Hellen
I like the storyline of this show,it attract me so much
Titreenp
SERIOUSLY. This is what the crap Hollywood still puts out?
Protraph
Lack of good storyline.
dkam136
With the help of the New York Public Library and the DVD wing of Netflix, I have set out to try and watch every movie on the top 100 list of the American Film Institute. As with any venture, however, there are some side roads one takes on the road to the final destination. I was looking through the AFI top ten romantic comedies a few years ago and realized I have never seen Adam's Rib. My wife and I loved the pairing of Spencer Tracy and Katherine Hepburn so much that this summer I decided we ought to try out every move with the famous duo.Tonight we watched Woman of the Year (1942) directed by George Stevens and starring Hepburn and Tracy. Having recently also finished Five Came Back on Netflix about the lives of five major directors who put their careers on hold to make propaganda films during World War II, I was eager to view this film as a lens into Stevens pre-war movie career.The movie, the first to star Tracy and Hepburn together, starts the two off as rivals, but they quickly fall for each other in spite of their competitiveness. They fall quite quickly for one another for reasons not immediately clear to the audience. My wife and I were both confused at first as to why they were falling for one another. I suspended my disbelief for the sake of the story and their on- screen chemistry almost forced the romance with their long glances and intimate moments. Still yet, I had trouble following the motivations of the characters.The writing itself was probably revolutionary for the time, but the story feels too much like an indictment of Hepburn's character who wins "Woman of the Year" despite the fact that she does very little that would be stereotypically "female" for the time period. Without giving away too much of the plot in the review, Hepburn's lack of "womanness" causes many problems in their marriage and her pursuit of what might later be called feminism often leaves Spencer in the dust. She looks down on Spencer's sports column as small potatoes as compared to her important work (including humanitarian aid during World War II). She speaks multiple languages and is constantly being pulled away from Spencer in a kind of role reversal where the woman is a workaholic.In a series of events, Hepburn finally "realizes" what she has with Spencer and there is a kind of rapprochement that feels dated when watched by a modern audience and a bit out of touch. By the end, I almost don't want the two of them together and the story does not necessarily lead to a happily ever after (much is left up to the audience to decide for themselves).Overall, the movie is a bit long and it drags in places. Some of the scenes feel cobbled together and the Spencer and Tracy really save the script with their good acting rather than the other way around. I was really rooting for the two characters, but almost in an abstract way because I love the idea of Hepburn and Tracy together. If I had to choose to watch any Spencer/Hepburn duo movie, I would still choose Adam's Rib or State of the Union over this one. Still, I did enjoy some of the understated acting especially on the part of Spencer Tracy and I loved the idea behind Katherine Hepburn's character. The role reversal was a clever idea, but perhaps needed a better writer or a cutting of some of the fat to make a truly great movie. This movie, in light of modern sexism and woman's right movements, ought to be remade for a modern audience.
Hot 888 Mama
. . . Katharine Hepburn-Spencer Tracy pairings. Tracy's sports nut Sam Craig and Hepburn's highbrow social butterfly Tess Harding initially are believable as antagonists, but the love spark misfires here. Tess is interested in people ONLY for their ideas; she has virtually NO sense of human feelings, and must rely on cues from others to counterfeit the appearance of basic humanity. What she does to poor Chris, the Greek orphan she adopts after marrying Sam toward the end of the movie in order to "pad" her "woman of the year" credentials, is one of the biggest travesties against nature committed to film prior to 1950. The rewrite of the original ending was thought necessary to make Tess look more fallible. Well, most viewers have seen her as totally fallible all along, and her kitchen mishaps just make her look more pathetic. Sam, on the other hand, comes off as a total wimp; hardly a likable character himself. This movie has little to recommend it, other than being the worst pairing of this famed movie duo.
larryssa-68-866888
There is much to say about this movie than the poor summary: it is about two journalists and feminism but it is also about passion. And a devouring one, one that shines across screens and times.This was the debut of the famous Tracy-Hepburn couple and love is all you can see and everything you remember about this movie. And the script was so fun! Hepburn is refreshing playing a working girl when Tracy is naturally an easy guy, deeply fond on this woman at first sight.Public was laughing at the time and we are still doing the same now because time as change, society too but great movies don't seem to age like this star couple, still making us dream!
Michael Neumann
From their first moment on screen together the rapport between Katherine Hepburn and Spencer Tracy couldn't be more obvious, but it's too bad their chemistry wasn't better served by more dynamic direction. The formula romantic comedy plot moves like clockwork, with Hepburn and Tracy very much in character playing a globetrotting political journalist and an old-style sports reporter; the two meet, marry, and only then realize how little (besides love) they have in common. A half-century ago the scenario might have been fresh, but don't be too sure. It was produced in 1942, but under the deliberate (heavy-handed, to be less polite) direction of George Stevens the film looks like it was made a decade earlier. The best reason to see it today is to simply enjoy the ease with which its two stars play off each other.
