Kate and her actor brother live in N.Y. in the 21st Century. Her ex-boyfriend, Stuart, lives above her apartment. Stuart finds a space near the Brooklyn Bridge where there is a gap in time. He goes back to the 19th Century and takes pictures of the place. Leopold -- a man living in the 1870s -- is puzzled by Stuart's tiny camera, follows him back through the gap, and they both ended up in the present day. Leopold is clueless about his new surroundings. He gets help and insight from Charlie who thinks that Leopold is an actor who is always in character. Leopold is a highly intelligent man and tries his best to learn and even improve the modern conveniences that he encounters.Written by
Rosemea D.S. MacPherson
When Leopold wakes up in Stuart's apartment for the first time, he accidentally turns on the television, and an episode of The Prisoner (1967) is on. See more »
After Kate and Leopold sit outside, watching the old man switch off the lights at midnight, Kate complains about the day being a Sunday, turns towards him, and puts her arm around Leopold. In the next shot, she turns to his side again. See more »
Time. Time, it has been proposed, is the fourth dimension. And yet, for mortal man, time has no dimension at all. We are like horses with blinders, seeing only what lies before us. Forever guessing the future and fabricating the past.
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In 1852, Elisha Graves Otis invented the safety brake for a lifting platform. One year later in 1853, he founded the Otis Elevator Company in Yonkers, New York. The Otis Elevator Company is a wholly owned subsidiary of United Technologies Corporation. See more »
The following scenes were cut from the film just a few days before the release:
References suggesting that Kate has a genetic relationship to Stuart
a scene where Ryan appears in the background of a 19th-century party
a cameo by director James Mangold where he plays a director whose film is being changed to meet the demands of a test screening
Charming romantic comedy...with time travel weaknesses...
If you can accept the totally ridiculous premise of KATE AND LEOPOLD and enjoy romantic fantasies of this sort, you'll find yourself drawn into the plot because of the very charismatic HUGH JACKMAN. He is the main reason for watching and carries the film on his sturdy shoulders, so adept is he at being a "knight in shining armor".
As for MEG RYAN, she is giving her usual Meg Ryan schtick--a sort of slightly brighter version of Goldie Hawn--but here it doesn't matter because Jackman manages to steal every scene he's in. BRECKIN MEYER is excellent as her boorish brother who learns a few things from his 18th Century friend about manners and etiquette. But it's the time travel aspect of the story that is its weakest link.
Highly recommended as a romantic comedy that owes much of its charm to the performance of its leading man--an actor of remarkable skill whose hunky presence dominates much of the movie.
It's the sort of romantic fluff that would have starred JEAN ARTHUR and GARY COOPER had it been made in the '30s. The New York location photography is excellent.
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