George Cukor must have cheated on his wife at every opportunity, given The Philadelphia Story’s (and The Women before it) rewarding of unfaithful husbands. I watched Philadelphia Story on a lark–I’d never seen it, but had heard of it, and it came up this week. Holy shit–Cukor was gay! I just read it. Huh….
Umm. So, anyway, the movie’s okay. It has a few particularly good scenes, mostly between Cary Grant and James Stewart. Grant was, at this point in his career, at leading status and rarely ever had friends in films (that I’ve seen), only love interests. So seeing him have a friendship is nice. The scenes between Katharine Hepburn and Grant range greatly in quality, mostly because the film is a very strict adaptation of the play. You can see it being performed on stage while watching and that’s never good (Cukor’s other films that I’ve seen–The Women and Dinner at Eight–are both adaptations that suffer the same problem). He does have some interesting composition at times, Cukor does, however. He actually uses soft background on Cary Grant, something I’d never seen before.
The acting ranges too. Grant’s good once his character gets established, Stewart’s okay but miscast, and Hepburn… well, she doesn’t have much to work with. The characters are really thin, which is Stewart’s problem, and Hepburn forces something out of it, but can’t make the character consistent throughout (the script’s at fault for that too–the groundwork for the ending is laid in the last fifteen minutes). The best performance is from the kid sister, Virginia Weidler, who’s just having fun. Similarly, Roland Young is quite good. Ruth Hussey–as another infidelity forgiver–is given an impossible character and she doesn’t have the chops to do anything with it.
The Philadelphia Story is a “class” comedy, where members of the working class mix with the members of the upper class. I’ve never labeled a film or story that one before–though I’m familiar with other folks using the term–and this film is the first time it’s been appropriate… because the makers wanted the audience to label it as such. (I think there might be some homage to it in a scene of Caddyshack II, actually). It’s unintelligible and unbelievable at its best–though still fun thanks to Grant and his chemistry with his co-stars–and propaganda at its worst.
CREDITS
Directed by George Cukor; screenplay by Donald Ogden Stewart, based on the play by Philip Barry; director of photography, Joseph Ruttenberg; edited by Frank Sullivan; music by Franz Waxman; produced by Joseph L. Mankiewicz; released by Metro-Goldwyn-Mayer.
Starring Cary Grant (C.K. Dexter Haven), Katharine Hepburn (Tracy Lord), James Stewart (Macaulay Connor), Ruth Hussey (Elizabeth Imbrie), John Howard (George Kittredge), Roland Young (Uncle Willie), John Halliday (Seth Lord), Mary Nash (Margaret Lord), Virginia Weidler (Dinah Lord), Henry Daniell (Sidney Kidd), Lionel Pape (Edward) and Rex Evans (Thomas).
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