Core Response: Audrey Hepburn

          William Brown discusses Audrey Hepburn’s extreme star quality in his article—more importantly what he defines as her being “an Event.”  In this case, her Event derives from her ambiguity in national identity, gender identity, her refusal to adhere to studios’ demands, and the overall fact that she seems to appear out of nowhere as a catalyst for change.  In her wholeness on screen, she was instantly loved by all who watched her; she was a visual spectacle that only further heightened her as an Event.

            What is extremely interesting is the correlation between Hepburn’s identity and characters to the growing tourism industry in America, especially considering that none of Hepburn’s characters ever seem to have to work and are often traveling or on holiday.  Any work that she does, like in The Nun’s Story, is done out of charity and not for profit.  She was, as described, “a star with all the assets desired by 1950s Hollywood” (136-7).

            The article further discusses Hepburn as a fashionista, or one who is viewed for her wardrobe and style often more so than her acting.  Her “interior and exterior” were reversible, both representing each other (her soul and her physical body).  Her sense of style represented individuality and freedom, and, ironically, fans started to copy her style, feeling it made them more independent as well.  Her style did not just exhibit her beauty, but rather introduced women to a new kind of beauty—one that can be both feminine, masculine, and independent (especially noted in her short hair cuts that emphasized her boyish features). 

            When reading this article, the instant accessibility that Hepburn had in creating a 1:1 ratio with the viewer and herself reminds me of Emma Stone.  While I personally love Emma Stone and therefore may be biased, I feel she, too, has this unique quality about her that omits an automatic likeability.  She is a different kind of pretty with an extremely unique face.  Her face draws viewers in, as she is not drop-dead gorgeous, but rather sets a standard of beauty through confidence and neutrality.  Stone's costumes and style in both La La Land and The Help are very reminiscent of Hepburn.  What made me think most of Stone in comparison to Hepburn was her recent Vogue cover, where the large-eyed actress sports extremely short hair, less kempt eyebrows, and a striped, tight sweater (ala Hepburn style).  She looks extremely boyish in the photo, and, like when the article states that Hepburn was in talks about playing Peter Pan once, that is the first thing I thought when I saw the cover photo: “Emma Stone could play Peter Pan.”  In this sense, I would argue that, while not as grandeur as Hepburn, Stone fits many of the same identity-twisting staples that made Hepburn a star. 

Here’s Stone’s Vogue cover if you would like to see:  

https://www.bustle.com/articles/189646-emma-stones-short-hair-on-vogue-is-her-most-drastic-hair-change-yet-photos