A young man falls in love with a girl from a rich family. His unorthodox plan to go on holiday for the early years of his life is met with skepticism by everyone except for his fiancée's eccentric sister and long suffering brother.
Escaping to England from a French embezzlement charge, widower Henry Scarlett is accompanied by daughter Sylvia who, to avoid detection, "disguises" herself as a boy, "Sylvester." They are ... See full summary »
Free-thinking Johnny Case finds himself betrothed to a millionaire's daughter. When her family, with the exception of black-sheep Linda and drunken Ned, want Johnny to settle down to big business, he rebels, wishing instead to spend the early years of his life on "holiday." With the help of his friends Nick and Susan Potter, he makes up his mind as to which is the better course, and the better mate. Written by
Terri A. Mabry <firstname.lastname@example.org>
Wit, insight, deft characterization, family misery, and social commentary all play a part in Holiday. The acting and script are superb -- all the characters are sympathetically drawn and interact in the foreground, while wealth and its "privileges" form the background.
Is love a social obligation? Or does it spring from sheer affinity? Should the acquisition of wealth be the summum bonum of experience -- or happen accidently, as the result of hard and honest work? These are the questions that will tease you, as you enjoy the gleaming intelligence of Katherine Hepburn and the polished insouciance of Cary Grant. Both are in top form!!!
What stands out in my recollection of this film is the theme of play. The stars are playful; they get acquainted among the toys in a playroom. The plot revolves around a holiday -- a chance for adults to play. There are plays on words. The Play is the Thing. Holiday is ultimately about the importance of play, in all its connotations: flexibility, acting out, silly behavior, continuous learning, freedom to be.
It is okay for adults to play sometimes, or do adults need "permission" to play?
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