IMDb > Sylvia Scarlett (1935)
Sylvia Scarlett
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Sylvia Scarlett (1935) More at IMDbPro »

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Down 7% in popularity this week. See why on IMDbPro.
Gladys Unger (screenplay) &
John Collier (screenplay) ...
View company contact information for Sylvia Scarlett on IMDbPro.
Release Date:
29 December 1935 (USA) See more »
Escaping to England from a French embezzlement charge, widower Henry Scarlett is accompanied by daughter Sylvia who... See more » | Add synopsis »
(10 articles)
Hepburn Day on TCM: Love, Danger and Drag
 (From Alt Film Guide. 7 August 2015, 4:24 PM, PDT)

Farewell to Hepburn Tomorrow
 (From FilmExperience. 30 December 2014, 10:47 AM, PST)

A Year with Kate: State of the Union (1948)
 (From FilmExperience. 18 June 2014, 3:00 PM, PDT)

User Reviews:


  (in credits order) (verified as complete)

Katharine Hepburn ... Sylvia Scarlett a.k.a. Sylvester

Cary Grant ... Jimmy Monkley

Brian Aherne ... Michael Fane

Edmund Gwenn ... Henry Scarlett
rest of cast listed alphabetically:
Robert Adair ... Turnkey (uncredited)
Bunny Beatty ... Maid (uncredited)
May Beatty ... Older Woman on Ship (uncredited)
Daisy Belmore ... Fat Woman on Beach (uncredited)
Carmen Beretta ... Woman (uncredited)
Madam Borget ... Minor Role (uncredited)
Thomas Braidon ... Minor Role (uncredited)
Elsa Buchanan ... Minor Role (uncredited)
Colin Campbell ... Minor Role (uncredited)
Patricia Caron ... Minor Role (uncredited)
Harold Cheevers ... Bobby (uncredited)
E.E. Clive ... Customs Inspector (uncredited)
Edward Cooper ... Customs Inspector (uncredited)
Adrienne D'Ambricourt ... Stewardess (uncredited)
Kay Deslys ... Minor Role (uncredited)
Nola Dolberg ... Woman in Bathing Suit (uncredited)
Elspeth Dudgeon ... Older Woman (uncredited)
Harold Entwistle ... Conductor (uncredited)
Gaston Glass ... Purser (uncredited)
Daisy Goodill ... Minor Role (uncredited)
Robert Hale ... Minor Role (uncredited)
Alec Harford ... Man Taking Half a Crown (uncredited)
Peter Hobbes ... Steward (uncredited)
Olaf Hytten ... Customs Inspector (uncredited)
Lilyan Irene ... Minor Role (uncredited)
Lorimer Johnston ... Minor Role (uncredited)
Connie La Mont ... Girl at Park Scam (uncredited)
Gwendolyn Logan ... Concerned Woman (uncredited)
Elsie Mackay ... Minor Role (uncredited)
Ella McKenzie ... Minor Role (uncredited)
Dennie Moore ... Maudie Tilt - the Maid (uncredited)
Frank Moran ... Minor Role (uncredited)
Edmund Mortimer ... Park Scam Onlooker (uncredited)
Leonard Mudie ... Train Steward (uncredited)
George Nardelli ... Frenchman (uncredited)
Natalie Paley ... Lily Levetsky (uncredited)
Lionel Pape ... Sergeant Major (uncredited)
Lennox Pawle ... Drunk (uncredited)
Ethel Rawson ... Minor Role (uncredited)
Harrington Reynolds ... Minor Role (uncredited)
Roger Roughton ... Minor Role (uncredited)
Violet Seton ... Minor Role (uncredited)
C. Montague Shaw ... Minor Role (uncredited)
Dina Smirnova ... Russian (uncredited)
Pat Somerset ... Minor Role (uncredited)
Jacques Vanaire ... Steward (uncredited)
Michael Visaroff ... Purser (uncredited)

Directed by
George Cukor 
Writing credits
Gladys Unger (screenplay) &
John Collier (screenplay) &
Mortimer Offner (screenplay)

Compton MacKenzie (novel) (as Compton Mac Kenzie)

Produced by
Pandro S. Berman .... producer
Original Music by
Roy Webb (uncredited)
Cinematography by
Joseph H. August (photographed by) (as Joseph August)
Film Editing by
Jane Loring (uncredited)
Art Direction by
Van Nest Polglase 
Makeup Department
Mel Berns .... makeup artist (uncredited)
Second Unit Director or Assistant Director
Kenneth Holmes .... assistant director (uncredited)
Argyle Nelson .... assistant director (uncredited)
Art Department
Sturges Carne .... associate art director
Sound Department
George D. Ellis .... recordist
Special Effects by
Harry Redmond Sr. .... special effects supervisor (uncredited)
Camera and Electrical Department
Louie Anderson .... grip (uncredited)
Ernest Bachrach .... still photographer (uncredited)
Costume and Wardrobe Department
Muriel King .... costumes: Miss Hepburn
Bernard Newman .... costumes: Miss Paley
Music Department
Philip Faulkner Jr. .... music recordist (as P.J. Faulkner Jr.)
Roy Webb .... musical director
Other crew
Patricia Doyle .... stand-in: Katharine Hepburn (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
95 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (RCA Victor System)
Argentina:16 | Finland:K-16 | Portugal:M/12 (DVD rating) | Spain:13 | UK:A (original rating) (cut: by 1 min 17 sec) | UK:U (tv rating) | UK:U (video rating) (1986) (1997) | USA:TV-PG | USA:Approved (certificate #1697)

Did You Know?

After a disastrous preview, director George Cukor and Katharine Hepburn went to RKO producer Pandro S. Berman's home and offered their services for free for another film. Berman, who was furious at the quality of the movie, replied tersely, "Don't bother please."See more »
Audio/visual unsynchronized: In the scene in which Sylvia and Michael are having a conversation and then lie down to go to sleep, their conversation continues though their lips have stopped moving.See more »
Michael Fane:[speaking to Sylvia dressed as a boy] "I say, uh! I know what it is that gives me a queer feeling when I look at you. There's something in you to be painted."See more »
Movie Connections:


This FAQ is empty. Add the first question.
18 out of 25 people found the following review useful.
eh., 5 October 2005
Author: zygimantas from Lithuania

You can't really love this picture, to be honest, though I really do want to love anything with Hepburn. In fact, this was the first time I ever caught myself thinking she'd put in a second-rate performance, but that's arguable - some will say that her boyishness actually was well done, and I can't entirely disagree with that.

The truth is that this movie is bursting with melodramatic affectation, and that is rather off-putting to us who are so used to the post-Brando state of character representation. We have to believe that the actor IS the character for the whole thing (writing, characterization, acting, everything) to be a success. If we are embarrassed by what we perceive as a bad performance, the whole thing's in danger of being embarrassing. Now I am no expert on 30s cinema, but I have seen a lot of this kind of thing originating from that decade and I kind of reckon it was the expected style of performance, still left-over from the silent days when body language was all a performer had. Knowing what Hepburn would be capable of bringing later, I think it can't be that she relied on the melodrama like a crutch - instead it's my feeling that she was too easily by Cukor's direction, since many of the other cast members act similarly.

The script is also weak, as it relies on the audience using their imagination far too much in order to fill in the gaps we assume exist in the novel. A good writer/director team will indicate passage of time more fluidly than this; we are left with a lurching sensation, like weeks or months have passed for the characters but not for us, and some might even be confused by the sudden shift of action. If it hadn't been for this clumsiness, I would have given the picture another star for scope.

The film gets the five stars I gave it for Cary Grant's performance, which is one of the best of his career, a superb, well rounded job, and of course it is good enough to deserve a recommendation for the film, even if everything else about it was not-so-good.

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