Comedy (not satire) makes its way back into my journey through the AFI Top 100 (10th Anniversary Edition).
This is a funny, funny film.
Film 61
61. "The Philadelphia Story" (AFI Rank #44)
If you've been following along on this journey, you know that the last 7 films I've written about have been decidedly ambiguous or downright downers at the end. The good guys don't win, or the good guys do win, but bad things happen anyway, or people die who shouldn't die, or good guys win and realize that being good was no matter to those around them. It's been a decidedly cynical batch of films, one that is...well...it's rough to be going through that stretch of stories as the holidays approach.
This film, however, changes that pattern abruptly. Written for the stage, then adapted for film, "The Philadelphia Story" was a Broadway hit featuring Katharine Hepburn in the role of Tracy Lord, the role she reprised for the film. It was directed for film by George Cukor, whose connection to the AFI Top 100 includes being replaced by Victor Fleming in both "The Wizard of Oz" and "Gone With the Wind."
The story is a relatively simple one, a debutante named Tracy Lord is about to be married for the second time to a man who is "new money," George Kitteridge (John Howard). Her previous husband, C.K. Dexter Haven, (Cary Grant) has decided to insert himself into the ceremony by working with "Spy" magazine to place a photographer and a writer, Elizabeth Imbrie (Ruth Hussey) and Macauley Connor (James Stewart) in the home to report the wedding to the magazine. Along the way, we meet the wacky members of her family, including her quite besotten Uncle Willie (Roland Young), her fiercely strong mother (Mary Nash), and her openly philandering father, Seth Lord (John Halliday). We also meet her delightful little sister, Dinah (Virginia Weidler). More on Dinah to come.
The story is a relatively simple one, a debutante named Tracy Lord is about to be married for the second time to a man who is "new money," George Kitteridge (John Howard). Her previous husband, C.K. Dexter Haven, (Cary Grant) has decided to insert himself into the ceremony by working with "Spy" magazine to place a photographer and a writer, Elizabeth Imbrie (Ruth Hussey) and Macauley Connor (James Stewart) in the home to report the wedding to the magazine. Along the way, we meet the wacky members of her family, including her quite besotten Uncle Willie (Roland Young), her fiercely strong mother (Mary Nash), and her openly philandering father, Seth Lord (John Halliday). We also meet her delightful little sister, Dinah (Virginia Weidler). More on Dinah to come.
Featuring 3 of America's biggest screen icons, Cary Grant, Jimmy Stewart, and the aforementioned Hepburn, this film bristles with movie star brilliance. Were that all it possessed, it would likely diminish into the aether as a light-hearted comedy that didn't quite work. What is abundant here, in droves, is really, really intelligent comedic writing. Perhaps due to the long tryout on Broadway, perhaps due to the idea that a play is fundamentally different than a film, and as such, when translated, often feels more intelligent, whatever. What is presented here is tremendous writing. Phillip Barry created a whale of a story here (with screenwriting assists from Donald Ogden Stewart and Waldo Salt), and it's hard not to be sucked in completely by it. Tingling quotes like this fall out of this film like an overstuffed grocery sack:
C.K. Dexter Haven: Sometimes, for your own sake, Red, I think you should have stuck to me longer.
Tracy Lord: I thought it was for life, but the nice judge gave me a full pardon.
This is an intelligent script, a script which requires you to pay attention, but the payoff is tremendous. We learn enough about the people involved to make our judgments, and enough about them to like them/dislike them. And, most importantly, we learn enough about them to laugh at them. The comedy comes from the familiarity, not from the absurd (a few times it gets a little absurdist). That's my kind of script.
Acting. Grant is fine, if a little stiff, but his comedic timing is spot on. Hepburn is her young and feisty self, so...great acting...or great role? Ensemble members are all strong, especially Nash as Tracy's mother, and Hussey as Liz. Both are delightfully strong characters, and their portrayal is down to earth, while dealing with some pretty heavy stuff. They are wonderful. The real acting in this film comes from two sources: Jimmy Stewart and Virginia Weidler. Stewart is wonderful as...well...Jimmy Stewart, but what really stands out is his drunk scene. It's amazing work, with a tied tongue, a slur to his speech, an enthusiasm for his ideas...it's a great drunk. I'd categorize as my favorite drunk I've ever seen on film. That scene alone justifies his Best Actor Oscar. It really does. However, all of Mr. Stewart's efforts (and everyone else's, for that matter) are completely thwarted whenever young Virginia Weidler appears on screen. To call her a scene-stealer is short changing the term. She holds the scene hostage. We are drawn to her immediately whenever she appears on screen, and she never lets us go. It's a wonderfully natural, wonderfully intelligent portrayal, and one that must be noted whenever talking about the film. At least I feel it must be noted.
Ultimately, the film delivers a satisfying Hollywood ending, which, in spite of its convenience, actually makes sense. We believe the events of the final few moments, because we know these people, and it's great.
Occasionally it's OK to feel good at the end of a great film, right?
That' what this is. It's a great film. Watch it, if you haven't. If you have, watch it again. It's SO worth your time.
No Ebert review again. Odd. I can't even find any interviews where he mentions it.
Hmmph.
Next up, my all time favorite film.
C.K. Dexter Haven: Sometimes, for your own sake, Red, I think you should have stuck to me longer.
Tracy Lord: I thought it was for life, but the nice judge gave me a full pardon.
This is an intelligent script, a script which requires you to pay attention, but the payoff is tremendous. We learn enough about the people involved to make our judgments, and enough about them to like them/dislike them. And, most importantly, we learn enough about them to laugh at them. The comedy comes from the familiarity, not from the absurd (a few times it gets a little absurdist). That's my kind of script.
Acting. Grant is fine, if a little stiff, but his comedic timing is spot on. Hepburn is her young and feisty self, so...great acting...or great role? Ensemble members are all strong, especially Nash as Tracy's mother, and Hussey as Liz. Both are delightfully strong characters, and their portrayal is down to earth, while dealing with some pretty heavy stuff. They are wonderful. The real acting in this film comes from two sources: Jimmy Stewart and Virginia Weidler. Stewart is wonderful as...well...Jimmy Stewart, but what really stands out is his drunk scene. It's amazing work, with a tied tongue, a slur to his speech, an enthusiasm for his ideas...it's a great drunk. I'd categorize as my favorite drunk I've ever seen on film. That scene alone justifies his Best Actor Oscar. It really does. However, all of Mr. Stewart's efforts (and everyone else's, for that matter) are completely thwarted whenever young Virginia Weidler appears on screen. To call her a scene-stealer is short changing the term. She holds the scene hostage. We are drawn to her immediately whenever she appears on screen, and she never lets us go. It's a wonderfully natural, wonderfully intelligent portrayal, and one that must be noted whenever talking about the film. At least I feel it must be noted.
Ultimately, the film delivers a satisfying Hollywood ending, which, in spite of its convenience, actually makes sense. We believe the events of the final few moments, because we know these people, and it's great.
Occasionally it's OK to feel good at the end of a great film, right?
That' what this is. It's a great film. Watch it, if you haven't. If you have, watch it again. It's SO worth your time.
No Ebert review again. Odd. I can't even find any interviews where he mentions it.
Hmmph.
Next up, my all time favorite film.
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