about screen writing is parodied or lamp-shaded: the Production Code, plot structure, writing for specific actors, adhering to conventions, making sure the money is present on the screen. The movie also often feels like Old Hollywood taking potshots at the next generation of filmmakers: the French New Wave and the "mumbling" of method actors are comedy fodder as well.
The film only flounders toward the end. The romance between Hepburn and Holden in the frame story begins as an interesting subversion of the romantic clichés Holden's screenwriter puts down in his phoned-in screenplays, but toward the end it takes a conventional turn that feels rather tacked on. The film spoofs Hollywood conventions only to succumb to their escapist charms in the end. Now this may or may not be a serious flaw depending upon your perspective. It didn't hurt the film too much for me, but I can see someone wanting more satire being disappointed.
Your enjoyment of this film heavily relies on knowing what to expect going into it. This movie is quite unlike Audrey Hepburn's other romantic vehicles from the 1950s and it doesn't have the style and sophistication of Breakfast at Tiffany's or Charade, but it is a fun, smart movie and she is great in it.
The film only flounders toward the end. The romance between Hepburn and Holden in the frame story begins as an interesting subversion of the romantic clichés Holden's screenwriter puts down in his phoned-in screenplays, but toward the end it takes a conventional turn that feels rather tacked on. The film spoofs Hollywood conventions only to succumb to their escapist charms in the end. Now this may or may not be a serious flaw depending upon your perspective. It didn't hurt the film too much for me, but I can see someone wanting more satire being disappointed.
Your enjoyment of this film heavily relies on knowing what to expect going into it. This movie is quite unlike Audrey Hepburn's other romantic vehicles from the 1950s and it doesn't have the style and sophistication of Breakfast at Tiffany's or Charade, but it is a fun, smart movie and she is great in it.