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.
Director:
George Cukor
Stars:
Spencer Tracy,
Katharine Hepburn,
Richard Whorf
A young man in love with a girl from a rich family finds his unorthodox plan to go on holiday for the early years of his life met with skepticism by everyone except for his fiancée's eccentric sister and long-suffering brother.
Michael Ramsay only has time for gathering his fortune in wheat. His wife seeks comfort elsewhere and, to avoid a scandal, her daughter Matilda assumes her mother's guilt. Ramsay nearly goes broke but gets rich again; his wife returns.
Escaping to England from a French embezzlement charge, widower Henry Scarlett is accompanied by daughter Sylvia who, to avoid detection, "disguises" herself as a boy, "Sylvester." They are ... See full summary »
Director:
George Cukor
Stars:
Katharine Hepburn,
Cary Grant,
Brian Aherne
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 <makzax@hotmail.com>
In the memorable Spencer Tracy-Katharine Hepburn massage scene, a radio plays Frank Sinatra singing Cole Porter's "Farewell, Amanda," a gift to Amanda Bonner (played by Hepburn) from her songwriter-neighbor, Kip Lurie (played by David Wayne) who, earlier in the picture, had crooned the ditty, accompanying himself on the Bonners' piano. While Adam Bonner (played by Tracy) is massaging his wife, he abruptly shuts off the radio. Sinatra is again heard when a record is accidentally started in a later scene. This prerecording of "Farewell, Amanda" is lost. See more »
Goofs
Midway through the trial, Kip uses the Bonner's piano to play an early version of a new song he's writing that is in such rough shape, it doesn't have complete lyrics. Yet shortly afterward - and long before the trial is over - the song has already been recorded, played on the radio and is reportedly a big hit. See more »
Quotes
Adam Bonner:
What are ya? Sore about a little slap?
Amanda Bonner:
No.
Adam Bonner:
Well, what then?
Amanda Bonner:
[outraged]
You meant that, didn't you? You really meant that.
Adam Bonner:
Why, no, I...
Amanda Bonner:
Yes, you did. I can tell. I know your type. I know a slap from a slug.
Adam Bonner:
Well, OK, OK.
Amanda Bonner:
I'm not so sure it is. I'm not so sure I care to expose myself to typical instinctive masculine brutality.
Adam Bonner:
Oh come now.
Amanda Bonner:
And it felt not only as though you meant it, but as though you felt you had a right to. I can tell.
[...] See more »
Crazy Credits
Opening credits are little curtains that go up and down, on a stage in a performance hall. See more »
Alternate Versions
Also available in a computer colorized version. See more »
Farewell, Amanda
(1949)
Music and Lyrics by Cole Porter
Played during the opening credits and often in the score
Sung by David Wayne (uncredited), accompanying himself on the piano
Reprised by the voice of Frank Sinatra (uncredited) on the radio
Whistled by Katharine Hepburn (uncredited)
Sung a cappella by Spencer Tracy (uncredited) See more »
Feminist attorney Katharine Hepburn has a new cause. She freely admits to doing a bit of ambulance chasing to get the case of Judy Holliday who shot her husband Tom Ewell after catching him in a love nest with floozy Jean Hagen.
Problem is that of all the cases that he could have been assigned, Spencer Tracy, Hepburn's husband and assistant District Attorney, he got assigned to prosecute Holiday. I guess Spence felt a little of what Bogey felt when Ingrid Bergman came back into his life in Casablanca.
Men down through the ages have certainly had the right to shoot the lovers of their wives when caught, why not women argues Hepburn. The case gets quite a bit of notoriety and of course it puts a strain on the marriage.
But the plot is sure the right vehicle for a lot of great lines and situations. This is Spence and Kate at their very best. Of the comedies they did, this is my favorite, just like State of the Union is my favorite among the more serious films.
Probably Adam's Rib's best known scene is when defense witness Hope Emerson picks up Spencer Tracy in a visual attempt to show feminine prowess and power. Even after seeing it several times you still will laugh yourself silly.
For Adam's Rib, George Cukor denuded Broadway of stars to play in support of Tracy and Hepburn. Making film debuts were David Wayne, Tom Ewell, Judy Holliday, and Jean Hagen.
Wayne is particularly funny and if Adam's Rib was made today, he'd certainly be more explicitly gay. He's the next door neighbor of Spence and Kate and some of the cracks Tracy aims in his direction would be considered downright homophobic. But let's face it, Wayne is an obnoxious scamp and that bit of vengeance that Tracy wreaks upon him and Hepburn in the climax involving licorice is a great cinematic moment.
Adam's Rib is Tracy and Hepburn at the very top of their game and I think folks who are not necessarily fans of their's would be amused.
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Feminist attorney Katharine Hepburn has a new cause. She freely admits to doing a bit of ambulance chasing to get the case of Judy Holliday who shot her husband Tom Ewell after catching him in a love nest with floozy Jean Hagen.
Problem is that of all the cases that he could have been assigned, Spencer Tracy, Hepburn's husband and assistant District Attorney, he got assigned to prosecute Holiday. I guess Spence felt a little of what Bogey felt when Ingrid Bergman came back into his life in Casablanca.
Men down through the ages have certainly had the right to shoot the lovers of their wives when caught, why not women argues Hepburn. The case gets quite a bit of notoriety and of course it puts a strain on the marriage.
But the plot is sure the right vehicle for a lot of great lines and situations. This is Spence and Kate at their very best. Of the comedies they did, this is my favorite, just like State of the Union is my favorite among the more serious films.
Probably Adam's Rib's best known scene is when defense witness Hope Emerson picks up Spencer Tracy in a visual attempt to show feminine prowess and power. Even after seeing it several times you still will laugh yourself silly.
For Adam's Rib, George Cukor denuded Broadway of stars to play in support of Tracy and Hepburn. Making film debuts were David Wayne, Tom Ewell, Judy Holliday, and Jean Hagen.
Wayne is particularly funny and if Adam's Rib was made today, he'd certainly be more explicitly gay. He's the next door neighbor of Spence and Kate and some of the cracks Tracy aims in his direction would be considered downright homophobic. But let's face it, Wayne is an obnoxious scamp and that bit of vengeance that Tracy wreaks upon him and Hepburn in the climax involving licorice is a great cinematic moment.
Adam's Rib is Tracy and Hepburn at the very top of their game and I think folks who are not necessarily fans of their's would be amused.