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Pat's a brilliant athlete, except when her domineering fiance is around. The lady's golf championship is in her reach until she gets flustered by his presence at the final holes. He wants ... See full summary »
Quincy Adams Wagstaff, the new president of Huxley U, hires bumblers Baravelli and Pinky to help his school win the big football game against rival Darwin U.
Director:
Norman Z. McLeod
Stars:
The Marx Brothers,
Groucho Marx,
Harpo Marx
Hillary Kramer, successful Perfume magnate awakes one morning to find that her accountant has robbed her blind and left for South America. Going through all of her remaining assets she ... See full summary »
When a sports agent has a moral epiphany and is fired for expressing it, he decides to put his new philosophy to the test as an independent with the only athlete who stays with him.
Director:
Cameron Crowe
Stars:
Tom Cruise,
Cuba Gooding Jr.,
Renée Zellweger
The Wolves baseball team gets steamed when they find they've been inherited by one K.C. Higgins, a suspected "fathead" who intends to take an active interest in running the team. But K.C. ... See full summary »
While trying to secure a $1 million donation for his museum, a befuddled paleontologist is pursued by a flighty and often irritating heiress and her pet leopard "Baby."
Director:
Howard Hawks
Stars:
Katharine Hepburn,
Cary Grant,
Charles Ruggles
A Los Angeles Rams quarterback, accidentally taken away from his body by an over-anxious angel before he was supposed to die, comes back to life in the body of a recently-murdered millionaire.
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.
Tess and Sam work on the same newspaper and don't like each other very much. At least the first time, because they eventually fall in love and get married. But, Tess is a very active woman and one of the most famous feminists in the country; she is even elected as "the woman of the year". Being busy all the time, she forgets how to really be a woman and Sam begins to feel negleted. Written by
Chris Makrozahopoulos <makzax@hotmail.com>
"The Screen Guild Theater" broadcast a 30 minute radio adaptation of the movie on April 19, 1943 with Katharine Hepburn and Spencer Tracy reprising their film roles. See more »
Goofs
In the first scene in the bar, in which all are listening to the NBC Radio program "Information, Please", the dial of the AM radio on the shelf behind the bar changes location between long shots and close-ups. It is correct in close-up, at 660kHz, one of the broadcast frequencies NBC used in New York City in the 1940s, and at 880kHz in long shots, the frequency of the New York City CBS affiliate. See more »
There are a few George Stevens films that I've connected with (Swing Time, of course, but that's not Stevens that makes it work, and Penny Serenade with Cary Grant, and Giant with Rock Hudson and Elizabeth Taylor much later). But most of his films have some awkward or artless feeling to them that put me off, like Shane, a western of some fame that I can't even make it through, and I'll watch almost anything.
And so there is this one, somewhere in the middle. It's oddly called Woman of the Year (for an award she wins that doesn't completely matter to the plot). It stars two of the most lovable and funny people out there, Katherine Hepburn and Spencer Tracy in their first film. (They made nine together.) Maybe Stevens was too busy making anti-Nazi films to notice that he had some goods here that other directors would die for, but the plot drags, the filming is surprisingly lifeless (even though Stevens started out as a cinematographer). Most of all, the two actors are rarely given room to make their chemistry ignite. And I'm a fan of the two of them, so there was fence to cross on that score.
I know, I know, the movie even won academy awards for the writing. So take this all as just one person's take. And see for yourself. It is in fact well written, and the idea is fresh enough to start. It just should have more velocity than it does.
The plot circles around an unlikely romance (very screwball comedy stuff) that gets consummated (a screwball comedy no-no, until the last scene), and then has some funny but now familiar gags in the home (the kitchen scene in particular). This is actually odd for 1942, when men are mostly likely not competing for kitchen space with their new wives, but are instead going to war. (It's like there's a Depression backdrop here that someone forgot to notice was no longer appropriate. In 1937, moviegoers might dream of having just such a kitchen and such a life, and when things go wrong it's truly funny, but I'm not so sure in 1942.)
Take two very opposite news writers and have them clashing and then falling in love (the woman a worldly political writer who speaks a dozen languages, the man a likable but uncomplicated sports writer). Have their careers get in the way of their love affair. Have a Euro-based intellectual set and the salty stadium and bar crowd mingle (including one of my favorites, William Bendix). You get the idea. If there are not always sparks, there is a little smoke.
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Woman of the Year (1942)
There are a few George Stevens films that I've connected with (Swing Time, of course, but that's not Stevens that makes it work, and Penny Serenade with Cary Grant, and Giant with Rock Hudson and Elizabeth Taylor much later). But most of his films have some awkward or artless feeling to them that put me off, like Shane, a western of some fame that I can't even make it through, and I'll watch almost anything.
And so there is this one, somewhere in the middle. It's oddly called Woman of the Year (for an award she wins that doesn't completely matter to the plot). It stars two of the most lovable and funny people out there, Katherine Hepburn and Spencer Tracy in their first film. (They made nine together.) Maybe Stevens was too busy making anti-Nazi films to notice that he had some goods here that other directors would die for, but the plot drags, the filming is surprisingly lifeless (even though Stevens started out as a cinematographer). Most of all, the two actors are rarely given room to make their chemistry ignite. And I'm a fan of the two of them, so there was fence to cross on that score.
I know, I know, the movie even won academy awards for the writing. So take this all as just one person's take. And see for yourself. It is in fact well written, and the idea is fresh enough to start. It just should have more velocity than it does.
The plot circles around an unlikely romance (very screwball comedy stuff) that gets consummated (a screwball comedy no-no, until the last scene), and then has some funny but now familiar gags in the home (the kitchen scene in particular). This is actually odd for 1942, when men are mostly likely not competing for kitchen space with their new wives, but are instead going to war. (It's like there's a Depression backdrop here that someone forgot to notice was no longer appropriate. In 1937, moviegoers might dream of having just such a kitchen and such a life, and when things go wrong it's truly funny, but I'm not so sure in 1942.)
Take two very opposite news writers and have them clashing and then falling in love (the woman a worldly political writer who speaks a dozen languages, the man a likable but uncomplicated sports writer). Have their careers get in the way of their love affair. Have a Euro-based intellectual set and the salty stadium and bar crowd mingle (including one of my favorites, William Bendix). You get the idea. If there are not always sparks, there is a little smoke.