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.
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.
Florence and Chet Keefer have had a troublesome marriage. Whilst in the middle of a divorce hearing the judge encourages them to remember the good times they have had hoping that the ... See full summary »
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.
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 <email@example.com>
Licorice pistols were a popular confection at the time the film was made, though they were never as big as the one Adam Bonner eats. See more »
When Adam slams the door as he exits their apartment after an argument, he slams the door and the wall shakes. As Amanda slams the door after him in anger, the door frame can be seen to be coming apart, revealing that it is a set, not a real apartment. See more »
For a while it seems that "Adam's Rib" will be hard to take. More precisely: Katharine Hepburn's Amanda is hard to take. Her feminism - when put to the test - amounts to little more than anthem singing; and however sympathetic her client may be, we can see at once that the case for the defence is almost entirely frivolous. Yet George Cukor is standing in the gallery, apparently cheering her on. It's infuriating. It's like watching an Edwardian comedy about suffragettes.
Well, no. The film is a good deal smarter than we had given it credit for being ... oh, very well, smarter than *I* had given it credit for being. Gordon, Kanin and Cukor understand our infuriation; the supposedly shrill dispute in the first half is merely a starting point. Maybe audiences these days AREN'T too sophisticated for this kind of film. Maybe we're too stupid. (Oh, very well, maybe I'M too stupid.) -In any event, this is really a story about Adam and Amanda. Their story becomes deeper as the trial becomes shallower.
Even while it's infuriating us (our infuriation will be used to good effect later, of course) "Adam's Rib" is never less than pleasant to watch. One reason is that Hepburn and Tracy are just so brilliant. The script serves them both well: neither player is denied good lines, and any impression that Hepburn is meant to be just some hothead, or that Tracy is meant to be just some schmuck, is transitory. This is a wonderful script! My only previous exposure to Hepburn and Tracy had been in "Guess Who's Coming to Dinner", where their partnership was the only thing holding the film together; I wasn't at all prepared for the sheer energy they generate when they set to work on stronger material. Moreover they seem perfectly natural as a married couple.
The music is good, too. There's a catchy original song (not a gratuitous addition ... although it wouldn't matter if it was) by Cole Porter; the rest of the score was written by Miklós Rózsa, in one of his rare lighter moments.
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