Billy Wilder’s approach to cinema was nothing short of exhilarating, with the stories he told and their vibrant execution being highlights of the period in which he was active, which mercifully stretches nearly half a century. Even when doing something decisively minor in terms of tone or storyline, he always found ways to make his films engaging, interesting and beautifully poetic, which is quite an achievement all in itself, even when the material was slightly more paltry. In the case of Sabrina, we can find a clear example of a more simple story being approached with his distinctive wit and charm which elevates it above the confines of its category, instead turning it into something quite special. Based on the play Sabrina Fair by Samuel A. Taylor (who also wrote the screenplay in collaboration with Wilder and Ernest Lehman, the latter pair being famously combative throughout the production in terms of how the screenplay was composed), the film tells the story of two bickering brothers from one of New York’s most wealthy families, and the daughter of their chaffeur, who eventually takes an interest in both of them at different points, following the shift in their dynamic and the ebb and flow of romance that occurs in and around this luxurious Long Island estate. One of Wilder’s signature romantic comedies, as well as one that could be seen as something of a dress rehearsal for the films he would make in the future, such as Some Like It Hot (in terms of the subject of self-improvement) and The Apartment (a more melancholy but still very funny look at the fundamentals of romance), this film is a wonderful and charming exemplification of all the reasons we have to adore Wilder and his exceptional style, since there is always something of value on screen, even if it isn’t entirely obvious at certain points, which were more the product of Wilder’s playfulness than any indication of weakness in either the narrative or its execution.

It should be noted that Sabrina is not a film that can remove every stereotypical trait, reference or joke since this may be helmed by a very creative director but still had to follow traditions in a way that can sometimes feel overly reliant on conventions. Wilder’s genius was not in creating original stories from scratch, but rather in taking simple premises and rendering them unique in his unique way, which is a vital component of understanding precisely what it is that drove him as a filmmaker. Comedy may be a very popular genre that anyone believes they can create, but it is far more challenging than many of us anticipate, which is why it is sometimes important to overlook cliches in a film like Sabrina since it feels very much tied together in place by a combination of familiar tropes and traditional aspects that anchor the film, rather than define it. This gives Wilder the space to develop some of the more abstract ideas, with the traditions keeping him grounded, but not restricted. The tone of the film shows that he was actively working to develop the film far beyond a traditional comedy. There is a version of Sabrina that is built entirely around the screwball aspects of the story and is far more outrageous and over-the-top, and it is quite surprising at first to discover that Wilder didn’t approach it from this direction, since it not only seemed logical, but far more likely for him as a director. However, his choice to blend sweet-natured humour with a genuine sense of melancholy gives the film a very interesting tone, one that is far from what we may expect, but exactly what we come to appreciate since it emphasizes the smallest details that underpin this film, which ultimately are what makes it so incredibly special and insightful, the blurring of comedy and drama adding levels of nuance to a film that benefits from such a concise and meaningful understanding of the human condition.

Similarly, this all plays into the film’s more broad conversations, since Wilder was never one to tell a story that only had one point of discussion. Every film he made covered numerous narrative threads, and this is not exception. As much as we would be tempted to categorize Sabrina as a story of a young woman caught between two men, it is far more complex than that and has many fascinating ideas. Firstly, there is a conversation to be had about the film being a feminist statement – perhaps it is not as progressive as some may hope, but it still tells the story of a young woman who improves herself not for the sake of a man, but rather for her growth, with the relationship she forms with her two love interests being a result of this improvement rather than its motivation. Woven into this are conversations around the class system – the film is primarily an example of the class divide in practice, examining the relationship between two different classes that are usually kept apart in certain arenas, such as romantic encounters, with these boundaries being overcome through the sheer power of love. It is cliched and quite conventional in how it has a very certain agenda, but it doesn’t invalidate the exceptional charm embedded right at the heart of this film, which benefits mostly from the intricately woven, well-constructed humour that exists between these more complex conversations. It attempts to show the growth of a young woman who only develops a sense of self-worth after transforming herself into a vogue parody of the wealthy class may be slightly dated, but it has enough heart where it matters to not be anything short of thoroughly engaging and quite remarkably layered in how it conveys deeper meaning in the smallest and most seemingly inconsequential details.

Sabrina is also famous for assembling a trio of icons from the Golden Age of Hollywood to play the lead roles. Audrey Hepburn, who had only just broken through with Roman Holiday a year before, is the titular character, taking advantage of her gamin appearance and ability to play a character that transitions from a salt-of-the-earth working-class girl to a stylish, effortlessly beautiful high society pretender, both being well within her wheelhouse and definitive of her identity as an actor. This is unquestionably one of Hepburn’s greatest performances, with the combination of her lovable humour, wonderful expressivity and abundance of charm being integral to the identity of the film. Conversely, both Humphrey Bogard and William Holden were seasoned veterans, having done a lot of good work in the past – but very interestingly, this film served to be their motivation to be equally good as romantic leads in a comedy. Both are extremely charming, but in a way that is reinventing their image, which was secure but still very much open to further work. Holden would benefit from this, as he’d still have over two decades of solid work left in him, while Bogart was nearing the end of his career. Regardless, they’re both so fresh and exciting in these roles, showing precisely why this was a golden age for the most charming, debonair leading men who could command the screen with genuine pathos and an endless amount of complexity, even in a decisively simple, straightforward work. The performances are so effortless, that you have to wonder whether any of these actors were even challenged – but their natural performances should not distract from the fact that, at the heart of this film, we have some of the best work by these iconic, revolutionary and unquestionably talented performers who were at their peak in this film.

Charming in a way that only a truly great film of this calibre can be, and also unsurprisingly touching in how it handles some of its more tricky material, Sabrina is a wonderful film that has more than earned its place in the contemporary cinematic lexicon for the gold-standard of a great romantic comedy. It may be extremely predictable since there was never any doubt that this film was going to have a happy ending, and it can lean a bit too far into the conventions from time to time. Simple in a way that may feel surprising to some viewers who are expecting a film with many more twists and turns, and insightful in its worldview, which comes from a group of collaborators who are extraordinarily wise and never take a single concept for granted when forming this charming, insightful examination of the intersections between romance and society, Sabrina is an absolute marvel, a sweet but compelling exploration of social cues and the way they are shattered when it comes to pursuing what the heart desires. Wilder’s status as a master has never been called into question, but it is still a wonderful reminder of his skills when we see him doing some of his most insightful work that carries a lot of meaning where it matters the most, and even at its most conventional, there is a lot of interesting commentary. It’s a traditional work by a true master, which alone is enough to qualify this as more than worth every moment of our time.