Audrey Hepburn: The Fascinating Life And Legacy Of Hollywood's Darling

Once upon a time there was a cheeky pixie, a fairy godmother, a princess most charming. She was the fairest of them all, and the people loved her dearly, enchanted by her beauty, her grace, and her kindness. So powerful a spell did she cast that it didn't fade at all, even after years and years. There was always something very special about Audrey Hepburn. She was, is, truly an original. She is the inspiration for others, an enduring icon of elegance and taste. Her unique style, beauty and vibrancy continue to captivate and delight audiences young and old. And her fairy godmother wand still waves gently, easing the suffering of children in need. Around the world, her extraordinary legacy continues to touch millions of people, helping them to hope, to dream, and to laugh. This is the magic of Audrey. Won't you join me? In many ways, the story of Audrey Kathleen Ruston does read like a fairy tale. She was born in Brussels, Belgium, on the 4th of May in 1929. Her family was well-to-do, with strong aristocratic connections. Her mother, Ella van Heemstra, was a Dutch baroness from a long line of European nobility, tracing back to King Edward III. Audrey's father, Joseph Ruston, was reputedly a descendant of James Hepburn, the 4th Earl of Bothwell, who became Mary, Queen of Scots' third husband, soon after husband number two died suspiciously. Audrey's father added Hepburn to the family name when Audrey was a child, and she legally became Hepburn Ruston. From an early age, she studied ballet, developing a poise and grace that played out beautifully in her career as an haute couture model, and later, when she moved into acting. As a relatively novice actress, she displayed an innate ability, and was quickly noticed by the right people. Seemingly overnight, the young girl in the chorus line was now in the headlines, an award-winning stage and screen star, and a worldwide sensation. But true to the grimmest of Grimm's fairy tales, Audrey's story had its dark side. Her mother and father's marriage was not at all a happy one, and the three children, Audrey and her two older half-brothers, Alexander and Ian, sadly watched the relationship crumbling. And while clouds of conflict had gathered over the marriage, so too they began to brew over Europe. It was the early 1930s, and Adolf Hitler was about to change the world. Both of Audrey's parents had initially supported fascist ideas, but as Nazism took hold, Ella soon changed her views. Joseph, however, was increasingly disconnected from reality, unable to hold a job, and emotionally void. When Audrey was six, he left the family, abandoning his only child. This experience, which she described as the most traumatic of her life, had a deep and lasting effect on her. But there was more trauma in store for young Audrey. At the age of nine, she was plucked from her English boarding school and sent to her grandfather's estate in Arnhem. Fearing the likely outbreak of war, Audrey's mother had decided to move her family to the safety of a neutral country, Holland. The Mad Dog is on the march again. He brings all the horrors of total warfare to three of the fairest and cleanest of neutrals in Western Europe. Pity the peoples of these nations, whose fair lands the Mad Dog has made his bloody battleground. Holland was a nation that suffered particularly through the war, with a long and harsh enemy occupation. The underground resistance movement was strong, although the consequences were fatal for anyone caught. Audrey herself witnessed the execution of young men by the Nazis, including her uncle and a cousin of her mother's. One of her brothers was imprisoned, and the other was forced into hiding until after the war. Audrey also was at risk. She was officially a British subject, with a very English-sounding name. Her mother helped her take on a new Dutch identity. She became Edda van Heemstra. Despite the risks, Audrey regularly aided the Dutch underground, and on at least one occasion was almost caught. She frequently carried messages hidden within her shoes and danced in secret fundraising performances. Before long, however, Audrey was in no shape to dance. Holland's food and fuel supplies were seized by the German army, and thousands of Dutch civilians died of starvation and extreme cold during the winter of 1944. Audrey only survived by using flour from tulip bulbs to bake bread. By war's end, she was malnourished, suffering respiratory problems, and was anemic, conditions that would reoccur at various stages in her life. The emotional wounds also remained. The horrors and human suffering that she had seen made a lasting impression on her, and throughout her life, she was as much defined by her spirit of compassion as she was by her creative spirit. She never forgot how it was to be truly hungry. She remained forever grateful for the food relief she and other children received from the United Nations. This was a debt of gratitude that she repaid over and over in her charity work with UNICEF. The war was over, and Holland liberated. Now began the gradual emergence of the beautiful butterfly that the world was to eventually know and love. In Amsterdam, aged 18, Audrey played her first film role, an air hostess in a short educational film, Dutch in Seven Lessons. Moving to London, she won a scholarship to the esteemed ballet school run by Marie Rombert, who had worked with Nijinsky. She also began working as a catwalk and photographic model, showing a rare instinct for the camera. Photographers loved her, and this mutual affinity would result in exquisite creative photographs that still today endure as great art. Throughout this time, Audrey worked hard at her ballet, and it showed. But Madame Rombert warned that good as she was, she could never be a principal dancer. She was too tall for the male leads, and her wartime malnutrition had impaired her physical strength. Facing this disappointing reality, Audrey moved on, landing a series of roles in musical theatre and feature films. One of these, Nous Irons à Monte Carlo, was the turning point in her career. Audrey's main scene was shot in the lobby of the Hôtel de Paris on the French Riviera. By a fluke of fate, casually observing the filming was the author Colette, whose novel Gigi was set for Broadway. In search of her leading lady, Colette pounced upon Audrey, famously proclaiming, You are my Gigi. Colette was right, and the show sold out for its six-month run. Audrey Hepburn was now a Broadway star, and was about to dazzle Hollywood. But let's go back a few short months, behind the scenes of Paramount Studio, and see something few outsiders are ever permitted to view. The first screen test of a new star. Against a flat grey background, a personality like Audrey stands out like a sparkling gem, as she tries on the glamorous wardrobe to be worn in Roman Holiday. By contrast, the pixie side of Audrey shows through, as she demonstrates how she'll not only let her hair down, but even cut it off in a scene for Roman Holiday. Yes, there's a nightgown scene, and what a nightgown! Demure is the word for Audrey in this attractive outfit. And all the boys behind the camera fell for her like a ton of bricks, when that million-candle-power smile broke forth. There was no doubt about it, Audrey Hepburn was the only possible choice to play the runaway princess on this Roman Holiday. Having her romantic fling with Gregory Peck, the happiest spree any girl ever had, in the happiest picture you've seen in years. Very few actors have made such a remarkable impact in a first leading role. Audrey's performance was so good, that her gracious leading man insisted that Paramount give her equal billing with him above the title. Gregory Peck predicted exactly the impact she would have. Hollywood is aglow for its own crowning event, the annual Academy Awards. Saluted are a score of... Ladies and gentlemen, in New York City, Miss Audrey Hepburn in Roman Holiday. Audrey Hepburn is in New York, but a big in-person audience sees her come forward to receive her Oscar from Jean Herschel. The Dutch-born actress rose to fame in her first big-time role as the runaway princess in Roman Holiday. It's too much. I want to say thank you to everybody who in these past months and years have helped, guided and given me so much. I'm truly, truly grateful. I'm terribly happy. An unforgettable night for Screendom's stellar performance. Audrey was off and running, and in a field of leading ladies, she was way out on her own. If there was a mould for manufacturing Hollywood stars, and by all appearances there was, Audrey had just broken it. As director Billy Wilder put it, after so many drive-in waitresses in movies, here is class. Hollywood's staple female star, the blonde buxom bombshell, was suddenly upstaged by an unpretentious, unspoilt innocent who incidentally had no idea at all of her own natural beauty. Her character, in Love in the Afternoon, hints at her own views of herself. I'm too thin, and my ears stick out, and my teeth are crooked, and my neck's much too long. Whatever Audrey herself may have thought of her looks, men loved her, and women did too. Of course she was exquisite to look at, but she was also thoughtful and genuine, not afraid to be herself. She was a real woman, and females around the world knew she had done them a great favour. After Roman Holiday, Paramount quickly moved into action. The successful stage play Sabrina Fair was the perfect vehicle for Audrey Hepburn. With two of Hollywood's leading men at her side, she cemented her star status, playing the chauffeur's daughter to William Holden, the rich younger brother party boy, and Humphrey Bogart, the rich older brother party pooper. It was this film that was the beginning of a most successful collaboration and a lifelong friendship. Although Edith Head was costume designer, director Billy Wilder wanted something very special for Sabrina's metamorphosis into the magnificent, shimmering beauty. He sent Audrey off to see an up-and-coming French fashion designer, Hubert de Givenchy. Not forewarned of the visit, Givenchy, on hearing that Miss Hepburn had arrived to see him, expected to see Catherine Hepburn. Nonetheless, he was impressed by Audrey and allowed her to make a selection from his last season's designs. He later commented, My first impression was of some extremely delicate animal. She had such beautiful eyes, and she was so extremely slender, so thin. The delicate creature's selection was inspired, reflecting her unerring instinct not just for style, but for Audrey's style. The designs could have been purely meant for her, so perfect were they for each other. Audrey's blossoming career had seen some changes in her personal life. Previously engaged, she'd realized the marriage wouldn't work and called it off. Now, young, single and gorgeous, she was one of the world's most desirable women. It was inevitable that Audrey would win many hearts, and there was a great deal of speculation about her relationships with her leading men. In particular, the whispers flew about William Holden, who fell deeply in love with Audrey and never got over her. And tonight, I want to present you with your inscribed outfit. Oh, thank you. I would like to say how very, very grateful I am for this beautiful award, and how grateful I am to those who enabled me to receive it. Thank you, Bill, for bringing it to me. From California. All the way. But in reality, it was her first leading man, Gregory Peck, who was to bring love into Audrey's life when he introduced her to one of his theater associates. Mel Ferrer, actor, writer, director, has been described as controlling and brooding, and as Audrey herself admitted, had a bad temper. Nevertheless, she was keen to act with him and took the part of the water sprite in the play Ondine. Audrey was acclaimed for her performance in this play, winning the Tony Award as Best Stage Actress in 1954. In that same year, she collected both the Oscar and the Golden Globe Best Actress Awards for Roman Holiday, a remarkable achievement, putting her in the history books. Despite skepticism from outsiders as to the future of the relationship, Audrey and Mel were very much in love. For Audrey, who had lost her father, Mel, with his commanding and protective nature, may well have filled a void in her life. In September 1954, the couple married in Bergenstock, Switzerland. Always a loving, nurturing person, Audrey longed to have children of her own. She recalled that as a child, she used to embarrass her mother when she would rush to hug strangers' babies. Now, some months after her marriage to Mel, she discovered she was pregnant. But her delight was not to last. In early 1955, she suffered a miscarriage and was devastated by the loss. Encouraged by Mel, she threw herself back into work, starring in several films over the next five years, including the three-hour epic War and Peace, in which she acted alongside her husband. I understand you've always wanted to make a film with your husband, and he stars with you in this one. Was it fun, or was it an experience you don't want to repeat? No, it's great fun, and I must say, it's the perfect way of living, to be able to work together. And although we realize that the occasions will be very rare, we hope there will be other opportunities. I hope you'll forgive me being very feminine and personal, but I adore your dress, and I haven't seen anything quite like it over here. It's obviously rather like the sort of thing you wore as Natasha. Could you stand up and let me have a look? It didn't feel crumpled in the air, I think. Do you like this style very much yourself? I like it very much, and I particularly like this one. Naturally, I did choose it. You recognize the Empire style. Yes, it's a great influence in the Paris collection. Stars and celebrities are arriving for the London premiere of War and Peace, the screen version of Tolstoy's world-famous novel, and the longest film since Gone with the Wind. There's a big welcome for Audrey Hepburn and her husband, Mel Ferrer. Audrey plays Natasha, the principal feminine role in the film, and Mel Ferrer plays Andre, a young soldier with whom Natasha falls in love. A grand assignment for a popular husband-and-wife team. Despite the solid cast and huge resources that went into the production, War and Peace failed to connect with its audience. At the box office, once all the hype was over, it basically petered out. But another film, produced almost simultaneously, was to become a further jewel in Audrey's film crown, Funny Face. That's for me. Bonjour, Paris! We're strictly tourists. You can tear and jeer. All we want to say is Lafayette, we are here on a spree. Bonjour, Paris! Bonjour! Funny Face appealed to Audrey on a number of levels. It revolved around fashion, it allowed her to sing and dance, and with the one and only Fred Astaire. Stanley Donnell, who directed the classic Gene Kelly musical, Singing in the Rain, was also at the helm of Funny Face. It's a fun and memorable film, with songs by George and Ira Gershwin and tightly choreographed dance routines. The dramatic star is a revelation in her first great musical production, dancing up a storm in every style, from ballet to bebop. Yes, Funny Face is really funny. The bubbling story of a highbrow girl who falls into the clutches of a high-powered fashion magazine editor. I don't want my hair cut, I don't want my eyebrows up or down, I want them right where they are. And Fred's the carefree photographer who comes to her rescue. Fred's carefree photographer is based on the real-life Richard Avedon, who was brought in as special visual consultant. The pairing of Stanley Donnell and Richard Avedon resulted in a look that is entirely original. The movie is a visual feast, with its dynamic and stylised look, stunning Parisian backdrops, Givenchy brilliance, and the ever-exquisite Audrey. Decades later, the movie remains a favourite, and the distinctive Audrey style shines through, continuing to inspire today's world of fashion. Audrey's next film was the underrated Love in the Afternoon, with Gary Cooper. She followed this with a role that was both challenging and rewarding, and is considered by many to be her finest work. Based on the true experiences of Belgian nun and missionary nurse, Marie-Louise Abbé, it is a powerful and moving story of a woman's personal struggle as she battles with her conscience, her commitment, and her convictions. Sister, have you considered the seriousness of what you're doing? Yes. Sister, is there nothing we can do? Nothing. This film was, for Audrey, the most personally significant of her career. She immersed herself in the role, spending time in a convent, experiencing the lifestyle and observing the behaviour of the nuns. She learned to use medical instruments, watched operations, visited an asylum, and met lepers. Never overtly religious, still Audrey was a total humanitarian, with the greatest respect for all forms of life. Her inner emotional journey in making The Nun's Story seemed to leave a personal imprint on her. It stirred something within that perhaps only came to fruition later, as she tirelessly worked for the world's children. There has never been a motion picture like The Nun's Story. Religion hasn't made him tense and disciplined. A nun is a disciplined person. Yes, but not necessarily tense. As a surgeon, it's not my business to pry into the mind, but I'd say that tension is the sign of an exhausting inner struggle. Do you realise that every time you make me talk to you like this, I should go down on my knees before my sisters and proclaim my fault? For anyone who had dismissed Audrey Hepburn as just a lightweight actress, The Nun's Story proved otherwise. For her work, she was nominated for an Academy Award, a Golden Globe Award, and won the British Academy Award. With little rest, Audrey ploughed straight back in, completing two more films. The first, Green Mansions, cast Audrey alongside a pre-psycho Anthony Perkins, and was directed by Mel. The movie failed badly, and was soon followed by another production that also flopped, and was a personal disaster for Audrey. The Unforgiven was an implausible western with a demanding schedule, involving many horseback scenes. Filmed in a harsh and remote Mexican desert, it was a tough shoot, and by the time filming began in January 1959, Audrey was in the early stages of an unexpected, but very much wanted, pregnancy. Soon into the shoot, disaster struck. Audrey was thrown from her horse, landing heavily on the rocky ground. She lay still, in pain, and terrified she'd lost the baby. She hadn't, but she had broken her back, four vertebrae, and was airlifted to hospital. At last, after several weeks, she was given the all-clear, although still in much pain, and anxious about the baby. She returned to finish the picture, bravely climbing back onto the same horse, and doing her scenes. A few months later, she went into labor. The baby was stillborn. A deep gloom engulfed Audrey, but fortunately, wasn't to last. In a short time, she fell pregnant again. This time she was taking no chances, resting patiently, for the entire pregnancy. On July 17, 1960, Sean Hepburn Ferrer was born, a healthy, strong baby boy. To Audrey, he was a gift, bringing her an unprecedented depth of happiness and fulfillment. Audrey reveled in motherhood. She loved the domesticity and the nurturing. She often said that she had a great need to love, and be loved. Being a mother allowed her to do exactly that, in abundance. But while she longed to remain a full-time mother, she knew she had to keep working, to guarantee a future for a family in which her career had long ago eclipsed her husband's. At this point, along came the role that is forever linked with Audrey Hepburn. You have a special invitation to attend Audrey Hepburn's open house on the wildest night New York ever knew. Timber! Yes? Only one thing, Fred, darling. I'd marry you for your money in a minute. Would you marry me for my money? In a minute. So I guess it's pretty lucky neither of us is rich, huh? It was Breakfast at Tiffany's that cast Audrey once and for all as the icon of style, making her the role model for ongoing generations. Her givenchy elegance, her cheeky sense of humour, her instinct for a look that was just so right, belonged to both Polly Go Lightly and Audrey Hepburn. For many of today's newer DVD-viewing audiences, the two are inseparable. Yet Audrey felt nervous about the role, and wasn't convinced she was right to pull off the flamboyant party girl-call girl that was Polly Go Lightly. And in fact, it's this tinge of insecurity, of the little girl lost within, that underlines her portrayal of Polly and makes the character so real. Now, what about this picture, the title Breakfast at Tiffany? I thought Tiffany was a luxurious shop. Yes, well it is. And the title comes from the fact that this girl gets a great lift and fun out of walking down Fifth Avenue at the crack of dawn with a breakfast which she's bought in a drugstore, and looking in the window at Tiffany's. What sort of a girl is she? She's what they call in America these days a kook. What does that mean? Spelt with a K, I believe. Which is a dizzy, gay type of girl. Anything like you? I'm not quite that way, no. After Breakfast at Tiffany's, everyone wanted Audrey, and she drove herself hard to balance her demanding career with being a loving, caring mother to her son. How long are you staying here? Just until tomorrow morning. Why such a short visit? Well, because I only just left for the night to come here and to aid this wonderful charity for muscular dystrophy, and I can't leave my young son any longer, because he has no nurse at the moment, and my husband and a friend is there, but I must rush back. How is he? He's wonderful, thank you. What about your future plans? Any more pictures you'd like? I'm afraid I have none at the moment. There are plans, but none of them have been decided on, so I have no titles of pictures to give you or anything. We soon see. We soon did see. First, she filmed The Children's Hour with Shirley MacLaine and James Garner, followed almost immediately by two movies filmed back-to-back in Paris. The first of these, Paris When It Sizzles, is a light-hearted spoof, a little crazy, but nothing compared to the actual events off-camera. Starring with Audrey was the still-lovelorn William Holden, whose moods swung between hope and despair as he tried unsuccessfully to woo Audrey. Production frequently ground to a halt, as Holden, by now an alcoholic, plunged deep into the bottle, drowning his misery and himself, before being carted off to rehabilitation and then bouncing back to repeat the whole cycle again. The end result was not great. At the box office, Paris didn't sizzle, it fizzled. Some you win, some you lose. Swins and roundabouts. Audrey's next movie was a big winner, and still today remains a popular favourite. Charade is the closest a film can come to being a Hitchcock, without actually being one. A thriller, comedy and romance, all rolled up into one enjoyable experience. It starred Audrey alongside the delightful Cary Grant and a brilliant supporting cast. As I said, Mrs. Lambert, I'm afraid you're in a great deal of danger. I regret very much having to say this, but please remember what happened to your husband. From as far back as Roman Holiday, producers had tried to pair Audrey with Cary Grant, but he refused all the offers, sensitive to the 25-year age gap between them. This time, however, he agreed, once the script was modified, so that it was Audrey's character who chased him, and not the reverse. Reggie. Got you. The two leads shared a happy working relationship, prompting Cary to remark, all I want for Christmas is another movie with Audrey Hepburn. In just a short time, Cary Grant's Christmas wish was handed to him on a platter. Politely, he declined. Knocking back none other than Jack Warner, who was about to embark on a massively expensive, controversial and ambitious production. Finally, on February 6th, 1962, the most important motion picture purchase of modern times was headlined by newspapers, television and radio. Five million paid for Fair Lady by Warners. The tremendous price paid for the film rights gave evidence of the scope envisioned by Jack Warner, who personally undertook the production. This was further supported by the announcement that Audrey Hepburn would play Eliza Doolittle. That this was the lady for My Fair Lady. The indisputable first choice for the role of Professor Henry Higgins was Rex Harrison, the man who created the character. Despite the studio spin at the time, the casting was not totally a foregone conclusion. Many people staunchly believed that the two stars of the stage show, Julie Andrews and Rex Harrison, had earned the film roles. Jack Warner, however, didn't agree, feeling Julie Andrews lacked the film experience and Rex Harrison lacked star status. Instead, he offered the role of Professor Higgins to Cary Grant, who turned it down, insisting that only Rex Harrison could and should play the part. While Warner ultimately accepted this, he refused point blank to even consider Julie Andrews, insisting that Audrey was the only contender for Eliza Doolittle. With this understanding, Audrey accepted the role. With cast in place, Warner assembled a crack team, including the acclaimed but reputedly fiery director, George Cukor, and Cecil Beaton, the renowned photographer and designer, who was responsible for the overall production design as well as the lavish costumes. For months, almost the entire Warner Brothers studio was devoted to the most elaborate preparation in its history. Exquisite silks and satins, furs and jewels were skillfully turned into elegant finery. Massive studio sets were built. Whole sections of London were constructed in perfect detail. The grandeur and squalor of Covent Garden, the splendour of the Embassy ballroom, the richness of Professor Higgins's study, the high fashion of Mrs Higgins's drawing room. This attention to detail carried through to every aspect of the production, including, of course, the performances. Audrey worked hard on her Cockney accent, and even harder on the songs, recording tracks of such a standard that her singing drew spontaneous applause from the crew. She injected the same nuances of personality into her songs as into the spoken words, keeping the character finely balanced. This balance was thrown off with a decision that appeared to have been made long before she sang a note. At Jack Warner's insistence, her tracks were re-recorded by Marnie Nixon, a highly trained and technically excellent singer, but of a more formal style. The result is a mismatch between the voices, but worse, of the character. One delivery is warm, natural and freewheeling, the other tight, perfect, but unnatural. The decision was a sad flaw for an otherwise magnificent production. It also probably ended any chance of an Oscar nomination for Audrey. The enormously successful My Fair Lady received 12 Oscar nominations, including all the major acting awards, except Best Female Actress. At the awards ceremony, Audrey, who must have felt slighted, graciously presented Rex Harrison with his Oscar and then looked on as Julie Andrews came on stage to collect the Best Actress award for Mary Poppins. Julie Andrews's opening words must have made My Fair Lady's producer squirm. First of all, I'd like to thank Jack Warner. Despite this disappointment, Audrey's relationship with Julie Andrews was very friendly. She typically got along with most people, but there was one relationship causing her a great deal of anxiety and unhappiness. For a long time, Audrey and Mel's marriage had been in difficulty. Mel, who was an ambitious and driven man, found it increasingly difficult to cope with his wife's success when his own star was fading, and there were the ongoing rumours about Mel and other women. At the royal premiere of My Fair Lady, Audrey appeared uneasy and tense, although the couple made an effort to present a united front. There seems little doubt that Mel cared enormously for Audrey, but his love manifested itself by dominating and stifling her. Audrey, for her part, wanted desperately to keep the marriage alive, maybe because of her own childhood suffering at her parents' break-up. Together, the pair made a renewed effort and bought a family home in Switzerland, a quiet and tranquil retreat where Sean could have a normal upbringing. Audrey's haven for the rest of her life, it was aptly named La Paixible, or The Peaceful. But much as Audrey loved being a stay-at-home mother, she was heavily in demand and made another film in Paris, the enjoyable and popular How to Steal a Million, with Peter O'Toole. Soon after returning home, she suffered yet another miscarriage. She returned to work, taking on what was one of her most difficult and acclaimed roles, in Two for the Road, alongside Albert Finney. The film details the unraveling of a marriage, and in many ways for Audrey, had uncomfortable parallels with her own marriage. It was an intense film, and during production, it became apparent that it had its own special intensity for the two leads. Audrey, now 37, seemed playful and relaxed. Director Stanley Donnan described her as free and happy, something he'd not seen before with her. But very quickly the gossip magazines swooped, forcing Mel, it was rumoured, onto the offensive. With the potential for an ugly and damaging divorce that would most of all hurt Sean, the result was probably inevitable. Audrey and Finney went their own separate ways, and the Hepburn-Ferrer marriage, for now, limped on. Doggedly pursuing success in the film world, Mel had secured a contract to produce a thriller, Wait Until Dark, with Audrey playing the lead. Although this meant being separated from Sean, Audrey had agreed, for marriage rather than career reasons. The film is now a nail-biting classic, with Audrey playing a blind woman, terrorised in her own apartment. Her totally believable performance is what makes it such a gripping film, and earned her a fifth Oscar nomination. Perhaps it was the strain of working together, but more likely the increasing talk of Mel's female companions. In any case, by the end of 1967, the 13-year-old marriage was over, and Audrey effectively retired from film, to be a full-time mother to Sean. Almost one year later, the divorce was finalised. Perhaps not surprising for someone who so much needed to give and receive love, Audrey's status as a single mother didn't last long. Very quickly, and maybe rashly, she married Andrea Dotti, an esteemed Italian psychiatrist and member of the aristocracy. Fortunately this marriage blessed Audrey with a second son, Luca, born in February 1970, and again Audrey found great fulfilment in her role as a mother. But the marriage was ultimately unhappy, with the younger Dotti unable to resist other women, almost from the beginning. Again, Audrey held on for the sake of the children, but by 1978 it was effectively over, and the couple later divorced. It was while married to Dotti, once the boys were old enough, that Audrey was lured back to the screen after a nine-year absence. She appeared with Sean Connery in Robin and Marion, a film for which both actors drew high praise. Over a period of several years, Audrey appeared in only a handful more productions, seldom tempted to go before the cameras again. But by 1981, Audrey was moving into a new phase of her life, a time of great happiness and contentment, with at last, a man who was absolutely right for her. Generous and loving with a giving nature much like Audrey's, Dutch-born Robert Walders was her genuine soul mate. They shared much in common, and when at home, took delight in a simple but idyllic lifestyle in La Paisieve's soothing environment. But there was still another role for Audrey to play, one she would no doubt have considered the most important of her life. With the ever-supportive Robert Walders at her side, in 1988 she became a goodwill ambassador for UNICEF, speaking up for the children of the world. We care for our own children, when they have an accident, or when they're sick, not just during their illness, but through what may be lung convalescence. Surely we can do that for those thousands of silent children which I saw. Her last trip to Somalia in September 1992 was the hardest of them all. The terrible suffering she saw, the children dying daily, the loss of hope were emotionally draining. But Audrey also knew something else was wrong. She was in great physical pain. She returned to New York, and in November was diagnosed with cancer of the colon. The treatment was unsuccessful, it was already too late. Audrey now just wanted to be at home, but she was extremely sick, and doctors warned she would not cope with her journey. Givenchy kindly organised a private jet to take her home, safely and in comfort. At La Pécine, the peaceful, she spent her last Christmas with the ones she loved. On January 20, 1993, at peace with herself, she gently left. In a world teeming with billions, Audrey Hepburn was just one person, but she made a real difference. Today, through the Audrey Hepburn Children's Fund and UNICEF, her love still touches children around the world. In front of television sets, viewers, old and new, are transported as they smile, cry, and laugh along with her. Somewhere, every day, her beautiful face looks confidently out from a photograph, and a young girl thinks, I can be like that. Somehow, Audrey Hepburn gives us hope and inspiration. The world is a better place for her special touch of magic. Music by Kevin MacLeod