You often have to suspend your modern feminist principles in order enjoy films of the 50s. For instance, in An American in Paris, the viewer must swallow the fact that Gene Kelly chooses the inane 15 year old with buck teeth over the confident, intelligent, and elegant older woman whom he frankly treats pretty rudely. I love you Gene, but seriously – not cool. And in almost every second Doris Day film, she has to give up her tomboyish ways and learn how to be a ‘real’ woman in order to nab her man.
Similarly, in Funny Face, you are expected to completely get behind the idea that the young, beautiful, educated, passionate Audrey Hepburn character of Jo would fall for crusty old stick in the mud Fred Astaire. Insert disbelieving snort here.