pyrocitor
Recently, when my mother was having a tough time, she creaked open her cupboard, and pulled out a well-loved DVD. "Let's watch The Philadelphia Story. It'll be nice to disappear into the delightful struggles of the rich and beautiful for a while." And, though it's an indisputably lovely watch for audiences old and new alike, whether watching for the first or thirty-first time, it's more than rote comforting, Classical Hollywood escapism that makes The Philadelphia Story truly special. It's seldom that we find a film with such modestly entertaining aspirations assembled with such consummate care, as director George Cukor's feather-light direction and perfect pacing allow the film to bubble like champagne, but sink in like a sumptuous feast - indisputably one of the most impeccably loveable and utterly unmissable films of its era. Naturally, it helps to boast one of the most airtight, razor-sharp romantic comedy scripts of all time. Writer Philip Barry (adapting Donald Ogden Stewart's stage show) has as much fun peppering the film with the deliciously salty repartee as he does having his characters playfully massage every syllable out of the most riotously intricate names - from the mouth of Jimmy Stewart, the seven syllables of 'C.K. Dexter Haven' somehow emerge as a contemptuous political haiku. Cukor and his players have a ball poking fun at the ludicrous posturing of old money snobs, but the film's class divide is treated far more tongue-in-cheek and with tender sympathy than the savage, cartoonish satire of the average circa 1940 screwball. The film's plot might suggest the gossamer silliness of a Society Magazine take on Much Ado About Nothing, but underneath the Russian Doll subplots of mischievous double-bluffs of masquerade and library and poolside meet-cutes (all delectably zany in their own right) lies a surprisingly rich, compelling, and fundamentally human story, bursting with emotion and heart. Underneath the marquee of comedy of manners zingers lurks an underbelly of genuine family drama, as affecting as it is entertaining, postulating that a yearning for genuine connection - to be really known, beyond social status, trappings, presumptions, projections, and posturing - is, perhaps, the most universal of desires, and the message hits home with the effervescent pop of a bottle of champagne downed a little too fast. But, let's be honest: we're here for the legendary triple-act of Classical Hollywood heavyweights Hepburn, Stewart, and Grant. They do not disappoint, playing off each other with dazzling ease, and showcasing some of the most effortless banter and deep-set chemistry in cinema history. Hepburn has never been better than she is here - she imperiously commands the screen with a hailstorm of scathing punchlines, before embodying the self-esteem imbalance of a woman inundated with superficial praise, but seldom genuinely appreciated, to an unnervingly human degree. She's funny, sad, and almost unspeakably loveable, in an astoundingly heartfelt rollercoaster of a performance. Still, this is unquestionably the Jimmy Stewart show, as his sour, curmudgeonly indictments of the superfluity of wealth are as utterly hysterical, even moreso when giving way for a softer, poetic, recitations betray an aspiring artist beaten down by self-doubt and the financial impediments to wholeheartedly pursue his dream. A decidedly unconventionally subdued Grant rounds up the trio with the least showy performance, but his performance betrays staggering subtleties of inner emotion and past demons. Sneakily puppeteering his peers while firing off innocently acrid witticisms with his never-drier deadpan makes him an exquisitely sarcastic Greek chorus of sorts, and the mischievous twinkle in his eye is as entertaining as all the banter in the world. The rest of the ensemble are all magnificent in their own right, particularly Ruth Hussey as Stewart's perennially spurned, icily deadpan photographer companion, and twelve-year old Virginia Weidler, uproariously funny as the Lord family's gutsy daughter, belligerently unwilling to accept the stubbornness of her older family members causing mishap after mishap. There's the occasional bump in the road where the film shows its age - the calamitous, climactic partner-swapping follies flirt with being too silly to sit comfortably, and it's nicer to just pretend the eyebrow-raising prologue, which treats spousal abuse as a rollicking punchline, just never happens (thank goodness for DVD track-skipping). But, on the whole, this is the highest, most delightful caliber of movie magic imaginable. Whether you need to laugh or cry (usually both), find an airy diversion from life's tribulations, or discover genuine insight in the interplay of immaculately constructed characters, you'd be hard pressed to find a more deeply satisfying watch than The Philadelphia Story. To quote our dear C.K. Dexter Haven: "My, she was yar." -10/10
elvircorhodzic
THE PHILADELPHIA STORY is a great comedy directed by George Cukor. Despite the fact that the thematic framework already narrated and seen earlier this movie seems fresh. I think in this film, everyone can find something for themselves. Humor is a varied and meaningful. See Grant, Hepburn and Stewart in the same film is quite challenging. The script is very good and is followed by an even better acting. The Philadelphia Story is the story of luxury and elegance, teasing, sarcasm, love, drinking, arrogance and generally, a wide range of human qualities. The cellophane high society are seamlessly wrapped diversity that makes us who we are.Three men and three different characters are linked, each in its own way, with the rich ice queen Tracy Lord (Katharine Hepburn). C.K. Dextera Havena (Cary Grant) is profound, eloquent and charming ex-husband. This character is a bit neglected, but always in the right place and pronounce the keywords at the right time. Grant is excellent, but I was a bit bored with the roles of ex-husbands. Macaulay Connor (James Stewart) is "forever" unhappy writer who immigrated to write the yellow press. The voice of criticism, and the voice of reason. The character who has something to say to everyone except himself. George Kittredge (John Howard) He was betrothed young rich and untouchable upstart who answer its her standards.Cukor with the help of the aforementioned scenarios exported tangle heated, smart and wiggly dialogue, spiced with romantic intrigue which no lack of questions. Antagonisms and friendship between the characters is another of the features that contribute to such receptivity of the film, which are equally contributed by all.Stewart and Grant are the face and did a great job. However, my sympathies were given ladies. Hepburn is in her crazy performance authentic, of forcing a prude who does not forgive until the fine souls who want love and violations of their own (unnecessary) rules and countless prejudices. Ruth Hussey as Elizabeth Imbrie is paparazzo and would-be painter. She offered a lot of sarcasm beneath which hides their romantic thoughts. Always responds readily to prevent the drawer own feelings.An honest, romantic, funny and extremely sophisticated comedy who on my own joy is not a failure.
Python Hyena
The Philadelphia Story (1940): Dir: George Cukor / Cast: Katherine Hepburn, Cary Grant, James Stewart, Ruth Hussey, John Howard: Hilarious romantic comedy about modern romance within the high class. Katherine Hepburn plays a high society woman who is engaged but her ex-husband appears thus making everyone uneasy. James Stewart plays a reporter whom Hepburn becomes smitten with. While very funny with a variety of personalities director George Cukor expertly presents elements of class and lifestyles. Cukor previously made a version of Romeo and Juliet as well as Camille and The Adventures of Tom Sawyer. This is one of his best films. Hepburn is wonderful as a woman seeking real romance and perhaps feels that her engagement to the strict and traditional John Howard isn't what she was seeking after all. She indulges in her free spirit guilt of romance thus placing her in the glaring eyes of sophistication. Cary Grant is hilarious as meddling ex-husband. James Stewart steals scenes as the reporter who spends a drunken evening with Hepburn. Ruth Hussey is superb as his photographer. John Howard plays the potential groom whose love life is about to unravel with two other suitors. It regards marriage and romance but also positioning one's economic status. One could easily observe that in the end, that is what makes news, isn't it? Score: 10 / 10
