The Lion in Winter (1968)

It's just a dysfunctional family Christmas - no reason to lose your head!

Intro.

This year, 98 films in, I've come to have a much greater appreciation for certain actors, actresses and directors.  One of those is the great Katharine Hepburn.  I've loved watching her, but realized that I've never seen her in one of her Oscar-winning roles.  Since I've often heard of The Lion in Winter, and since it was conveniently on TCM the other night, I decided to take a chance without knowing a thing about story, setting or character.

Overview

The Lion in Winter is set during Christmas in the year 1183.  King Henry II of England (Peter O'Toole) has recalled his wife Elinor (Katharine Hepburn) from her confinement in a tower and has also called his three sons, Richard (Anthony Hopkins), Geoffrey (John Castle), and John (Nigel Terry) to come to the castle for a Christmas court.  All of the family arrive and quickly the plotting and intrigue begin, as each son wants to be crowned as the next king.  Richard is Elinor's favorite and as such receives the aid of her very sharp mind.  John is Henry's favorite and receives a lot of help from his father.  However, added to the mix is King Phillip II of France (Timothy Dalton), who is there to keep in tact the pact made between France and England, wherein his sister Alais (Jane Merrow) is to marry the next king and have some sort of land deal in the trade (I think it's a return of the Acquitane region of France, currently held by Eleanor).  Anyway, there are too many deals and crosses and double-crosses to keep track of, but basically Richard and Eleanor plot against Henry, then Henry and Eleanor plot against Richard, then John and Richard both try to strike deals with Phillip for his help and oh yeah, Geoffrey, the son not favored by either parent, is trying to plot with just about everyone.  Henry, infuriated that all three of his sons have gone to Phillip to plot against Henry, banishes them to the basement and tells Eleanor that he intends to have their marriage annulled.  He wants to marry Alais (who is in love with him) and have more sons, ones that he can actually trust and with a woman he doesn't despise.  But first Eleanor has to try and save her sons.  Then Henry, realizing that he can't just keep his sons locked up forever (if any of them got out, they'd kill any new sons he and Alais might have), goes down to have one last confrontation (and possible beheading).  

Highlights

I think what worked best in this movie was the feel of it.  The whole thing felt like watching a play instead of a movie.  I thought at first that was due to the setting and different speech patterns, but then I realized it was in fact due to the filming as well.  The blocking, the delivery, it all felt like I was watching top Shakespearean actors performing on stage - all perfect, all fluid.  I'm not sure if that made me like the movie more or not; in truth, I felt a bit under-dressed and out of place watching on the couch in my pajamas.  What I really enjoyed was watching Katharine Hepburn and Peter O'Toole together.  Their scenes made the whole movie; although I had trouble following all of the plotting, I could easily follow their hatred of one another.  Both are extremely talented in their profession and it's a true pleasure to watch them.  They have a great repertoire and present the picture of not only an estranged husband and wife, but also a couple who once loved one another (and may still) in spite of all their arguments, hatred and the occasional civil war between them.

Also interesting to follow were the sons.  I almost didn't recognize Anthony Hopkins as Richard, this film being one of the earliest in his career.  He's great as Richard and plays both the strong, powerful older brother as well as the wounded homosexual lover (turns out Phillip never really loved him).  I also really liked John Castle, who played Geoffrey.  It's easy to overdo the "unloved" middle child role, but Geoffrey takes it in a wholly different direction by playing both ends from the middle.  Man, I never want to play Geoffrey at chess!  I confess I've never seen John Castle before, but I want to see more of his work.  Also making his film debut is Timothy Dalton as Phillip II; who would think he'd go from being a rather unscrupulous King of France to being James Bond?

The writing is definitely Oscar worthy (the film won three Oscars - writing, music and best leading actress).  Who would have thought that a royal drama about princes overthrowing each other for the crown would have a lot of funny one-liners?  Some of the best are here:

Henry: I could have conquered Europe - all of it - but I had women in my life.

Eleanor: I adored you. I still do.
Henry: Of all the lies you've told, that is the most terrible.
Eleanor: I know. That's why I've saved it up until now.  

And quite possibly my favorite:
Geoffrey:  I know. You know I know. I know you know I know. We know Henry knows, and Henry knows we know it.  We're a knowledgeable family.

Review and Recommendation

As for the recommendation, I know a lot of critics love this film and I imagine it would be pretty popular with fans of historical films or British history.  I'm not quite sure I liked this movie all that much.  Like I said, watching Hepburn and O'Toole together was the best part, but other than that I found it a little hard to follow.  Perhaps I need some more British History under my belt or even a better understanding of Shakespeare.  I'd like to at least read up on Henry and Eleanor and possibly some of King Lear before watching again.

Adam's Rib (1949)

Intro.

I used to work at a customer service call center, where I answered around 80 phone calls a day.  Sometimes I thought I had heard it all, from the most colorful of obscenities to sweet, happy people who would sing to me.  From time to time my caller would make some old film reference which I would get (much to their delight).  I even got a few film recommendations, like Adam's Rib.  Now a couple thousand calls and a new job later, I came across a copy of the film and remembered the callers who told me to watch it.  As it starred Katharine Hepburn, I couldn't very well say no, and soon found myself a new favorite romantic comedy.

Overview (with a few spoilers - sorry!)
Young housewife Doris Attinger (Judy Holliday) suspects her husband Warren (Tom Ewell) of infidelity.  She tracks him down, catches him with his mistress and nervously pulls a gun on them.  Shaking all over, she fires off several rounds, one of which hits Warren in the shoulder.  Doris is brought up on charges of attempted murder, but manages to get the best defense lawyer on her side - Amanda Bonner (Katharine Hepburn).  The only problem is that Amanda's husband Adam (Spencer Tracy) gets assigned to the prosecution.  The resulting court trial challenges not only the definitions and prejudices of the law, but the marriage of Amanda and Adam.  Amanda argues that Doris was only defending herself and her family, and if a man had done what she did, no one would judge or blame him.  Adam argues that no one, not even Doris, can twist the law to forgive something that was clearly attempted murder.  As the case grows more intense, the drama at home between the Bonners worsens, no thanks to their neighbor Kip (David Wayne) who is in love with Amanda.  While Amanda does win the trial, Adam isn't quite finished as he figures out a way to make her realize that he was right all along in their domestic argument.  What results is a dramatic and hilarious conclusion about the one difference between men and women.

Highlights

Spencer Tracy and Katharine Hepburn have amazing chemistry in all of their films, but this one is especially good.  Few couples I think could have really conveyed the love and respect the Bonners have for each other while still expressing their very stubborn opinions.  I liked how the strain on the marriage comes through gradually and erupts both in the courtroom and in their home.  Both Adam and Amanda have strong arguments and it's great to see them battle it out as they are both so well matched.

I love Judy Holliday.  One of my favorite musicals is Bells Are Ringing but that's mainly because it also stars Dean Martin and really they just make a great couple.  But in Adam's Rib, Judy gives a great performance as the slightly neurotic Doris.  Her interview with Amanda at the beginning is great:
                                    Amanda: "And how did you feel after you shot him?"
                                    Doris: "Hungry."
Doris with all her sweetness becomes the lightning rod for the whole trial.  The jury selection is even geared towards the defense.  Amanda asks each possible juror, "do you believe in equal rights for women?" and surprisingly some of them say of course not.  While hers is a cause for women and aimed to prove that Doris was only defending her home and her life, Amanda fails to realize that Adam's point is exactly that.  If Doris is to be treated equally, then the law should apply to her the same as to a man in that situation.  Their clash in the courtroom carries to the bedroom where Adam tells Amanda that he doesn't like what she's doing.  "Marriage is a law, a contract," he says.  "Are you going to outsmart that the way you've outsmarted all the others?"  Now that's good writing!

I was talking to some of my coworkers about this film and they brought up something called the Bechdel test.  Basically it's a standard test applied to films, books, etc.  The three rules are 1) it has to have at least 2 women in it, 2) they have to talk about 3) something other than men.  It all started with a comic strip, but the idea has really taken off, spawning lots of study and some interesting online debates like the ones here.  It's an interesting concept, especially as the commentors have mentioned that the test itself is like the letter of the law, but the film itself is the spirit - a film that passes the Bechdel test does not mean it is feminist-friendly.  It could even be anti-feminist.  Anyway, at first I got very upset because I think Adam's Rib is a great film for the feminist cause, but it didn't meet the requirements, as Doris and Amanda's conversation is all about Doris trying to kill her husband.  However, Amanda calls a few women to the stand to prove that women are the equals, if not superiors, of men.  We meet a prominent female chemist with more degrees than anyone could remember, a foreman with 383 workers under her (including her husband), and a vaudeville performer.  At least the conversation with the chemist does not involve men.  Katharine Hepburn embodied the feminist cause as early as the thirties; she was even banned because she insisted on wearing pants.  Her performance here is classic.  And just as we can argue over the Bechdel test, Amanda Bonner concludes for us all - "just as man is body and soul, law is letter and spirit."          
 

Review and Recommendation

Okay, this post is getting much too long, so I want to open it up for thoughts and comments.  I highly recommend Adam's Rib to everyone.  It's a great example of the legendary Hepburn-Tracy team as well as a film with such a strong leading lady. 

P.S. Special thanks to my coworkers Catherine and Rachel.  You guys rock!

Bringing Up Baby (1938)

Intro.

Lately I've been thinking about today's films, specifically comedies, and what makes them appeal to different audiences.  I often don't understand modern comedies that are popular today, and that got me wondering how comedy films have changed over the years.  Screwball comedies like Bringing Up Baby were popular back in the 1930s, but haven't been made lately.  It was a different time and laughter, especially aimed at the trials and tribulations of the priviledged upper class, would have relieved a lot of the nation's stress.  Where Public Cowboy #1 helped give voice to the struggle of farmers in the 1930s, screwball comedies could help all Americans laugh. 

Overview

The film opens with zoologist David Huxley (Cary Grant), who is nearing the completion of a brontosaurus skeleton as well as his marriage to fellow museum worker Alice Swallow (Virginia Walker).  His museum is on a list of contenders to receive a $1 million gift from Mrs. Carlton Random.  As David tries to make a good impression on Mrs. Random's lawyer, Mr. Peabody, but he does just the opposite.  That's because he keeps crossing (and criss-crossing) paths with Susan Vance (Katharine Hepburn), the pretty socialite who's not all that bright.  Just when he thinks he's rid of her, the next day David is excited to receive the final bone for his brontosaurus and to get ready for his wedding that afternoon.  However, Susan calls to ask for help because there's a leopard in her apartment.  Much to David's chagrin, there really is a leopard there.  Good-natured David helps Susan get the leopard, named Baby, to Susan's aunt's farm in Connecticut.  Things only get crazier as Susan plots to keep David with her as long as possible - a plan that is only helped when her aunt's dog George steals the brontosaurus bone, Baby escapes, and a local circus loses its leopard that has attacked its trainer.  In all the hilarious hunting, Susan and David continue to bicker and eventually wind up arrested.  I won't ruin how they get out, but their madcap escapades are great!

Highlights

Bringing Up Baby is a classic comedy and one of the best.  It's also Katharine Hepburn's first comedy, and she was unsure of her abilities at first.  Cary Grant coached her and encouraged her to just be herself.  The result is one of her best performances.  Both she and Grant handle themselves well and they have a natural chemistry.  As for the plot, it can't get much screwier!  At a time when class was still more divided in the U.S., I could see the appeal this film would have as it made fun of the antics of the privileged.   

There is a scene in the Connecticut house after David and Susan arrive where David has to take a shower.  While he does, Susan steals his clothes (to paraphrase Susan: "he can't leave because he's the only man I've ever loved!").  David is then forced to wear the only thing he can find, which happens to be a very flimsy woman's bathrobe trimmed in feathers.  As he proceeds to look for Susan, her aunt comes home and is disgusted by his appearance.  After asking him repeatedly why he is dressed like that and where his real clothes are, an exasperated David leaps into the air and announces "because I just went gay all of the sudden!"  They originally had to leave this out to get the film past the censors, but it was put in at the last minute and made film history.  It also furthered rumors that Cary Grant was gay, but that's another post for another time.

Finally, Bringing Up Baby has some great quotes - the writing is outstanding.  At the beginning, Susan mistakenly hits David's golf ball.  He is trying to explain to her that it was his ball.  He's talking about the brand marking: "There, you see, it's a circle."  Susan: "Now of course it is, do you think it would roll if it were square?"  When David sees Baby in Susan's apartment, he says "Susan, you have to get out of this apartment!" Susan replies, "I can't David, I have a lease!"  Some of the scenes in the film have become comedy staples too, including the accidental removal of part of Susan's dress.

Review and Recommendation

Bringing Up Baby is an excellent film that is full of good, clean entertainment.  It's sophisticated and silly all in one package, and features two of Hollywood's greatest talents at their very best.     

Woman of the Year (1942)

Intro.

It was Katharine Hepburn day on TCM and I cheered!  What a great salute to a sensational actress.  I had been wanting to see more films featuring Katharine Hepburn and Spencer Tracy, so this presented the ideal opportunity.  As I read the description of Woman of the Year, I realized how similar it was to Designing Woman, which I had recently seen.  Watching the original or the movie that inspired another is always great, so I picked the perfect film.

Overview

Woman of the Year begins with top newspaper columnist Tess Harding (Katharine Hepburn) giving a radio interview about international affairs in which she says that sports have no purpose.  Sports writer Sam Craig (Spencer Tracy), who works for the same paper, takes offense and writes his next column as an attack on Tess's statements.  She in turn writes a ripping rebuttal, but before the war can continue, their editor calls them into his office to meet in person and make nice.  They do more than that as Craig falls in love at first sight with Tess.  From their, the mismatched pair continues a fun courtship including a baseball game where Sam has to explain every single move and play on the field to Tess, and then Tess throws a dinner party where Sam is the only English-speaking guest.  They wind up married, but right from the start we can see they're in for a lot of headaches (well, at least Sam is).  While Tess might be spending all of her time trying to improve the world, she spends no time trying to improve (or even have) a marriage.  It all comes to a head when she is named Woman of the Year on the same night that Sam moves out of their apartment.

Highlights
Hepburn and Tracy have undeniable chemistry.  This was their first movie together; in fact it was the first time they had met in person.  And from there, as they say, the legend was born.  A thirty year romance started off-screen, and the love comes across in some wonderful acting on-screen.  

This film is an unusual look at marriage, particularly because Tess is the one career-driven while Sam is the one neglected at home.  The film moves from comedy to drama after the marriage, and Sam's disappointment grows.  It's refreshing to see such real characters and impressive when Sam finally moves out.  I couldn't help but think it was a pretty daring move for an audience of 1942 and would still be considered pretty bold by today's standards. 

Not to give away too much, but the film concludes with both Sam and Tess realizing that marriage is a melding of their two lives, a constant compromise, a meeting in the middle.  That's why Sam has such a good ending line: "I don't want you to be Tess Harding or Mrs. Sam Craig; what about Tess Harding Craig?"

Review and Recommendation

Woman of the Year is one of the great films by one of Hollywood's best couples.  It is a humorous, yet still powerful look at marriage.  It will pack an emotional wallop.  An enduring, endearing film, I'd recommend it to everyone. 

Summertime (1955)

Intro.

I love those movies that take you completely by surprise - the ones that you aren't looking for but completely delight you.  Summertime was such a film for me.  I'm not sure if it was the fact that I've been longing to go to Italy myself or the fact that lately I've been feeling exactly like Katharine Hepburn's character - waiting for life to happen.

Overview

Katharine Hepburn plays Jane, a single American woman who has saved up enough money to finally fulfill her dreams and travel to beautiful, romantic Venice.  Once there, the excitement soon turns to loneliness as she realizes that Venice is a city for couples and she is very much alone.  That doesn't last long though, as she meets handsome shopkeeper Renato (Rossano Brazzi).  He pursues her and convinces her that romance can happen and that they should embrace whatever happens.  They date, they love, they spend many nights together in the gorgeous streets and canals of Venice.  It has all the marks of a dream come true until Jane finds out that Renato is married - from there the relationship grows complicated, but Jane makes her biggest decision to allow herself to love him anyway.  It isn't really a story about the two of them as much as it is about Jane coming into her own, opening her heart and realizing that her life hasn't passed her by.

Highlights

First of all, Venice steals the show.  It was filmed on location and oh what I wouldn't give to have been a part of that crew!  All of the warmth and beauty and even the sadness of Venice comes through just in the filmography alone.  In fact, the buildings and art are treated just as well as the leading lady, and we can see Jane fall in love with the city just as we do.  The music just adds to the beauty as well.

Katharine Hepburn is amazing in this role.  She reminded me of a stronger version of her character in The Rainmaker - lonely, but trying to hide it and too afraid to love.  As Jane, she is vibrant, friendly, and outgoing, yet also reserved and reluctant.  However, in keeping with Hepburn's rebellious spirit, Jane decides against convention (and in 1950's Hollywood!) and has her full blown romance with Renato.  And full blown is right - there's even a funny scene where Venice is lit up with fireworks while Jane and Renato slip off into a bedroom - presumably for their own fireworks.  Ah, Hollywood when you still had class!  The rest of the cast is superb in this film.  Even the McIlhenneys (Jane Rose and MacDonald Park) are great "ugly American" tourists that serve to highlight how different Jane is - not to mention provide some comic relief.  And Rossano Brazzi is terrific in his role as Renato - he is both the pursuer and the pursued and takes both with a great deal of charm.  Finally, the way that all of the elements of the film come together makes it stand out - especially the gardenia and the transformation of Jane (not only in clothes, but in the way she opens up and carries herself with more confidence).

There are some great lines in this film too.  Here are a few:
"Those miracles - they can happen sometimes, but you must give them a little push to help." - hotel keeper Signora Fiorini
"The most beautiful things in life are those we do not understand." - Renato
And this dialogue: Jane: "Sing it."  Renato: "How do you know I can?"  Jane: "Because you're Italian."  (Even funnier if you know what famous Rogers & Hammerstein musical Rossano Brazzi was later in!)

Review

This film is about Venice, but also about a deep part of human nature - the desire to be loved and the fear of not being loved.  It fulfills the line of "everything happens sooner or later" but with the cold realization that when love finds you, it may be far from what you imagined.  I'd recommend this film to all hopeless romantics and even those (like me) who are a bit cynical about love but give in to a great story.

Holiday (1938)

Intro.
I will be the first to confess, I initially wanted to watch this movie because I thought it would be very similar to Cary Grant's other screwball comedies, like Bringing Up Baby.  At first I was puzzled and then pleasantly surprised to find that it was more of a comedic drama. It is more light in spirit than the later film, The Philadelphia Story (which also paired Hepburn and Grant) and the humor a bit less cutting. In any respect, I felt it was along the lines of a happier sort of Eugene O'Neill play.

Overview
The plot seems a lot like many romatic comedies - boy meets girl, they fall in love, she doesn't tell him she's rich, her family objects, complications ensue. In this case it's Grant as the clueless, independent free spirit who has fallen for Julia Seton (played by Doris Nolan), heiress to one of the largest fortunes - and snobbiest families - in all of New York. Grant's character, Johnny Case, comes home elated that he has found "the one" - a girl who wants what he wants: the same house, the same life, the same dreams. He agrees to meet her at Christmas to tell her father, but upon arriving at her mansion and learning of her fortunes, he immediately feels out of place. As Julia's father, sister and brother soon learn, Johnny Case is a working boy who has worked his way to a promising job at a financial house. His future looks bright and his charm soon wins them over. On New Year's Eve the engagement is to be announced, but there is a hitch - Johnny reveals that he wants to take the money he's earned and live a rich, full life - take a holiday and learn who he is and what he wants out of life. You can almost hear the air sizzle out of he and Julia's relationship. His audacity to consider such a reckless life instead of a secure one working at her father's bank is more than Julia can take. While this is happening, Johnny finds that he has more in common with Julia's sister Linda, the black sheep of the family who shares Johnny's sense of fun and adventure. I won't give away the ending, but it does have a few twists and turns to try and keep you guessing. One thing you can't miss though, is the undeniable chemistry between Cary and Katharine. It turns what would normally be an average film into a superb one.

Highlights
With such strong personalities in the two lead roles, it is hard to believe that the supporting cast could shine, but shine they do. Most notably is Lew Ayers, who plays Julia's brother Ned. Ned has landed in the role of the reluctantly dutiful son who must forgo his own dreams to learn the family business.  To compensate, he drinks to excess each night.  While humorous, there is a deep pathos to his alcohol-induced talks with his sister Linda, and he soon becomes a scene-stealer.  Neither he nor Linda accept the cold, social-climbing life they have, and find relief in their mother's old playroom - the only room of the house decorated in a cozy, homey way.  There is a fireplace and flowery sofas instead of marble and pillars.  While Julia and her father find this way of life childish, there is a sense of joy and hope that doesn't exist in the rest of the house.  It creates an interesting dynamic for the film - where different scenes take place says as much about what's happening as the dialogue does.

Also worthy of note are Johnny's friends Nick and Susan Potter (Edward Everett Horton and Jean Dixon), who come to the engagement party, but feel completely out of place.  They even tease Johnny that they can't recognize him in his tux and slicked back hair.  They too take refuge with Linda in the playroom and bring a sense of life back into the house.

Finally, Cary Grant's performance should be mentioned.  I love watching him when he's alone in the mansion at the film's opening - he's curious and uneasy and trying to entertain himself.  He even gets seperated from the butler and hollers that he's lost.  It's very similar in appearance to Jimmy Stewart's character in The Philadelphia Story.  On top of that, Cary brings his real-life acrobatics into the picture, doing tumbles and flips throughout, which not only makes him more endearing and child-like, but also highlights his refusal to conform.

My personal favorite highlight is that Johnny Case is supposed to be a Baltimore boy, born and bred.  I've lived in and around Baltimore my whole life, and no one born and bred here has an English accent like Grant's.  However, I do have to give him credit, unlike Julia's father, he actually pronounces the name of the town with the local drawl instead of emphasizing the 'i'.  It's not "Ball-TEE-More", it's "Balw-mer" or "Bal-da-more", hon.

Review & Recommendation
All in all, I highly recommend this movie.  You may laugh at Cary Grant doing somersaults and cartwheels, but the film has a serious, deeply moving heart to it.  It is a picture about childhood dreams - those we sacrifice and those we need to fight for.  It is a grim picture of our economic culture as well, and reminds us that there is much more to life than money.

If you'd like to read more, check it out at IMdB.  There's a great write-up about the film by a reviewer with the screenname 'Glenn Miller'.  His piece is far more eloquent than I am and it's definitely worth reading.  Also, just because it's Baltimore, I still think the two best Baltimore accents I've heard in films by non-Baltimore natives are John Travolta in Hairspray and Robert Mitchum in Cape Fear.  Although Mitchum does have a general Southern drawl in that film which could be from anywhere, when he says Baltimore, you believe him!