She was preceded in death by her husband, parents and three siblings. Marie is survived by her daughters Irene (Alex) Caras of Crossville, TN, Diane (Paul) Barber of Ashland, NE, grandchildren Kayla (Rob) Prescott, Troy (Aileen) Caras, Josh (Megan) Barber, and Brianna (Tyler) Radke, nine great grandchildren and one brother, John Riggs of Geneseo, IL. Her family, grandchildren and great-grandchildren were her greatest joy in life. She also loved to travel, play cards, dance and various other hobbies throughout the years. Marie was a very active life member of Colona United Methodist Church where she sang in the choir. Heeren on December 8, 1946, in Orion, IL and became a mother and farm wife. Marie graduated from Orion High School class of 1945. Condolences can be left at com She was born in Lacona, IA, on March 2, 1927, the daughter of Lester and Geneva (Riddle) Riggs. In lieu of flowers memorials can be made to the Colona United Methodist Church. She will be laid to rest at Dayton Corners Cemetery-Colona. Visitation will be held from 10-11 AM prior to the service at the church. Funeral services will be held at 11:00 AM on Tuesday, November 29, 2022, at Colona United Methodist Church with Pastor Jon Warren officiating. Heeren, 95, of Colona, passed away on Tuesday, November 22, 2022, at Illini Restorative Care-Silvis. If Hepburn plays the game of conventionality here and lends herself to the prevailing “chi-chi” fantasy, it feels like she maintains a dry, amused detachment through every predictable beat and permutation.Marie J. (Entangled in personal and professional differences, it ended Donen’s association with both Kelly and MGM.)įlashes of that moody prescience enlarge the milieu of Funny Face: Hepburn’s luminosity poised against a saturnine, untidy bookshop interior for “How Long Has This Been Going On?” the startlingly claustrophobic and supple Astaire-Hepburn darkroom dance to “Funny Face,” where the negative image of her features hangs on the wall like an African mask the freeze-framed all-over-town photo shoot (“That’s a killer!”). It’s also the most ironic, melancholic, and modern-a prospective New Wave in search of a beachhead it never reached. His previous film, codirected (and starring) Gene Kelly, was It’s Always Fair Weather (1955), which gets my vote for the most underrated of the era’s musicals. (And Hepburn did: Having him costar was her condition for doing the picture.) Donen brought a good portion of the MGM production team over to Paramount to make it, but the magic started slipping away. He had become a dapper dinosaur, albeit the most graceful and sly Jurassic Hoofer you could ask for. With Funny Face, there’s no escaping the sense that the ancien régime of the movie musical is crumbling: Astaire was fifty-eight, almost old enough to be Hepburn’s grandfather. Hepburn’s human corkscrew-scissor-bottle-opener dance solo is presented as a satire of boho-yoyo affectations, but her folding Swiss Army knife in a black turtleneck and skinny jeans is so captivating that the joke backfires: This scene makes egghead nonsense look bloody marvelous and super fun! I can picture a young Twyla Tharp seeing this routine at her parents’ drive-in alongside Route 66 and having her whole future pass before her. That’s the formula, but as determined as the film can be to play enforcer of some catatonic ideal (see the Hepburn-Thompson duet “On How to Be Lovely”), its musical numbers keep slipping the bonds of their own intentions (see the way Hepburn and Thompson inject a tart angularity that undermines the sap-happiness of “Lovely”). (“One cannot deny that she is… unusual.”) Introduce this year’s model, but first process all the freshness out of her and replace it with a socially approved, streamlined facsimile. Like the Vogue-ish magazine run by Kay Thompson’s imperious editor (as if there were any other kind in movies), the film hungers for a new look, a new kind of representative woman. Yet as steadily as the movie pokes fun at Audrey Hepburn’s freethinking philosophy student–bookstore clerk Jo Stockton-all the while reprogramming her as a pliable clothes rack-it’s difficult to believe the film (or at least Donen) isn’t enamored of the character’s independence and candor.
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