Ah, Paris in the springtime... even glimpsed through the slightly fuzzy tracking lines of a well-loved VHS tape, there’s an undeniable magic. And perhaps no film captured that specific blend of youthful wonder and European charm quite like 1979’s A Little Romance. It wasn't your typical blockbuster rental, often nestled quietly between louder neighbours on the video store shelf, but discovering it felt like finding a hidden gem – a surprisingly sophisticated, utterly charming tale that treated young love with respect and warmth.
Directed by the great George Roy Hill, fresh off monumental successes like Butch Cassidy and the Sundance Kid and The Sting, this felt like a delightful change of pace. It tells the story of two remarkably bright teenagers finding connection in Paris: Lauren King (Diane Lane in her astonishing film debut), a thoughtful American girl living abroad whose intellect sometimes isolates her, and Daniel Michon (Thelonious Bernard), a charming, movie-obsessed French boy from a working-class background. They’re both whip-smart, maybe a little lonely, and utterly captivated by each other. Their burgeoning relationship, built on shared intelligence and genuine affection, feels refreshingly real, even amidst the picturesque Parisian backdrop.
When Worlds Collide (Lovingly)
The catalyst for their adventure, and arguably the film's secret weapon, arrives in the form of Julius Edmond Santorin, played with mischievous glee by none other than the legendary Sir Laurence Olivier. Julius is a kindly, eccentric old pickpocket (or perhaps just a raconteur spinning tales?) who befriends the young couple. He fills their heads with romantic notions, particularly the legend that lovers who kiss in a gondola under the Bridge of Sighs in Venice at sunset will love each other forever. What follows is a charmingly improbable escapade as the teens, aided (and sometimes hindered) by Julius, decide they absolutely must make this pilgrimage.
It's a plot that could easily veer into saccharine territory, but under Hill's sensitive direction and thanks to a witty, intelligent script by Allan Burns (co-creator of TV classics like The Mary Tyler Moore Show and Rhoda, adapting Patrick Cauvin's novel E=mc2 mon amour), it never does. The dialogue crackles with believable wit, capturing the precociousness of highly intelligent kids without making them seem artificial. You genuinely believe in their connection and root for their slightly madcap quest.
A Star is Born, A Legend Plays
Let’s talk about the performances, because they are central to the film's enduring appeal. Diane Lane, only around 13 at the time, is simply luminous. She possesses a natural screen presence and an emotional depth far beyond her years, making Lauren instantly relatable and sympathetic. It’s immediately clear why she became a star. Opposite her, Thelonious Bernard (who sadly didn't pursue a lengthy acting career) is equally captivating as the cinephile Daniel, full of quick Gallic charm and earnestness. Their chemistry is palpable and forms the tender heart of the movie.
And then there's Olivier. Seeing the titan of Shakespearean acting having such fun in a lighter role is an absolute joy. Julius is whimsical, perhaps a little bit of a con man, but his affection for the children is undeniable. Olivier brings warmth, humour, and a touch of pathos to the part, stealing every scene he’s in without overshadowing the young leads. It’s a masterclass in character acting, adding a layer of gentle wisdom to the youthful adventure.
Retro Fun Facts: Crafting the Charm
- The film's beautiful, romantic score by Georges Delerue wasn't just lovely background music – it won the Academy Award for Best Original Score, perfectly capturing the film's blend of whimsy and heartfelt emotion.
- Director George Roy Hill was apparently quite taken with Diane Lane's natural talent, comparing her potential to a young Grace Kelly. High praise indeed!
- Shooting extensively on location in Paris and Venice adds immeasurable authenticity and beauty. Forget green screens; this was the real deal, making the cities themselves characters in the story. Remember seeing those gondolas glide across the screen on your CRT TV? Pure magic.
Venice Via VHS
A Little Romance isn't about high-stakes drama or thrilling action; its pleasures are quieter, found in the witty exchanges, the stunning scenery, and the believable portrayal of first love. It captures that fleeting, intense feeling of connection when you're young, where the world seems full of possibilities and a kiss under a bridge in Venice feels like the most important thing imaginable. Watching it again now, maybe with a few more decades under our belts, there's a bittersweet quality to its innocence, but the charm remains potent. It reminds you of a time when cinematic romance could be smart, gentle, and utterly sincere.
It might feel a little slow by today's hyper-paced standards, and yes, the premise requires a healthy suspension of disbelief. But who cares? It sweeps you up in its gentle current. This film was a comforting presence on the rental shelves, a promise of a sweet escape.
Rating: 8.5/10
This score reflects the film's exceptional performances (especially Lane and Olivier), Hill's masterful direction, Delerue's Oscar-winning score, and its sheer, enduring charm. It perfectly balances youthful innocence with sophisticated wit and beautiful location work, creating a truly special cinematic experience. It loses a point perhaps for the slight implausibility, but its heart is so firmly in the right place, it's easy to forgive.
A Little Romance remains a delightful discovery, a warm hug of a film that proves sometimes the quietest stories leave the most lasting impression. It’s a perfect slice of late-70s cinematic sweetness, best enjoyed with a nostalgic heart.