Desk Set (1957)

Director:

Walter Lang

Writers:

Phoebe Ephron (screenplay) and
Henry Ephron (screenplay) ...

Release Date:

1 May 1957 (USA)

Genre:

Comedy | Romance

Tagline:

Make the office a wonderful place to love in!

Plot:

Two extremely strong personalities clash over the computerization of a TV network's research department.

Plot Keywords:

Research | Office | Computer | Christmas | Bathrobe

Cast

Spencer Tracy	...	Richard Sumner
Katharine Hepburn	...	Bunny Watson
Gig Young	...	Mike Cutler
Joan Blondell	...	Peg Costello
Dina Merrill	...	Sylvia Blair
Sue Randall	...	Ruthie Saylor
Neva Patterson	...	Miss Warriner
Harry Ellerbe	...	Smithers
Nicholas Joy	...	Mr. Azae
Diane Jergens	...	Alice
Merry Anders	...	Cathy
Ida Moore	...	Old Lady
Rachel Stephens	...	Receptionist

Also Known As:

His Other Woman (UK)

Runtime:

103 min | Germany:98 min | Argentina:102 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

4-Track Stereo | Mono (Westrex Recording System)

Certification:

USA:Approved (certificate #18461) | Canada:G (video rating) | Finland:S | Argentina:Atp | UK:U

Filming Locations:

20th Century Fox Studios - 10201 Pico Blvd., Century City, Los Angeles, California, USA

Company:

Twentieth Century-Fox Film Corporation

Trivia:

This is the first film that Spencer Tracy and Katharine Hepburn did in color and the eighth of the nine films they starred in together. Their next, Guess Who's Coming to Dinner (1967), came ten years later.

Goofs:

Errors made by characters (possibly deliberate errors by the filmmakers): When EMERAC begins to print out "Curfew Must not Ring Tonight," Bunny Watson says, "That old poem has about 80 stanzas." In fact, it has 10 stanzas, of 6 lines each.

Quotes:

Richard Sumner: You were late this morning.
Bunny Watson: I know. But it's alright - I brought a note from my mother.

Movie Connections:

References "Lassie" (1954)

Soundtrack:

Hark! The Herald Angels Sing

Very enjoyable comedy

Well, I suppose it lacks the deeper moral carried by "Adam's Rib," although it does deal with issues that have so far turned out to be less important than gender equality, such as the impact of automation on the work force. But none of that is very important anyway. It's a light romantic comedy set in the research department of a major broadcasting company. And Hepburn's name is Bunny, but again, so what? Would it be a better movie if she were called Mildred?

It has the closed-in act structure of a play too, and it's obvious. There are other theatrical staples as well. How many plays include a drunken party at the end of the second act? (Exactly two hundred and forty-two.) Movies are similarly put together, especially those based on plays: "Long Day's Journey Into Night," "The Boys in the Band," "Who's Afraid of Virginia Woolf?" Often the alcohol consumption takes place at a Christmas party, as it does here, and in "The Apartment." Understanding that the characters' higher reasoning centers are partly paralyzed and their judgment impaired gives the writer a chance to have them behave outrageously without having to explain why they've lost their senses, and the audience understands this convention. Drunken conviviality doesn't always work on screen. It can leave the viewer feeling like the only sober person at the bash, which is why John Ford largely left the events up to the viewer's imagination. It doesn't work too well here, either. It's not the actors' fault. They convey that chemically induced jollity very well; it's that the lines are sometimes silly -- that "Mexican Avenue bus" business, for instance. You'd have to have been there to find it as amusing as Hepburn and Joan Blondell do.

None of this undermines the amusement quotient of the film. It's relaxed, pleasant, and sometimes laugh-out-loud funny. The story is well laid out, dated though it may seem to some, the interpersonal relationships clearly delineated and squeezed of every chuckle.

But it's the performers that get the job done here. Blondell's role seems to have been made for her, the down-to-earth blonde. Gig Young too is smooth in his usual careless charming playboy part, a touchstone for his career, as in "That Touch of Mink" and "Ask Any Girl." There are certain lines that no one can deliver better than he. Hepburn has been trying to get him to marry her for a long time and when he finally suggests they tie the knot, there is an argument, and he storms out the office door, but not before delivering his exit line: "Seven YEARS I've waited!" The other "girls" are intelligent and sexy. I have to mention Neva Patterson too, as Emerac's nurse. When the obscene machine begins to pant and puff out smoke, the other staff rush to help, but a hysterical Patterson screams at them, "Don't you TOUCH her!"

Tracey and Hepburn, no longer kids, are superb. They're top notch all the way through, and they have a couple of set pieces that are about as funny as anything they've done on screen. One is a sort of quiz Tracey gives her on the roof. Another, the best in the film, takes place while Tracey visits her apartment to dry his clothes and is caught in a bathrobe by Gig Young, who happens to drop in at the incriminating moment. I defy anyone not to laugh as Tracey clumps out the door with his shoes smoking and his hat pulled down around his ears. The third, having to do with EMERAC's nervous breakdown, is also well done if a bit frantic.

Not a comic masterpiece. It's too relaxed for that. But recommended without qualification.