pyrocitor Recently, when my mother was having a tough time, she creaked open her cupboard, and pulled out a well-loved DVD. "Let's watch The Philadelphia Story. It'll be nice to disappear into the delightful struggles of the rich and beautiful for a while." And, though it's an indisputably lovely watch for audiences old and new alike, whether watching for the first or thirty-first time, it's more than rote comforting, Classical Hollywood escapism that makes The Philadelphia Story truly special. It's seldom that we find a film with such modestly entertaining aspirations assembled with such consummate care, as director George Cukor's feather-light direction and perfect pacing allow the film to bubble like champagne, but sink in like a sumptuous feast - indisputably one of the most impeccably loveable and utterly unmissable films of its era. Naturally, it helps to boast one of the most airtight, razor-sharp romantic comedy scripts of all time. Writer Philip Barry (adapting Donald Ogden Stewart's stage show) has as much fun peppering the film with the deliciously salty repartee as he does having his characters playfully massage every syllable out of the most riotously intricate names - from the mouth of Jimmy Stewart, the seven syllables of 'C.K. Dexter Haven' somehow emerge as a contemptuous political haiku. Cukor and his players have a ball poking fun at the ludicrous posturing of old money snobs, but the film's class divide is treated far more tongue-in-cheek and with tender sympathy than the savage, cartoonish satire of the average circa 1940 screwball. The film's plot might suggest the gossamer silliness of a Society Magazine take on Much Ado About Nothing, but underneath the Russian Doll subplots of mischievous double-bluffs of masquerade and library and poolside meet-cutes (all delectably zany in their own right) lies a surprisingly rich, compelling, and fundamentally human story, bursting with emotion and heart. Underneath the marquee of comedy of manners zingers lurks an underbelly of genuine family drama, as affecting as it is entertaining, postulating that a yearning for genuine connection - to be really known, beyond social status, trappings, presumptions, projections, and posturing - is, perhaps, the most universal of desires, and the message hits home with the effervescent pop of a bottle of champagne downed a little too fast. But, let's be honest: we're here for the legendary triple-act of Classical Hollywood heavyweights Hepburn, Stewart, and Grant. They do not disappoint, playing off each other with dazzling ease, and showcasing some of the most effortless banter and deep-set chemistry in cinema history. Hepburn has never been better than she is here - she imperiously commands the screen with a hailstorm of scathing punchlines, before embodying the self-esteem imbalance of a woman inundated with superficial praise, but seldom genuinely appreciated, to an unnervingly human degree. She's funny, sad, and almost unspeakably loveable, in an astoundingly heartfelt rollercoaster of a performance. Still, this is unquestionably the Jimmy Stewart show, as his sour, curmudgeonly indictments of the superfluity of wealth are as utterly hysterical, even moreso when giving way for a softer, poetic, recitations betray an aspiring artist beaten down by self-doubt and the financial impediments to wholeheartedly pursue his dream. A decidedly unconventionally subdued Grant rounds up the trio with the least showy performance, but his performance betrays staggering subtleties of inner emotion and past demons. Sneakily puppeteering his peers while firing off innocently acrid witticisms with his never-drier deadpan makes him an exquisitely sarcastic Greek chorus of sorts, and the mischievous twinkle in his eye is as entertaining as all the banter in the world. The rest of the ensemble are all magnificent in their own right, particularly Ruth Hussey as Stewart's perennially spurned, icily deadpan photographer companion, and twelve-year old Virginia Weidler, uproariously funny as the Lord family's gutsy daughter, belligerently unwilling to accept the stubbornness of her older family members causing mishap after mishap. There's the occasional bump in the road where the film shows its age - the calamitous, climactic partner-swapping follies flirt with being too silly to sit comfortably, and it's nicer to just pretend the eyebrow-raising prologue, which treats spousal abuse as a rollicking punchline, just never happens (thank goodness for DVD track-skipping). But, on the whole, this is the highest, most delightful caliber of movie magic imaginable. Whether you need to laugh or cry (usually both), find an airy diversion from life's tribulations, or discover genuine insight in the interplay of immaculately constructed characters, you'd be hard pressed to find a more deeply satisfying watch than The Philadelphia Story. To quote our dear C.K. Dexter Haven: "My, she was yar." -10/10

mmallon4 At the beginning of The Philadelphia Story, Cary Grant pushes Katharine Hepburn to the ground by putting his hand in her face. With any other actor this would be a vile act against a woman but because it's Cary Grant, it works and thus showing the power of these three acting titans, Hepburn, Grant and Stewart. The Philadelphia Story gives an insight into the lives of the rich and famous, something which would be harder to pull off in later decades not to come off as a metaphorical dick waving display of wealth. I do find myself trying to figure out why this is? Could it be the incredibly high standards of writing and filmmaking craft on display here and the love of these performers; even more so when compared to the poor standard of romantic comedies today?Tracy Lord (Katharine Hepburn) is not a ditzy socialite. In this role written for Hepburn it's clear that she is a symbol of first wave feminism; wearing pants and an emasculating suit and being an influence on her younger tomboy sister but more importantly it's not to be undermined the complex characterisation of Tracy Lord. Like in Holiday, Grant and Hepburn share some very poignant and hard to decipher dialogue in which he tells her about her standing as a goddess and her lack of human frailty. Despite her ego, she claims in a sincere manner "I don't want to be worshipped, I want to be loved". Under the surface of the usual Cary Grant charm and elegance, C.K. Dexter Haven is one the darker characters Grant ever played. Apparently he "socked" Tracy on occasions, destroyed the cameras of multiple photographers on a boat and is a recovering alcoholic. This is Cary Grant at his most knieving with no remorse and enjoying it, displaying the darkly comic side of The Philadelphia Story.However this is Stewart and Hepburn's film. Macaulay Connor is the moral, do gooder James Stewart is known for (at least at the beginning that is); objecting to having been given the assignment of snooping in on the wedding of a Philadelphia socialite, as opposed to something with more journalistic integrity. He is appalled by the rich and their lifestyle but unlike Jefferson Smith he throws this out the window when he falls in love with Tracy; a piece of subtle cynicism on the movie's part? I also really appreciate the relationship he shares with his work partner Liz Imbrie (Ruth Hussey). Her character is very cynical throughout most of the film but later reveals her more idealist side. She shares a platonic friendship with Macaulay but there are hints they have deeper feelings for each other. Virginia Weidler on the other hand is a real scene stealer. Just look at her speaking French in an overdramatic manner then singing Lydia the Tattooed Lady by the piano; a pointless scene but funny.I can't call The Philadelphia Story a predictable movie as I couldn't see where the story was going at the end. I could have sworn she would end up with Jimmy but at the last minute and totally out of nowhere she goes with Cary and with it coming off as contrived. Likewise a drunken Stewart carrying Hepburn in his arms while singing Somewhere Over the Rainbow is surely one of the greatest things ever caught on celluloid.

elvircorhodzic THE PHILADELPHIA STORY is a great comedy directed by George Cukor. Despite the fact that the thematic framework already narrated and seen earlier this movie seems fresh. I think in this film, everyone can find something for themselves. Humor is a varied and meaningful. See Grant, Hepburn and Stewart in the same film is quite challenging. The script is very good and is followed by an even better acting. The Philadelphia Story is the story of luxury and elegance, teasing, sarcasm, love, drinking, arrogance and generally, a wide range of human qualities. The cellophane high society are seamlessly wrapped diversity that makes us who we are.Three men and three different characters are linked, each in its own way, with the rich ice queen Tracy Lord (Katharine Hepburn). C.K. Dextera Havena (Cary Grant) is profound, eloquent and charming ex-husband. This character is a bit neglected, but always in the right place and pronounce the keywords at the right time. Grant is excellent, but I was a bit bored with the roles of ex-husbands. Macaulay Connor (James Stewart) is "forever" unhappy writer who immigrated to write the yellow press. The voice of criticism, and the voice of reason. The character who has something to say to everyone except himself. George Kittredge (John Howard) He was betrothed young rich and untouchable upstart who answer its her standards.Cukor with the help of the aforementioned scenarios exported tangle heated, smart and wiggly dialogue, spiced with romantic intrigue which no lack of questions. Antagonisms and friendship between the characters is another of the features that contribute to such receptivity of the film, which are equally contributed by all.Stewart and Grant are the face and did a great job. However, my sympathies were given ladies. Hepburn is in her crazy performance authentic, of forcing a prude who does not forgive until the fine souls who want love and violations of their own (unnecessary) rules and countless prejudices. Ruth Hussey as Elizabeth Imbrie is paparazzo and would-be painter. She offered a lot of sarcasm beneath which hides their romantic thoughts. Always responds readily to prevent the drawer own feelings.An honest, romantic, funny and extremely sophisticated comedy who on my own joy is not a failure.

atlasmb Released in 1940, "The Philadelphia Story" is about a Main Line Philadelphia woman, Tracy Lord (Katharine Hepburn), whose marriage is imminent. At the last moment, there are certain unexpected attendees who challenge her view of life. Listed as a comedy and a romance by IMDb, it certainly is that, but the film does contain dialogue that is biting, somber and outright mean.The cast is stellar and it is difficult to imagine how any film starring Hepburn, Jimmy Stewart, and Cary Grant could not be worth watching. This film certainly is worth watching, but I disagree with those who assert that all three actors turn in their best work here. Hepburn's performances in many other films surpasses her portrayal of Tracy, e.g. "On Golden Pond" or "Stage Door." The same can be said of Jimmy Stewart in "Mr. Smith Goes to Washington", "Rear Window" or "It's a Wonderful Life." For Cary Grant, see "North by Northwest", "Notorious", or "His Girl Friday" which was also released in 1940.As a love story, it has a rather complex plot--not just the usual triangle. Tracy's fiancé, George Kittredge (John Howard), is excited to wed the desirable Miss Lord, but he might be somewhat out of the loop as he keeps his distance from the bride-to-be on the last day before the nuptials. Her ex-husband, C. K. Dexter Haven (Cary Grant), is about as welcome as an unreachable itch, irritating Tracy at every turn and constantly inserting his verbal barbs. Another complication is the writer/reporter Macauley Connor (Jimmy Stewart), who arrives to do an inside story on the ceremonies for a tabloid.A broader view of the film reveals that its subject is Tracy's relationships with five men--the three just mentioned and her father and her Uncle Willie, who are personae non gratae due to their vices. Tracy discovers through these five that she has much to learn, despite her cool, confident countenance.Hepburn starred in the Broadway play not long after leaving Hollywood in response to the theater owners placing her on a "Box Office Poison" list. She purchased the film rights to the play, then sold them to MGM with the stipulation she could choose the producer, director and the starring actors. The success of the film must have been sweet revenge.The film has many admirers, including me. Stepping slightly off track, I will disagree with many of those admirers who assert that the musical remake named "High Society" is not in the same league. I do not think a remake should be judged solely in relation to the original, especially when genre lines are crossed. I find the musical to be equally engaging, but for different reasons (the music, the different stars, etc.). Both should be appreciated for their particular, fine attributes.