The African Queen 1951 - A successful mixture of adventure, comedy and star chemistry

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IMDB rating: 8,0

Director: John Huston
Main Cast: Humphrey Bogart, Katharine Hepburn, Robert Morley, Peter Bull, Theodore Bikel

"Adapted from a novel by C.S. Forester, The African Queen stars Humphrey Bogart in his Oscar-winning portrayal of Charlie Allnut, the slovenly, gin-swilling captain of a tramp steamer called the African Queen, which ships supplies to small East African villages during World War I. Katharine Hepburn plays Rose Sayer, the maiden-lady sister of a prim British missionary, Rev. Samuel Sayer (Robert Morley). When Germans invade and Samuel dies, Allnut offers to take Rose back to civilization. She can't tolerate his drinking or bad manners; he isn't crazy about her imperious, judgmental attitude. However it does not take long before their passionate dislike turns to love. Together the disparate duo work to ensure their survival on the treacherous waters and devise an ingenious way to destroy a German gunboat. The African Queen may well be the perfect adventure film, its roller-coaster storyline complemented by the chemistry between its stars. The profound difficulties inherent in filming on location in Africa have been superbly documented by several books, including one written by Katharine Hepburn." - www.allmovie.com

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Adam's rib 1949 - Battle of the sexes

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IMDB rating: 7,6

Director: George Cukor
Main Cast: Spencer Tracy, Katharine Hepburn, Judy Holliday, Tom Ewell, David Wayne, Jean Hagen

"Ruth Gordon and Garson Kanin's witty and intelligent script (despite many improbabilities, such as the conflict of interest in having a husband and wife contest the same case, and the plausibility-defying circus-like theatrics that Amanda deploys in the courtroom) propels this funny and barbed courtroom comedy. The legal and gender-fueled debates at the center of the film may seem somewhat antiquated today, but the intelligence and wit that inform much of the film's dialogue are still surprisingly fresh. Spencer Tracy and Katharine Hepburn share an onscreen ease and familiarity usually reserved for long-married couples. Ironically - given that the film is about the legal ramifications of a woman's shooting of her philandering husband - they had become an extramarital item themselves by the time this film was being made. Judy Holliday gives an unexpectedly affecting performance as the woman wronged, while bug-eyed Tom Ewell is solid as her weasel-like philandering husband. However, David Wayne as the lascivious piano composer/neighbor of the feuding legal eagles gives the most impressive supporting performance. His best line? 'Lawyers should never marry other lawyers. This is called inbreeding, from which comes idiot children and more lawyers'. Technically, the film is very conventional. Outside of the opening sequences, in which George Cukor's camera roams the busy streets of rush hour New York, the film has a stage-like feel, with static shots of the battling spouses dominating the proceedings. Perhaps Cukor didn't want to distract us from the real star of the show, the clever and insightful Kanin/Gordon script." - www.allmovie.com

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The Philadelphia story 1940 - Hepburn's spectacular comeback, Stewart's Academy Award

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IMDB rating: 8,1

Director: George Cukor
Main Cast: Cary Grant, Katharine Hepburn, James Stewart, Ruth Hussey, John Howard, Roland Young

"Playwright Philip Barry reportedly based the central character of The Philadelphia Story on Katharine Hepburn's brittle public persona, so it should be little surprise that she plays the part so well. The film is a quick-witted translation of the play, essentially a parlor drama with witty, Oscar Wilde-like banter and glib repartee from nearly every actor. There are moments of rare beauty in the dialogue, even if director George Cukor rarely uses them to give the film more visual flair or energy. The story both spoofs and plays sly homage to Clifford Odets' earnest socialist dramas, in which kind-hearted socialites learn to love and admire the working poor - except that, in The Philadelphia Story, Hepburn turns her back on the working-class hero and returns to her own kind, the aristocratic, debonair, completely irresistible Cary Grant (who does a wonderful job of being... Cary Grant). The aristocrats are well-skewered by the delightful screenplay, and James Stewart is excellent as the cynical but smitten reporter, in a performance that won him his only Academy Award. Donald Ogden Stewart (no relation to Jimmy) also copped an Oscar for Best Adapted Screenplay. The Philadelphia Story was remade in 1956 with a Cole Porter musical score as High Society." - www.allmovie.com

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Holiday 1930 - The first film version of the classic Philip Barry comedy

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IMDB rating: 7,0

Director: Edward H. Griffith
Main Cast: Ann Harding, Mary Astor, Edward Everett Horton, Robert Ames, Hedda Hopper

"Ann Harding and Robert Ames starred in the first screen adaptation of Philip Barry's play -- remade eight years later in a much more famous version with Katharine Hepburn and Cary Grant, directed by George Cukor. This version is a little closer to the source, in terms of the nature of some of the characters, and has a charm all of its own, especially in the Oscar-nominated performance by Harding, an actress who deserves to be better remembered than she is. The supporting characters, especially Edward Everett Horton (who was also in the remake) as Nick Potter, are a little less 'housebroken' than they were in the 1938 version, and the result is some edges and sparks that didn't show up in the Cukor version, for all of its virtues. On the down side, the movie was done in 1930, early in the sound era, and at times displays the somewhat static visual nature of most talkies from that period." - www.allmovie.com

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Morning glory 1933 - Hepburn's wonderful Oscar-winning performance

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IMDB rating: 6,6

Director: Lowell Sherman
Main Cast: Katharine Hepburn, Douglas Fairbanks Jr., Adolphe Menjou, Mary Duncan, C. Aubrey Smith

"Katharine Hepburn won her first Oscar for her portrayal of Eva Lovelace, a small-town community-theatre actress who comes to New York dreaming of theatrical stardom. She amuses producer Adolphe Menjou and playwright Douglas Fairbanks Jr. with her naively pretentious prattle, but neither man takes her too seriously. Both, however are attracted to Eva: Menjou has a brief affair with her, but she yearns for the more reserved Fairbanks. Partly out of sympathy, Fairbanks arranges for Eva to understudy the troublesome star (Mary Duncan) of Menjou's latest production. When the star walks out on opening night, Eva goes on in her stead, and is universally hailed as a brilliant new find. Backstage after her triumph, Eva is warned not to let her sudden success go to her head lest she become a 'morning glory': a briefly spectacular 'bloomer' that withers and dies within a very short time. Proof of this warning is Eva's maid, a middle-aged woman who had also been an instant star years earlier. But Eva is too intoxicated by the thrill of realizing her life's dream; embracing her weeping maid, Eva declares to the world that she doesn't care if she is a morning glory. The film fades as Eva shouts defiantly 'I'm not afraid! I'm not afraid!' Adapted from a stage play by Zoe Akins, Morning Glory was remade in 1957 as Stage Struck, with Susan Strasberg as Eva Lovelace." - www.allmovie.com

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A bill of divorcement 1932 - Katharine Hepburn's auspicious film debut

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IMDB rating: 6,6

Director: George Cukor
Main Cast: John Barrymore, Katharine Hepburn, Billie Burke, David Manners

"Katharine Hepburn made her auspicious film debut in the otherwise undistinguished A Bill of Divorcement, based on a play by Clemence Dane. Even now, many decades later, there's still a raw freshness and energy to Hepburn's performance that is hard to resist. It's true that her work here is not particularly polished; there are moments when she clearly pushes too hard, and others when she sacrifices truth for effect. But there's a spirit and energy radiating from the actress that make the viewer forgive her these and other little sins, and she is so spot on in most of the sequences that there's no need to make excuses for this early performance. What's surprising is John Barrymore's performance, which was lauded at the time but has been overshadowed by Hepburn's through the years. The celebrated but uneven actor gives an exceptional performance, informed with telling detail and carefully nuanced, and there is a rare and essential rapport between him and Hepburn which goes a long way to smoothing over many of the rough patches of the dated and sometimes melodramatic screenplay. Also a surprise is Billie Burke, who gives her character an underlying melancholy and guilt, and who handles her dramatic scenes quite well. Divorcement doesn't stand up well as drama, and George Cukor's direction is often rudimentary, but it's a great showcase for its stars." - www.allmovie.com

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Holiday 1938 - Grant and Hepburn make the magic

IMDB link: http://www.imdb.com/title/tt0030241/
IMDB rating: 7,9

Director: George Cukor
Main Cast: Cary Grant, Katharine Hepburn, Doris Nolan, Lew Ayres, Edward Everett Horton, Binnie Barnes

"Both film versions of Phillip Barry's stage comedy Holiday have their merits, but the 1938 version has the added advantage of supercharged star power.
George Cukor was arguably the best and most consistent director of sophisticated romantic comedies in the golden age of the 1930s and 1940s. Literate, thoughtful, and refined, his efforts in the genre were blueprints for all who followed, and Holiday was no exception. Next to The Philadelphia story, the film is perhaps his most-loved comedy. An enjoyable screen version of the same Phillip Barry play had been produced just eight years earlier, starring Mary Astor and Robert Ames, but Cukor improved on it in just about every way. The only element in which the remake does not improve on the original is in the casting of Hepburn's alcoholic younger brother; charming though Lew Ayres is in the 1938 film, he is still outclassed by Monroe Owsley in Holiday 1930. Katharine Hepburn managed to temporarily defray her 'box office poison' onus when Holiday proved to be a success; alas, her next film, Bringing up baby (which reteamed her with Grant), was a financial bust, compelling her to return to Broadway - where she made a spectacular comeback in another Philip Barry play, The Philadelphia Story.
This is the second of three times that Cukor worked with Katharine Hepburn and Cary Grant. Hepburn was Cukor's favorite star, and he was instrumental in her success as an actress ever since her first leading role, in the director's 1932 film Bill of divorcement." - http://www.allmovie.com/movie/holiday-v22716

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Bringing up baby 1938 - The quintessential screwball comedy

IMDB link: http://www.imdb.com/title/tt0029947/
IMDB rating: 8,1

Director: Howard Hawks
Main Cast: Cary Grant, Katharine Hepburn, Charles Ruggles, Barry Fitzgerald, May Robson

"Bringing up baby is the quintessential screwball comedy, and one of the crowning comic achievements in the careers of director Howard Hawks and stars Katharine Hepburn and Cary Grant. It may also be one of the defining examples of comedy feature film at its purest and most basic. At the time of its release, it seemed to close out the screwball genre: the portrayals in film inflated and punctured an array of movie (and social) stereotypes in as fine a style had ever been accomplished. The screwball comedy originated in the depths of the Great Depression as a reaction to the despair of everyday life, as well as to the publicized antics of wealthy fops and heiresses who seemed oblivious to the fact that people were literally starving to death. The idle rich were the genre's essential ingredient, from satirical pre-screwball efforts such as Zoltan Korda's Cash (an especially offbeat example since it was made in England) to pioneering Hollywood screwball comedies like Gregory La Cava's My man Godfrey. As time passed, however, other targets became acceptable, including intellectual 'eggheads' and eccentric members of officialdom. Bringing up baby skewers all of them and more - including over-zealous psychiatrists and blustery, pretentious upper-class stuffed shirts - hitting the bullseye with each one. Apart from its acting, pacing, and verbal acrobatics (an essential element of any Howard Hawks talking picture), Bringing up baby is a masterful achievement precisely because it distills its diverse ingredients down to the characters. The plot, such as it is, deals with mistakes and mistaken identities (right down to heiress Hepburn's pet leopard) but is really about nothing - absolutely nothing, to paraphrase a standard articulated by Jerry Seinfeld in the 1990s. Even the one main element of the 'story' - the search for a missing dinosaur bone belonging to the museum where Cary Grant's character works - is such an obvious, ridiculous comic device, a comedic equivalent to Hitchcock's 'MacGuffin' concept. The screwball comedy was never quite the same, nor was any filmmaker or cast able to build a film on such slight material so successfully ever again." - http://www.allmovie.com/movie/bringing-up-baby-v7142

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Stage door 1937 - A superb, realistic, behind-the-scenes film about show business

IMDB link: http://www.imdb.com/title/tt0029604/
IMDB rating: 7,8

Director: Gregory La Cava
Main Cast: Katharine Hepburn, Ginger Rogers, Adolphe Menjou, Gail Patrick, Constance Collier, Andrea Leeds, Lucille Ball

"Stage door is notable for its predominantly female cast, predating George Cukor's The women by two years. Adapted from the Edna Ferber and George S. Kaufman stage hit, the sparkling dialogue comes at the audience rapid-fire as each stellar performer steps forward. The film shifts easily between comedy and drama, with Ginger Rogers in particular showcasing her versatility. Director Gregory La Cava successfully pulls together a strong-willed cast that includes Katharine Hepburn, Lucille Ball, Eve Arden and Ann Miller. He puts the boarding house setting to good use, keeping the interplay brisk and the story lines moving quickly. Ironically, the film's only Oscar nomination for acting went to the lesser-known Andrea Leeds, who, unlike her character in the movie, would later marry a rich man and retire from the screen. The film was also nominated for Best Picture, Best Director, and Best Screenplay." - http://www.allmovie.com/movie/stage-door-v46386/

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Alice Adams 1935 - Hepburn as Tarkington's loveliest heroine

IMDB link: http://www.imdb.com/title/tt0026056/?ref_=nv_sr_1
IMDB rating: 7,1

Director: George Stevens
Main Cast: Katharine Hepburn, Fred MacMurray, Fred Stone, Evelyn Venable, Hedda Hopper, Hattie McDaniel

"Alice Adams does a credible job of transferring Booth Tarkington's popular Pulitzer Prize-winning novel to the screen, even if it adds a happier ending than the one in the book. A significant part of the credit belongs to director George Stevens, who keeps the film briskly paced without sacrificing character development and atmosphere. Filmed during the Great Depression, Alice Adams takes a satirical view of the 1920s, reminding 1935 audiences of some of the shallowness of those 'better days'. Hepburn's performance dominates the film, and the supporting cast functions mostly as props, though Fred MacMurray, Hepburn's nominal co-lead, manages to shine in moments. The film received two Oscar nominations, for Best Picture and for Hepburn's performance. Alice Adams was the first major directorial assignment for George Stevens, as well as one of the few Katharine Hepburn vehicles of the 1930s to score a hit with the public." - http://www.allmovie.com/movie/alice-adams-v1471/

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Little women 1933 - A coming-of-age drama with the classic Hollywood style

IMDB link: http://www.imdb.com/title/tt0024264/
IMDB rating: 7,4

Director: George Cukor
Main Cast: Katharine Hepburn, Joan Bennett, Jean Parker, Frances Dee, Paul Lukas, Douglass Montgomery

"George Cukor directed this classic adaptation of Louisa May Alcott's sentimental novel with a shimmering lavishness that is a prime example of the classic Hollywood style at its best. One of Hollywood's original 'chick flicks', this faithful adaptation of Louisa May Alcott's Civil War-era novel focuses almost exclusively on the ambitions, desires, and emotions of the titular four sisters. Little Women's first half, focused on the sisters' effervescent and fun-loving youth, gradually gives way to a melancholy, downbeat second half, in which we witness confusion, disappointment, and death. The film's willingness to concentrate almost exclusively on these four sisters, who vary from confident to reticent, was an important step forward in the cinematic treatment of women. How the 'little women' hold up as they undergo their trials and tribulations is also essential, as they survive and thrive without (and occasionally despite) men, who appear only in supporting roles, a tidy inversion of Hollywood tradition. Little Women's star-making performance was that of Katherine Hepburn, whose tomboyish spunk is wonderfully endearing in the role of Jo, the embryonic writer. However, the supporting work of Joan Bennett, Jean Parker, and Frances Dee is also key to the film's enduring appeal. Nominated for three Academy Awards, including Best Picture and Best Director for George Cukor, Little Women won best adapted screenplay for Victor Heerman and Sarah Y. Mason." - http://www.allmovie.com/movie/little-women-v29694

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