This western begins with St. Louis resident Lutie Cameron (Katharine Hepburn) marrying New Mexico cattleman Col. James B. 'Jim' Brewton (Spencer Tracy) after a short courtship. When she ... 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.
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.
In this sequel to Father of the Bride (1950), newly married Kay Dunstan announces that she and her husband are going to have a baby, leaving her father having to come to grips with the fact that he will soon be a granddad.
The mysterious man hanging about at the research department of a big TV network proves to be engineer Richard Sumner, who's been ordered to keep his real purpose secret: computerizing the office. Department head Bunny Watson, who knows everything, needs no computer to unmask Richard. The resulting battle of wits and witty dialogue pits Bunny's fear of losing her job against her dawning attraction to Richard. Written by
Rod Crawford <email@example.com>
William Marchant based Bunny Watson's character on librarian Agnes E. Law, who had built up the CBS network's research library. See more »
During the X-mas party scene in the reference room, Spencer Tracy and Kathryn Hepburn are sitting upstairs between the shelves of books. She is holding a paper cup of champagne in her right hand. Her right thumb is above the half way point on the cup, then suddenly, the same thumb is much closer to the bottom of the cup. See more »
[Talking about Richard Sumner as he tape measures the office]
Do you think we're being redecorated?
Does he look like an interior decorator to you?
No. He looks like one of those men who suddenly switched to vodka!
See more »
Opening credits: "The filmmakers gratefully acknowledge the cooperation and assistance of the International Business Machines Corporation." See more »
It's an issue of taste, here...I found it slow and stiff and quaint
Desk Set (1957)
Because of their famous off-screen romance, Tracy and Hepburn make a famous and complex on-screen couple. And they did it often--this is the 8th of 9 films they shared. Here we are fresh into the color, widescreen era, not Technicolor in this case but a very nice, somewhat less sparkling looking competitor. There is a bright flat lighting to the sets that make it feel emotionally flat, not that this is a melodrama. It's a comedy, and it depends on timing and personality more than jokes or sight gags.
And it never quite clicks. There are "moments" that are funny, though I didn't laugh out loud until halfway through, in her well appointed apartment. And there are lots of stiff and even paltry stretches between the moments. If you love either actor, or both together, you'll love to watch them to see another piece to the presence they had over the years. But director Walter Lang (who is not known for a single "great" movie at all, unfortunately), pulls together a competent job. I'm not sure competent is enough in a dated period piece like this.
But for people interested in the period, though, and in the rise of the American business world internationally, and in the rise in IBM in particular (called by its full name still, International Business Machines), you'll be curious. I was. I don't think this is what you'd call an accurate depiction of a typical corporate business, but the architecture and the spaces and color schemes seem right. There is a reference to an early computer that many of you might miss, the EMERAC, which is an invention of the movie, but which is a blur of other early anagram computers ENIAC (1946) and UNIVAC (1951). IBM's own first computer was operating in 1953. The size of the computer toward the end of this plodding movie is actually pretty accurate, though the lights are fictional, sadly.
The two principle actors are a hair out of touch already with these times, miscast in the simplest terms, though that might be because they got fixed in the world's eye by their earlier movies, in black and white, which are much funnier. And warmer. Tracy in particular is a warm actor, easy going to an extreme, and Hepburn a charming one (to an extreme), and it is when they get to show their true selves that the movie works best.
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