In 2024, she would have been 95 years old, and 2023 marks 30 years since her passing. The Belgian-born British diva, Audrey Hepburn, rose to fame during Golden Hollywood in the 1950s and 1960s. Parallel to her stardom, there was a women’s emancipation movement in the United States. Let’s decode her iconic characters and how they relate to this movement.
modern feminism
Prior to the 1950s-1960s, modern feminism began with the common school movement in the 1840s and 1850s, which enabled women to pursue education further. Later, the suffragette movement saw women increasing their political involvement, advocating for the right to vote, and achieving legal advancements, leading to the formation of women’s organizations.
During World War II, women stepped into roles traditionally held by men as they joined the workforce while their husbands were away. However, after the war ended, many women returned to their domestic roles. It wasn't until the 1960s that women began actively fighting for equality. This era saw significant legal changes, increased political engagement, and movements addressing reproductive rights, women's participation in the workplace, women’s health, access to birth control, awareness of sexual harassment and violence, the growth of women’s studies and academia, and their cultural and media influence.
It's important to note that many of these achievements primarily benefited white women. While this marked significant progress, there were and still are many challenges and inequalities. Over time, the feminist movement evolved, embracing intersectionality, and transcending geographical borders to become more inclusive.
My Fair Lady
Eliza Doolittle, portrayed by Audrey Hepburn in “My Fair Lady” (George Cukor, 1964), is a character adapted from the 1956 “Lerner and Loewe” stage musical, which itself is based on George Bernard Shaw's 1913 stage play “Pygmalion.” In the film, Hepburn's character is depicted as a poor Cockney flower-seller who undergoes training to speak "proper" English and become presentable to high society in Edwardian London during the early 1900s.
The costumes worn by Hepburn's character offer insight into her personality and journey. Light colours dominate her attire, symbolizing delicacy and purity associated with traditional femininity. In addition, she works with flowers, symbolizing the epitome of such qualities. However, Eliza's personality challenges these traditional notions. Instead of being a passive, secondary character, she emerges as an active protagonist with a three-dimensional personality. She is depicted as a quick learner, ambitious, sassy, and unafraid to speak her mind.
Despite her predetermined destiny as a poor individual, she asserts ownership over her life and decisions, even as she remains financially dependent on her father and her teacher to achieve her goals. Additionally, while she aspires to marriage and a pink-collar job as an assistant, her character subverts expectations and demonstrates agency within the confines of her societal constraints.
The film was produced in 1964, drawing from source material from the late 1950s and early 1900s. Despite the progressiveness of Eliza's character for her time (early 1900s), she remains constrained by the societal norms and expectations of her era.
Sabrina
Sabrina Fairchild, portrayed by Audrey Hepburn in Sabrina (Billy Wilder, 1954), is the protagonist of the film based on the play “Sabrina Fair” by Samuel A. Taylor (1953). Unlike Eliza Doolittle, Sabrina is depicted as more independent, especially when she goes to study abroad at Le Cordon Bleu. However, like Eliza, she comes from a working-class family, as the daughter of the wealthy family’s chauffeur.
Sabrina's costumes in the film vary between black and white, symbolizing different aspects of her character. Black represents her elegance and sophistication after spending time in the world’s capital of fashion. Meanwhile, white signifies her inherent kindness, vulnerability, and innocence, traits associated with traditional femininity.
As a romantic comedy, Sabrina is involved in a love triangle between two brothers, representing her desires in the early 1950s. However, upon returning home from France, she does not pursue a specific occupation, suggesting that her destiny lies in a domestic setting. Although the protagonist of her time embodies progressiveness, she is still bound by the societal norms and expectations of her era in early 1950s.
Roman Holidays
Princess Ann, portrayed by Audrey Hepburn in Roman Holiday (William Wyler, 1953), is the protagonist of the film based on a screenplay by British playwright John Dighton and American screenwriter and novelist Dalton Trumbo. Once again, Hepburn embodies an active protagonist.
In the early scenes of the film, Princess Ann's rebellion and fatigue from her princess duties are symbolized by her actions, such as kicking off her high heels to scratch her foot. This defiance is further emphasized in a discussion with her mother, who represents traditional norms and protocols.
As Princess Ann explores the streets of Rome, her glamorous style and cultured demeanour mark her as a deviant from her royal role. Despite her dominant colour of white, symbolizing purity and innocence, her actions demonstrate a departure from traditional princess expectations.
A pivotal moment occurs when Princess Ann changes her hairstyle, signifying a radical shift in her attitude towards life. This transformation is exemplified in the memorable Vespa scene, where she takes control and causes chaos in Rome. This symbolizes her newfound power and influence over her own life.
Hepburn's portrayal of Princess Ann subverts the traditional princess trope, as she engages in behaviours such as drinking, smoking, break of an acoustic guitar, and even getting arrested. Despite her independence, she ultimately finds herself in a damsel-in-distress scenario, only to be rescued by Mr. Bradley, her romantic partner, and a plebeian. Even though, the princess did not have any romantic motivation and even ends with her princess duties instead of wedding.
Princess Ann defies traditional expectations and norms associated with royalty, showcasing a strong desire for independence and a departure from conventional princess behaviour.
Breakfast at Tiffany’s
Holly Golightly, portrayed by Audrey Hepburn in Breakfast at Tiffany’s (Blake Edwards, 1961), is the central character of the film based on the novella by American novelist Truman Capote (1924-1984), published in 1958. In a time when female characters were often depicted as bombshells or virgins waiting for Prince Charming, Holly Golightly stands out as a modern and independent woman ahead of her time.
Embodying the ideals of Second Wave Feminism (1960-1980), Holly asserts ownership over her body, destiny, and choices. Divorced and ambitious, she has life aspirations that do not include becoming a housewife or mother. Instead, Holly indulges in parties and drinks from dusk until dawn, often sleeping most of the day. In these aspects, she challenges the gender norms of the 1950s.
However, Holly's path is not without its complexities. Despite her independence, she expresses a desire to marry a millionaire for financial security. Additionally, her iconic costume and accessories, including the colour black and her sunglasses, serve as symbolic representations of her inner turmoil. The colour black, often associated with grief, may symbolize the death of her true self, Lula Mae Barnes. Similarly, her sunglasses may serve as a literal barrier, concealing her true emotions and serving as a mask to cover up her vulnerabilities.
Overall, Holly Golightly's character breaks away from traditional female archetypes of the time, embodying a complex and multifaceted portrayal of a woman striving for independence and self-discovery, even though her endgame is in a romantic relationship.
Funny Face
Audrey Hepburn shines as Jo Stockton in "Funny Face" (Stanley Donen, 1957), a character whose journey embodies elements of female empowerment and self-discovery, characteristic of the era's evolving feminism. Set against the backdrop of the fashion world, Jo is a Greenwich Village bookstore clerk who unexpectedly finds herself thrust into the glamorous realm of high fashion.
The film's narrative reflects the tension between tradition and modernity, paralleling Jo's own internal conflict. Her transition from a shy, bookish character to a confident and empowered woman mirrors the broader societal shifts occurring during the 1950s and 1960s. Costuming plays a pivotal role in conveying Jo's transformation. Initially clad in modest and unassuming attire, Jo's wardrobe undergoes a dramatic evolution as she embraces her newfound identity as a fashion model. The transition from subdued colours to vibrant and avant-garde designs symbolizes Jo's liberation from societal constraints and her embrace of self-expression, her power and influence.
Jo's character subverts traditional gender roles, challenging the notion that women must conform to a narrow set of expectations. She embodies intelligence, wit, and a fierce independence that defy conventional stereotypes of femininity prevalent in mid-century cinema. Moreover, Jo's journey is not solely defined by romantic pursuits. While her relationship with photographer Dick Avery (Fred Astaire) adds depth to the narrative, Jo's primary focus remains on her personal growth and professional aspirations. Her determination to succeed in the competitive world of fashion underscores her agency and resilience.
Overall, Audrey Hepburn's portrayal of Jo Stockton in "Funny Face" transcends traditional gender norms, offering a nuanced and empowering depiction of a woman navigating the complexities of love, ambition, and self-discovery in a rapidly changing world, even though does it end in marriage.
biopic vs doc
Audrey Hepburn was the central character of a biopic, "The Audrey Hepburn Story" (Steven Robman, 2000), and the documentary "Audrey" (Helena Coan, 2020). The biopic, a television movie, uses "Breakfast at Tiffany’s" as a framing device, highlighting the relationship between the character and the actor. While these two portrayals of Hepburn's life are intertwined, especially in public memory, they are not the same. The documentary presents her life through archive footage narrated by the footage itself. It chronicles her journey from childhood during World War II, through her early ballet career in London, to her rise to Hollywood stardom, and her later work as a UNICEF ambassador.
Audrey Hepburn
Behind these successful women stands none other than Audrey Hepburn, known as a US sweetheart and European fashion and style icon. She is famously associated with the creation of the pixie cut, a symbol of individuality and nonconformist beauty that reflects her own persona. In an era dominated by voluptuous and glamorous beauty standards, Hepburn's slender waist, short hair, and thick eyebrows set her apart from the crowd.
Beyond her iconic appearance, Hepburn was celebrated for her unique talent, earning her the rare distinction of achieving EGOT status. Furthermore, her humanitarian work showcased her beautiful soul, as she dedicated herself to various causes.
In addition to her achievements, Hepburn responded to ageist interviewers with elegance and grace, further solidifying her status as a timeless and revered figure.
