The Spencer Tracy and Katharine Hepburn Blogathon: The Philadelphia Story (1940)

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Crystal at In the Good Old Days of Classic Hollywood is hosting the Spencer Tracy and Katharine Hepburn Blogathon, honouring the fantastic classic duo from the Hollywood’s brightest times, and my contribution is a short review of one of Hepburn’s most distinguished films:

The Philadelphia Story (1940)

George Cukor’s “The Philadelphia Story” is based on a Broadway play of the same name also starring Katharine Hepburn. In this film, Hepburn plays a rich socialite Tracy Lord, who is about to be married to George Kittredge (John Howard), after her previous marriage to a yacht designer C.K. Dexter Haven, played by Cary Grant, fell apart. Meanwhile, two reporters Mike Connor (James Stewart) and Liz Imbrie (Ruth Hussey) are secretly “planted” in the house of Tracy to spy on her and to try to cover the big wedding. Surely, they are helped in their endeavour by Tracy’s ex-husband Dexter, who still secretly hopes that Tracy will realise that their love was genuine and true. The gist of the comedy here is that Tracy knows about the true purpose of Connor and Imbrie, and her family puts on the show to impress and mislead the reporters. As Tracy flirts with Connor, the realisation of her mistake in the decision to marry Kittredge becomes more apparent. The great thing about this film, apart from its cast and performances, is the way it cleverly combines a witty story, involving a theatre of “appearances deceiving”, and the reflecting character study.

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The Alfred Hitchcock Blogathon: Rope (1948)

338Maddy at Maddy Loves Her Classic Films is hosting The Alfred Hitchcock blogathon, and this is my entry dissecting one of Hitchcock’s most claustrophobic and intriguing films: “Rope” (1948). Even thought this film may not be as ambitious as Hitchcock’s later “Psycho” (1960), it is still suspenseful, tense, cerebral and belongs to one of my favourite cinematic “genres”: “one location” setting films. This “genre” was later used by Lumet (“Twelve Angry Men” (1957)), Polanski (“Repulsion” (1965)) and Mangold (“Identity” (2003)), among others, to a great result. And, this is because in such films what the audience is usually left with is the fascinating psychological “game” among characters of scheming, guessing, suspecting or simply going crazy, without any outside “distractions” being present. Hitchcock’s “Rope” is no different.

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