1995 saw the release of a great American romantic comedy in Hollywood tradition, "The American president", but it's Pollack's "Sabrina" that deserves the title because it's based on the 1954' classic, directed by Billy Wilder and starring Audrey Hepburn, William Holden and Humphrey Bogart. Yet, there's more in "Sabrina" than a simple remake.

There is a natural reflex from every movie buff, which is to prefer any "original" film to its remake. It often has to do with the classic status reached by the first movie, inevitably dismissing any attempt to remake it. But at the risk of sounding like another heretic, I thought Sydney Pollack's remake, if not better, is a solid match to the original acting-wise and more than anything, storytelling-wise.

I insist on the storytelling department because it contradicts the idea of the original's greatness relying on its monumental cast, incomparable to the Sidney Pollack, Harrison Ford, Greg Kinnear and Julia Osmond's quartet. Yet "Sabrina" approaches the two myths of Cinderella and the Ugly Duckling and ask for us to root for Sabrina, a woman who never attracted men, yet ended up being in the middle of a business scheme, until winning the heart of a businessman. No matter how fairytale, the material is, its convincingness is not to be taken for granted, and no matter how great are the actors, their transformation, their chemistry is still something that depend on the storytelling, more than the acting.

And it's extraordinary how Pollack not only remains faithful to the fairytale aspect of the story and to the sensitivities of the 90's in the same time, starting with the heroine herself. Sabrina is supposed to be the Ugly Duckling, she's the chauffeur's daughter who spent most of her time in David's shadow, before finding herself during her trip in Paris. The problem with Audrey Hepburn is that she was incapable of being unattractive no matter how hard she, or the make-up and costume design, tried. Julia Osmond, on the other hand, being that unknown brunette with the same sweet charm as Juliette Binoche, with small glasses and long hair, is convincing as the not-too attractive girl on the surface.

And the new script doesn't insult our intelligence by labeling her as a 'dog', she's just a shy, insecure person who had to discover her inner attractiveness before ever trying to seducing. And the Paris' transformation give much more depth and consistence to her evolution, when she comes back, we know Sabrina hasn't turned into a glamorous woman but as a confident one. Paris' effect is really palpable and makes it strangely believable that David wouldn't recognize Sabrina. I'm not saying that these details hurt the original film, but Pollack, probably moved by a humble desire to pay tribute to the 'untouchable' classic, compensated the modest cast through a particular attention to human details, that inevitably highlighted the original's flaws.

And the real masterstroke comes with the casting of Harrison Ford as Linus. Ford exudes the perfect mix of seriousness and vulnerability. He easily passes as a grown-up man who spent so much behind the office that someone had to show him the preciousness of life, and how it can't afford to be wasted. And all through his interactions with Sabrina, we keep on wondering if he's aware that he's falling in love, and if it's reciprocal. Both Linus and Sabrina are part of a hypocrisy that betray an endearing defenselessness, and makes them two persons ironically fitting one another. And while Pollack could have kept the movie's track and bring David to make the deal possible, he also develops his seemingly one-dimensional personality.

I liked Holden in "Sabrina", and his chemistry with Hepburn was so sincere it really veiled any hint of sentiment toward the elderly Bogart. But Holden's shining moment when he accepts to marry his fiancée almost felt like a deus-ex-machina. How could David finally give Sabrina up so eagerly? Well, Pollack gave me satisfying answers by making David grow up in maturity, by taken into consideration that his character's arc had to be closed by the fact that for the first time, he'll allow his brother to live his life. And strangely, the romantic comedy, also turns into a subtle and positive satire about family relationships in business, allowing Nancy Marchand to shine as the authoritarian, yet compassionate mother.

What I admire most in the remake is Pollack's attachment to make the story more believable and endearing by today's standards, he knows he won't reach the same legendary status as the original, but he knows that this very status asks for believability. His characters are extremely well-developed, he gives a spectacular supporting cast to his movies, and the whole film is such a delight to watch, that nothing could have ruined it. The ending was the only hit-or-miss, and while I thought the hug between Hepburn and Bogart was awkward, just a kiss in Paris wouldn't have been enough to ruin the whole efforts.

But I wasn't surprised, that Linus would apologize to Sabrina, considering the scene where he broke her heart, a scene whose emotionality clearly surpasses the original. I loved that he asked for her help, because he needed her, and in return open her heart on how much she needs him. That's what I call, a beautiful romance, comedic or not, it was the perfect conclusion for a movie that had so much to prove to be respected, and that even managed to be superior to the original film, and it's one of the rare instances where I'm not hesitant to give it a higher rating.

It doesn't diminish the classic status of Billy Wilder's "Sabrina", Julia Osmond is not Audrey Hepburn, and Harrison Ford isn't Bogart, but like I said for the previous film, good ingredient don't necessarily make a good meal, what matters is how the director makes his interactions believable and emotionally appealing. And Pollack brilliantly succeeds in both exercises.

Sabrina Fairchild (Julia Ormond) grew up as the mousy daughter of the chauffeur (John Wood) of the wealthy Larrabee family on the north shore of Long Island. It was a grand estate and she would spy on their grand parties from a tree. Maude Larrabee (Nancy Marchand) inherited the Larrabee Corporation from her dead husband. Cold-hearted Linus Larrabee (Harrison Ford) took the company to even greater heights. David (Greg Kinnear) is the playboy son who Sabrina is completely infatuated with. She goes off to Paris to work on Vogue as a lowly assistant. She slowly moves away from her David infatuation to a love affair with a photographer. Meanwhile David is falling for Elizabeth Tyson (Lauren Holly) whose family business Linus wants to merge with. Elizabeth wants to marry David but he is reluctant to let go of his playboy lifestyle. Sabrina comes home and David doesn't recognize her at first. David becomes infatuated threatening to derail the marriage plans and Linus' big business deal.

The movie is asking too much of Julia Ormond. She looks too old to play a teenager. She is also too young to play the love interest for Harrison Ford. Their chemistry is way too cold. That is the biggest missing element. Greg Kinnear actually has better chemistry. They could have worked together in a romance. Harrison Ford is not good in this role. In fact, I have difficulty pointing to any good romantic leading roles for him that actually worked without an action thriller. However, the movie has the solid foundations of the '54 film. That much is there. It has some great scenes. It seems to always work when Julia Ormond gets emotionally walloped. She's possibly the best part of the movie. Ford just doesn't have that extra gear to be the sensitive romantic lead when the movie calls for it.

Light though overlong romantic comedy-remake (of the 1954 classic movie) with nice actors , luxurious scenarios and decent direction . The known story of Sabrina (this role is a good vehicle for Julia Ormond) , the chauffeur's daughter , who falls in love for a millionaire (Greg Kinnear in his film debut) , the handsome younger brother in the wealthy mansion where her daddy works . But then , his older brother (Harrison Ford a solid acting by this veteran actor) and their mother (Nancy Marchand) are opposed to this relation. As the older sibling attempts to woo her away for for strictly business issues .

Enjoyable romantic tale of a well-known story based on Samuel Taylor play titled ¨Sabrina Fair¨; it is packed with comedy , romance , agreeable situations and overall , emotion . Including some scenes from Paris which are particularly lovely and fun . Interesting and amusing screenplay based on the script written long time ago by Billy Wilder , Ernest Lehman and Samuel Taylor , being rightly adapted with surehand writing by David Rayfield and Barbara Benedek . Main cast is frankly excellent , though Julia Ormond as gorgeous young who has a longlife crush on Greg Kinnear -as a womanizer billionaire- are far from Audrey Hepburn and William Holden respectively . This fine cast works , giving acceptable interpretations , though inferior to original and classic picture (1954) by Billy Wilder and starred by Humphrey Bogart , Audrey Hepburn, , John Williams , Martha Hyer , Francis X Bushman . Support cast is pretty well , and plenty of familiar faces such as John Wood , Richard Crenna , Dana Ivey , Paul Giamatti , Lauren Holly , Fanny Ardant , Patrick Bruel , Elizabeth Franz , John Wood as the old chauffeur of the household where Sabrina falls in love , among others . Colorful as well as glamorous cinematography by Giuseppe Rotunno , Federico Fellini,'s regular cameraman . Marvelous and sensitive musical score by the great comp0ser John Williams , Spielberg's usual.

This motion picture reboot -acceptable if overlong for a romantic yarn- was professionaly directed by Sidney Pollack , but without originality . Polack (dead at 72) was a classic writer and filmmaker who wrote and directed several successes such as ¨Jeremiah Johnson¨ , ¨Three days of the Condor¨ , ¨Out of Africa¨, ¨The Keep¨, The interpreter¨ , ¨Tootsie¨ , ¨The Firm¨ and many others .