IMDb > Guess Who's Coming to Dinner (1967)
Guess Who's Coming to Dinner
Top Links
trailers and videosfull cast and crewtriviaofficial sitesmemorable quotes
main detailscombined detailsfull cast and crewcompany credits
Awards & Reviews
user reviewsexternal reviewsawardsuser ratingsparents guidemessage board
Plot & Quotes
plot summarysynopsisplot keywordsmemorable quotes
Did You Know?
triviagoofssoundtrack listingcrazy creditsalternate versionsmovie connectionsFAQ
Other Info
box office/businessrelease datesfilming locationstechnical specsliterature listingsNewsDesk
taglines trailers and videos posters photo gallery
External Links
showtimesofficial sitesmiscellaneousphotographssound clipsvideo clips

Guess Who's Coming to Dinner (1967) More at IMDbPro »

Photos (See all 20 | slideshow) Videos (see all 2)
Guess Who's Coming to Dinner -- Katharine Hepburn and Spencer Tracy star as parents perplexed about their daughter's engagement to a black doctor.
Guess Who's Coming to Dinner -- Trailer for this classic starring Sidney Poitier


User Rating:
7.8/10   28,259 votes »
Your Rating:
Saving vote...
Deleting vote...
/10   (delete | history)
Sorry, there was a problem
Popularity: ?
Down 1% in popularity this week. See why on IMDbPro.
William Rose (written by)
View company contact information for Guess Who's Coming to Dinner on IMDbPro.
Release Date:
12 December 1967 (USA) See more »
a love story of today
A couple's attitudes are challenged when their daughter introduces them to her African-American fiancé. Full summary » | Full synopsis »
Won 2 Oscars. Another 9 wins & 20 nominations See more »
User Reviews:
Explores interracial marriage and hidden prejudice, but a ridiculous scenario See more (328 total) »


  (in credits order) (verified as complete)

Spencer Tracy ... Matt Drayton

Sidney Poitier ... John Prentice

Katharine Hepburn ... Christina Drayton

Katharine Houghton ... Joey Drayton

Cecil Kellaway ... Monsignor Ryan

Beah Richards ... Mrs. Prentice
Roy Glenn ... Mr. Prentice (as Roy E. Glenn Sr.)

Isabel Sanford ... Tillie (as Isabell Sanford)
Virginia Christine ... Hilary St. George
Alexandra Hay ... Carhop
Barbara Randolph ... Dorothy
D'Urville Martin ... Frankie
Tom Heaton ... Peter
Grace Gaynor ... Judith
Skip Martin ... Delivery Boy
John Hudkins ... Cab Driver
rest of cast listed alphabetically:
Natalie Core ... Small Role (uncredited)
Jacqueline Fontaine ... Singer (uncredited)
Timothy Scott ... Small Role (uncredited)
Yuki Tani ... Japanese Waitress (uncredited)
June Whitley Taylor ... Edie (voice) (uncredited)

Directed by
Stanley Kramer 
Writing credits
William Rose (written by)

Produced by
Georges Glass .... associate producer
Stanley Kramer .... producer
Original Music by
Frank De Vol  (as De Vol)
Cinematography by
Sam Leavitt (director of photography)
Film Editing by
Robert C. Jones 
Production Design by
Robert Clatworthy 
Set Decoration by
Frank Tuttle 
Makeup Department
Joe DiBella .... makeup artist (as Joseph Di Bella)
Helen Hunt .... hair stylist
Ben Lane .... makeup artist
Production Management
Ivan Volkman .... production supervisor
Second Unit Director or Assistant Director
Ray Gosnell Jr. .... assistant director (as Ray Gosnell)
Leonard Kunody .... assistant director (uncredited)
Art Department
Clarence Peet .... property master
Jim Bochman .... set designer (uncredited)
Will Ferrell .... scenic artist (uncredited)
Gabe Resh .... set designer (uncredited)
Sound Department
Robert Martin .... sound
Clem Portman .... re-recording
Charles J. Rice .... sound
James F. Rogers .... boom operator (uncredited)
Special Effects by
Geza Gaspar .... special effects
Visual Effects by
Lawrence W. Butler .... process photography (as Larry Butler)
Camera and Electrical Department
Les Everson .... chief electrician
William Gossman .... camera operator
Martin Kashuk .... company grip (as Marty Kashuk)
Doug J. Campbell .... company grip (uncredited)
Ron Cooney .... grip (uncredited)
Darryl Kenzel .... assistant camera (uncredited)
John Monte .... still photographer (uncredited)
Costume and Wardrobe Department
Joe King .... costumes
Jean Louis .... wardrobe supervisor
Edna Taylor .... wardrobe: women (uncredited)
Editorial Department
Tony Friedman .... assistant editor (uncredited)
Music Department
Mike Deasy .... musician (uncredited)
Carol Kaye .... musician: bass (uncredited)
Albert Woodbury .... orchestrator (uncredited)
Other crew
Marshall Schlom .... script supervisor
Wayne Fitzgerald .... title designer (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
108 min
Color (Technicolor) (as Technicolor®)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:Atp | Australia:PG | Finland:S | Iceland:L | Netherlands:14 (orginal rating) | Portugal:M/12 (Qualidade) (re-rating) | Portugal:M/12 (R-10) | Singapore:PG | South Africa:(Banned) | South Korea:12 | Sweden:Btl | UK:U (original rating) | UK:PG (video rating) (1988) (2002) | USA:Unrated | USA:TV-PG (TV rating) | USA:Approved (original release) | West Germany:6

Did You Know?

Due to Spencer Tracy's health, the cast was always working from two shooting scripts, one with Tracy, one without. Typically, Katharine Hepburn brought Tracy in the morning, they worked until she decided he was too tired, then Tracy and Hepburn left. Sidney Poitier, who already had received a Best Actor Oscar for Lilies of the Field (1963), was intimidated by working with two legends, and preferred to perform to empty high backed chairs.See more »
Continuity: The aircraft shown in the opening sequence is a United Airlines DC-8 and is supposed to be the same flight. However, the aircraft shown flying over San Francisco has registration number N8022U and the aircraft shown landing has registration number N8035U.See more »
[first lines]
John:You know, I just had a thought. Why don't I go check into a hotel and get some rest, and you go find your folks?
See more »
Movie Connections:
Glory of LoveSee more »

19 out of 33 people found the following review useful.
Explores interracial marriage and hidden prejudice, but a ridiculous scenario, 24 March 2006
Author: roghache from Canada

This landmark classic of the 1960's Civil Rights era brought to light the controversial issue of interracial marriage. Its ongoing relevance lies in viewers examining their own hidden prejudices and considering their personal response to an offspring bringing home a fiancé of a different race. While I applaud the theme, it's not at all effectively presented in this absurd situation.

The story revolves around a liberal, upper middle class white couple, Matt Drayton (a newspaper publisher) and Christina Drayton (who owns an art gallery). Their assumed anti racist attitudes are put to the test when their daughter, Joanna, brings home a widowed black doctor, John Prentice, and introduces him as her fiancé. She has met him during a 10 day trip to Hawaii, and they must jet off that very night to Geneva, as he has a post with the World Health Organization in Switzerland. Joanna seeks the blessing of both sets of parents, so John's working class parents from Los Angeles are also invited to dinner. They are no more pleased than the Draytons that their son has chosen a white fiancée, the prejudices operating both ways here. Thus, the memorable dinner party is set up...

The Drayton parents are played by those beloved stars, Spencer Tracey and Katharine Hepburn. Personally, I feel the movie is totally over rated due to a sense of nostalgia for this pair. The film addresses the whole issue of hidden prejudices in those who pride themselves as anti racist. The Drayton couple, who have an African-American maid, are nevertheless very open minded for their day. Christina has even fired an employee because of her prejudiced views. Hepburn is cast in her typical independent, feminist, feisty role as the proudly liberal Mrs. Drayton, whom I personally found irritating with her superior airs.

Personally, I much preferred the ordinary working class Prentice parents to the affluent, fashionably liberal, and agnostic Draytons. I think 1960's audiences would have related better to a more typical white suburban couple from middle America than to this rather atypical pair. How many mothers of that era operated an avant guard art gallery? It might actually have imparted greater depth to the story if these parents had been trying to reconcile their formerly buried, but now surfacing prejudices with the tenants of their faith. A Catholic priest (family friend) does give his opinions on the nuptials, but he's a goofy rather than wise or inspiring character. By the way, is there some implication here that the agnostics of that era were a more enlightened lot than all the religious, church attending Christians?

As for myself, the movie is most notable for the on screen presence of the handsome Sidney Poitier. This is probably his most memorable role as the polite, respectable, well educated fiancé doctor, who has risen above his blue collar roots. The annoying daughter, played by Katharine Houghton, doesn't seem to have much of a role. Even though it's all mainly about the parents, her character could surely have had a little more depth. Skin color notwithstanding, I could hardly picture the perky, clueless, dewy eyed Joanna and her serious, intelligent, older (late 30's), and infinitely more mature fiancé having much in common, now that they've left their tropical Hawaiian paradise and are back in the real world.

My major problem with the film is the hokey, unrealistic drama of it all. The couple must leave for Geneva that very night for their imminent marriage. No time to get accustomed to the fiancé or make plans, all very dramatic. But especially, the whirlwind...and I do mean, whirlwind... ten day courtship. These 'intellectual' parents aren't exhibiting much intelligence in their priorities here. I cannot imagine any parents, now or even back then, more upset with the color of the fiancé's skin (supposing it was purple) than with the fact that their daughter had known him for such an incredibly short period of time...distinguished, Yale educated doctor or not. Balmy tropical nights, swaying palm trees, and tall cool drinks rather than getting acquainted with each other in daily routine life. It's unbelievable, absurd, and outrageous, removing all credibility from the film.

This movie proved dull and disappointing, the scenario totally ridiculous. However, its theme is certainly thought provoking, causing a personal examination of conscience in the viewer. Even though interracial marriage is common and quite acceptable in many (not all) circles today, this is a definitive, though woefully flawed, piece of cinema that put the title phrase in everyone's vocabulary.

Was the above review useful to you?
See more (328 total) »

Message Boards

Discuss this movie with other users on IMDb message board for Guess Who's Coming to Dinner (1967)
Recent Posts (updated daily)User
10 Days? sanders_mike25
Has how the movie is perceived changed over the years? jennygerms21-226-534587
Ice cream metaphor for the entire plot Peterlh
Who hires that delivery boy? soffee83
Could Not Be Made Today schwapj
What is your favorite Hepburn movie ever? mellison-2
See more »


If you enjoyed this title, our database also recommends:
- - - - -
Giant Ae Fond Kiss... Love Actually The Human Stain The Notebook
IMDb User Rating:
IMDb User Rating:
IMDb User Rating:
IMDb User Rating:
IMDb User Rating:
Show more recommendations

Related Links

Full cast and crew Company credits External reviews
News articles IMDb Comedy section IMDb USA section

You may report errors and omissions on this page to the IMDb database managers. They will be examined and if approved will be included in a future update. Clicking the 'Edit page' button will take you through a step-by-step process.