the Eiffel Tower. Production The film, whose working title was Together in Paris, is a remake of the 1952 French film Holiday for Henrietta, directed by Julien Duvivier. Paramount exercised an option on their contracts with both Hepburn and Holden, forcing them to make the film together. Holden, having had an affair with Hepburn during the making of Sabrina a decade earlier and been in love with her ever since, attempted without success to rekindle a romance with the now-married actress. Holden's alcoholism was also a constant challenge for Quine, who moved into a rented house next to Holden's during production to keep an eye on him. Holden later commented on both of the problems: Curtis was brought into the production to film during a week when Holden was undergoing treatment for his alcoholism at the prompting of the director. Noel Coward worked on the film for three days, and a cameo from Marlene Dietrich meant to duplicate the many cameos of Around the World in 80 Days (1956). The film was shot at the Billancourt Studios and on location around Paris. The film's sets were designed by the art director Jean d'Eaubonne. Audrey Hepburn's choice for cinematographer was Franz Planer who had photographed her in several of her films. With Planer being ill, Hepburn agreed to the use of Claude Renoir, however Charles Lang replaced Renoir as the director of photography during production, a change demanded by Hepburn after she saw what she felt were unflattering dailies. Hepburn shot the film in the summer of 1962, back-to-back with Charade, which she shot that fall. The films shared several locations, most notably a Punch and Judy puppet theatre in the park in front of the Théâtre Marigny. Though finished shooting in October 1962, a screening at Paramount led the studio to deem the film unreleasable with the exception of the attraction of its two stars. Reception Variety called Paris When It Sizzles "marshmallow-weight hokum", and quoted a line from the film as an apt description of the film itself: "contrived, utterly preposterous, and totally unmotivated"; it complimented the two leads, saying Hepburn is a "refreshingly individual creature in an era of the exaggerated curve", and Holden "handles his assignment commendably". Time magazine said the film was "a multimillion dollar improvisation that does everything but what the title promises" and suggested that "writer George Axelrod (The Seven Year Itch) and director