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 »
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.
Florence and Chet Keefer have had a troublesome marriage. Whilst in the middle of a divorce hearing the judge encourages them to remember the good times they have had hoping that the ... See full summary »
Journalist Steve O'Malley wants to write a biography of a national hero who died when his car ran off a bridge. Steve receives conflicting reports and tales that make him question what the truth about the hero is.
When a woman attempts to kill her uncaring husband, prosecutor Adam Bonner gets the case. Unfortunately for him his wife Amanda (who happens to be a lawyer too) decides to defend the woman in court. Amanda uses everything she can to win the case and Adam gets mad about it. As a result, their perfect marriage is disturbed by everyday quarrels... Written by
Chris Makrozahopoulos <firstname.lastname@example.org>
Katharine Hepburn, George Cukor and Garson Kanin managed to turn Judy Holliday's performance into a screen test for Born Yesterday (1950). In particular, one long scene in which Doris recounts how and why she shot her husband was written as a near monologue for the character. Holliday shot her close-up of the speech in one take. Then Hepburn refused to shoot more than a few brief reaction shots, thus forcing Cukor to focus the entire scene on Holliday. That scene convinced Cohn to test Holliday. After three tests (she borrowed a gown from Hepburn for one of them), he finally cast her over such glamorous stars as Rita Hayworth, Lucille Ball and the young Marilyn Monroe. Hepburn would later explain her generosity to Kanin: "It was the kind of thing you do because people have done it for you." See more »
Early in film, Amanda wildly turns steering wheel from one side to another while driving down straight New York street. See more »
'Adam's Rib' is arguably the greatest Tracy-Hepburn film, and is certainly the most popular of their teamings. Brightly written (by the husband and wife team of Ruth Gordon and Garson Kanin), it takes the premise of a wife (the sparkling Judy Holliday, in her film debut) on trial for shooting her unfaithful husband (Tom Ewell, establishing himself in the kind of role he'd reprise in The Seven-Year Itch), and turns it into a forum of the sexual values and standards of the 1940s, and a showcase for the fabulous Tracy and Hepburn, who were were never better than as the battling D.A. and defense attorney. In the courtroom and out, the love they share, and tweaking of each other's egos is a sheer joy to watch. That the story is also a knowing commentary about women's inequality under the law makes the film even more topical today, and doesn't reduce the film's enjoyment value at all. It is a VERY funny film, and can be enjoyed at MANY levels!
In addition to Holliday and Ewell, the supporting cast includes the terrific David Wayne as a smarmy songwriter-neighbor who covets Hepburn, and 'writes' the ditty 'Goodbye, Amanda' for her (actually composed by Cole Porter, Hepburn's character's name in the film was changed to Amanda, to fit the song!)
Among the many wonderful scenes of the film are the 'home movie', which accurately reflected much of Tracy and Hepburn's own relationship; the infamous massage scene ("I know a slap...!"); the circus 'Strong Woman', demonstrating that women can be as physically powerful as men by lifting the panicking Tracy over her head easily (in the middle of the courtroom!); the infamous licorice-gun confrontation as Tracy confronts Hepburn with Wayne; and Tracy's crying-on-demand revelation.
'Adam's Rib' is a film which never seems to age, but just gets better and better!
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