Proof They Don't Make 'Em Like They Used To....

It's hard for me to imagine Katherine Hepburn ever being described as "box office poison," but indeed she was. Before making The Philadelphia Story, Hepburn starred in three back to back flops, and it was enough for her to rethink where her career was going. She first played the role of Tracy Lord on the stage, which must have been flattering considering the author, Philip Barry, wrote the role specifically for her. Hepburn owned the movie rights, and thanks to the help of Howard Hughes, the project found its way to the big screen.

Donald Ogden Stewart, the writer who adapted The Philadelphia Story for the screen, said it was the easiest gig he ever had. Given how beautifully the dialogue flows I don't see how anyone could argue with him. It's a quintessential movie experience, if only for the inspired casting. It's said that Hepburn originally chose Clark Gable and Spencer Tracy in the lead roles. After seeing Cary Grant and James Stewart, it's impossible to imagine what it would have been like otherwise. It's the first picture I can remember where Stewart got to show a sarcastic side; I was used to seeing him as the straight man.

The chemistry Grant and Stewart display onscreen is for the books. My first thought might be that one may try to hog the screen over the other, but it turns out to be the opposite. Both actors get equal opportunities to shine, whether it's playing off each other or individually with Hepburn. One of the joys of the picture is the fact that I'd be happy seeing her end up with either of them. At first glance, we might expect Hepburn's Tracy Lord to be a snotty queen bitch; that is, until she shows an interest in Stewart's Macaulay Connor, a journalist for Spy Magazine who lacks the financial status of her other suitors.

The Philadelphia Story was released during a golden age for cinema, since there were no quick cuts, jerky cameras, or CGI. The screenplay and the dialogue were what moved things forward, and the movie's visual style could not cover up for a lack of star appeal. The dialogue here is as good as can be found, and thankfully, there's a lot of it. Characters are constantly expressing themselves, but it never feels rushed, as if the listener is eagerly waiting just so they can have their turn to talk. These people pay attention to what is being said to them, so the conversations are able to build instead of just meandering.

The set up is just enough to get the characters up and running. Tracy was married to C.K. Dexter Haven (Grant), and left him behind due to a drinking problem. Now, she's about marry the boring George Kittredge (John Howard) at her wealthy parent's estate. He is, without question, her complete opposite, but after Dexter, it's a pleasant change. Dexter gets word of the wedding and hires Spy Magazine to cover the story. This is where reporter Macaulay Connor comes in. From the moment he meets Tracy, Macaulay is mesmerized by her quick wit and beauty.

Naturally, Dexter shows up, and while at first we wonder if he'll be angry about Macaulay's interest in Tracy, it turns out to be quite different. The movie is almost farcical in the way the three leads interact, with Tracy bouncing back and forth between being smitten with the flattering Macaulay and disgusted (supposedly) with the critical Dexter. Hepburn and Grant really go all out in their scenes, particularly their first verbal fight at the pool house. Between that and the movie's opening scene, Dexter clearly looks like the lesser of the two men. Part of the brilliance of Grant's performance is that we never can tell if he's really that cruel or if it's just for show.

It's impossible for me to decide who's better in the movie, Stewart or Grant. When I try to think of them individually, I am always taken back to one of the movie's funniest scenes, where a drunk Macaulay shows up at Dexter's door to get help writing a letter to his editor. Their word play combined with Stewart's body language is nothing short of hilarious (believe it or not, Stewart's hiccups were not scripted). If the movie has any suspense, it's in wondering which one of them Tracy will choose in the end.

Anyone who claimed Hepburn was "box office poison" hopefully changed their mind after seeing The Philadelphia Story. Her performance is both sexy and fiery; you can tell she's having a blast giving the audience a taste of who she was in life. Tracy is the kind of woman who loves the world she was born into, and seems to have everything figured out (except when it comes to romance). If the role were taken on these days, the actress would be dressed provocatively; Hepburn, on the other hand, is classy without using her figure.

A movie based on dialogue alone is hard to pull off, especially when there's only one real setting. It's hard to even notice though, due to the picture's rapid pacing. Every scene is presented with enough human interest that it doesn't really matter where it's happening. It's safe to say they don't make comedies like The Philadelphia Story anymore. Director George Cukor was well matched with the material; he had already directed a handful of play to screen projects, including a previous collaboration with Philip Barry and Donald Ogden Stewart, Holiday (which also starred Cary Grant and Katherine Hepburn). It almost feels like his whole career was leading up to this movie.

I often site The Philadelphia Story as my favorite romantic comedy. There may be others that have more laugh out loud moments, but I can't think of another in the genre that is more genuine and likable on every level. I'm a firm believer that there's no such thing as a flawless movie; how could there be? The Philadelphia Story, for what it sets out to accomplish, comes awfully close. It's a constant reminder of why movies were great in the first place.


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