The defence The Sentimental Softie
“Sincerity is not manipulation.”
The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.
Back to trending 
Love in the Afternoon
Comedy · Romance · 1957
A middle-aged playboy becomes fascinated by the daughter of a private detective who has been hired to entrap him with a client's wife.
Movie details
Love in the Afternoon
“Love is a game any number can play... especially in the afternoon...”
1957 Comedy · Romance 2h 10m
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
7.0 / 10
Community rating
A middle-aged playboy becomes fascinated by the daughter of a private detective who has been hired to entrap him with a client's wife.
CriticWise case file
What this film says about your taste.
Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.
The archetype split
Who fights over Love in the Afternoon?
For the defence
The Sentimental Softie
“You came to feel something, and you will.”
Read their case For the prosecution
The Cool Ironist
“Feeling things is a little embarrassing.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Where it lives
Watch in your region.
Cinema release signals and current streaming, rental, and purchase options for your region.
Streaming availability data supplied by JustWatch.
Names above the title
The people responsible.
Cast & crew
Directed by
Billy Wilder
Written by
Billy Wilder · I. A. L. Diamond
Gary Cooper
Frank Flannagan
Audrey Hepburn
Ariane Chavasse / Thin Girl
Maurice Chevalier
Claude Chavasse
John McGiver
Monsieur X
Van Doude
Michel
Lise Bourdin
Madame X
Olga Valéry
Hotel Guest with Dog
Court is in session
Put Love in the Afternoon on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
The prosecution The Cool Ironist
“The strings are showing.”
Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.