The Philadelphia Story

A must for every fan of Katherine Hepburn, Jimmy Stewart and Cary Grant. Funny, sad, touching, wonderful!

The Great Depression, some things never change. The rich are evil and the poor are sainted. Tracy Lord, the unfortunate name of a recent adult film star, she is kind of a glorious snot ; she'll marry a Nuevo-riche piker to get even with her suave but drunken ex-husband, Cary Grant.

Grant is Cary Grant, but Stewart, a newcomer, holds his own as the young writer skittish about rich folks and women. His long-suffering girlfriend, charming, Ruth Hussey, stands by demurely.

A little dated, but clearly courting mores were more distinct and perhaps safer way back then. Wonderful film!

I just watched this again and I simply must advertise my opinion on the whole of it. It's just that it was "almost" there. The classic screwball pairings of Katherine Hepburn and Cary Grant are legendary, but this one was in need of a good rewrite. If you are in a sentimental mood and you have recently viewed your entire collection of 1934-1944ish screwball comedies, then you can't go too far off of the path with this offering, but...

Okay, so let's start at the beginning (not the beginning of the story, that would be just silly--let's start with the cast): Cary Grant and Katherine Hepburn reunite to match wits in a slightly more "mature" (they are older, and it shows in that "Haven't we done this before, but it was more fun then, but I suppose this is nice too" kind of way) version of Bringing Up Baby. Perhaps between BuB and this story they did get married after all, and had different parental units, and jobs, but the rest is pretty much the same. They are both fine actors with presence and sublime comedic timing that seems so natural it is ethereal and almost aloof to the rest of us mere mortals viewing this grand spectacle unfolding. And then there is Jimmy Stewart in his early days. A true master of American cinema, this man redefines "the common man" made popular by Dickens a century past. Roland Young (Topper) is magnificent as always, so much so that it is best to view his scenes, remote in hand, again and again to scrutinize his subtle comic inflections. The rest of the cast is well suited to this film, and the undiscovered gem is the too-little used and almost ignored Ruth Hussey, whose somber portrayal (I won't give too much away) is classic and understated to the point of being that of a beautiful wall decor one almost discerns in the tapestry of the film's rich ambiance.

But it's the lines themselves that jumble together, like egocentric starlets all vying for the prime screen time. They clash and toil angrily in ways that make George Cukor roll over in his grave, lamenting over the lost Oscar that should by all rights have been his. "Soylent Green is people!" Classic lines are easy to remember, and they really sell a film, but you can't just shove a bunch of them (like carrots, all bound together) in front of a camera and expect people to think to themselves that this is Shakespearean (...and don't I know this! But that is not the point!).

Watch it over wine, with a fire in the hearth, on a dark, stormy night with your spouse (someone who is already contractually obligated to stay once the movie is over). It has its flaws, but it is still charming in the ways that "the 50's" are to this day considered an age of innocence when compared to the decades that followed. But if you are trying to impress a date, go with Bringing Up Baby (if they are they type who love absurdity and live to laugh), or His Girl Friday (1940), if they are the cerebral type who thrive upon the sparring jab of wit so quick it has lashed and gone should you inadvertently turn your head untimely.

Ownable in deed, but best reserved for those times among close friends when one is more interested in dissecting "fine comedy dialogue 101" than a good night's comedy romp and shag following.

Thanks for reading.

This is a great classic movie with three of the original movie stars, Jimmy Stewart, Catherine Hepburn, and last but certainly not lest, Cary Grant. The writing is flawless and witty. There is a hidden pearl in the movie in the form of the little sister.

This 1940s film is supposed to be a classic. That's why it interested me. Originally adapted from a play, it stars Katherine Hepburn as a Philadelphia "main line" self-absorbed young woman. Recently divorced from Cary Grant, she is planning a marriage to someone else. But with the help of James Stuart and Ruth Hussy, Cary Grant sets about winning back his lady love.

My recollections of Katherine Hepburn are as an old lady, so it was a delight to see her young and gorgeous self. The role called for a lot of dialogue and a lot of shifting emotions. Despite her artificial makeup, she did a great job and I can understand the reason she left her indelible mark on the silver screen. She's unique in her own special way and she did the best she could with the material written for her.

Too bad the screenplay just did not stand the test of time. Despite its attempt to be smart and sophisticated, it's now 68 years later, and it came across to my modern mind as contrived and silly and too heavy on the dialog.

I give this film a mild recommendation for students of movie history. But for everyone else, don't waste your time.