Die Frau von der man spricht

Katharine Hepburn already established the headstrong aspect of her screen persona in 1938's "Holiday" and 1940's "The Philadelphia Story", but she adds a worldly intellect and a beguiling sexual ardor that prove most fetching in her portrayal of multilingual political journalist Tess Harding in this 1942 film classic. In her first teaming with lifelong off-screen partner Spencer Tracy, she sets off palpable sparks with the normally taciturn actor, who plays sportswriter Sam Craig working at the same newspaper. Written by Ring Lardner Jr. and Michael Kanin, the plot is about the characters' whirlwind courtship from an immediate sexual attraction to an impulsive marriage, all the while struggling with each other's priorities. Needless to say, given that it's a product of its era, it becomes a matter of time before Tess bends to Sam's will but not until some intriguing observations are made about sex roles in a basically fractious relationship.

However, rather than the comic fireworks generated by their later collaboration, 1949's "Adam's Rib", this film treads in unexpectedly sentimental melodrama, especially in the episodes where Tess has to let go of a Greek orphan she wants to adopt and in the climactic scene when she tearfully recognizes her wifely responsibilities as her aunt Ellen marries her father. Still, the pair's familiar bantering occurs when Sam explains the rules of baseball to Tess and in the final feminist reversal as she fails miserably in her attempt at domesticity. George Stevens directed the film, and he displays his sure hand with actors and an acute sense of craftsmanship throughout. Intriguingly, for a Tracy-Hepburn vehicle, it feels much more like her movie than his, and consequently their rapport is not quite up to their normal standard here. The supporting characters also feel more incidental here, even though Fay Bainter shines briefly as Ellen. It's not my favorite of their films together, but it is certainly required viewing for their fans. There are no extras with the 2000 DVD.

First 70 minutes: 9 stars. I marveled over the chemistry between Hepburn and Tracy, and even more over her character, who is a highly sophisticated, intelligent, strong, funny, and romantic woman. She calls the shots, interviews heads of state, flies all over the world, speaks what seems like every language, and can hold her own drinking Scotch. At the same time, she falls for this salty sports reporter and her body language and affection for him are so tender, including when she re-assures him that he won't feel like a weekend guest while staying in her apartment on their honeymoon night with a wonderful little hint of seductiveness, and when she says "hello daddy" in a baby voice when he comes home one night. My favorite bit of dialogue was this though, where he shows such interest and acceptance of her; the way that they look at each other is wonderful:

Hebpurn: Well, we're alone. Talk. You do have something to talk about? Tracy: Yeah, yeah. You. You. I'd like to know what you like and don't like, and how you feel about being you. Hepburn: I feel very good about it. Always have. I like knowing more about what goes on than most people. Tracy: And telling them. Hepburn: Yeah, and telling them.

Last 45 minutes: 5 stars. The film starts unraveling with Hepburn's rash decision to adopt a refugee, not because that's a bad thing (it's a great thing), but because she does so without telling her husband, or without the slightest thought to actually caring for the child. It spirals from there until that horrific prolonged ending scene, where this intelligent, brilliant woman fumbles around in the kitchen, apparently not knowing how to use a toaster. It's, quite frankly, god-awful on every possible level.

The message is loud and clear: if a woman chooses to focus on a career, she will neglect her husband, not have a clue about raising kids, and be incompetent at performing wifely tasks like making breakfast. It's terribly insulting, and undoes a lot of the great things it did in the first 70 minutes. Hepburn's character wins the "Woman of the Year" award, but it's ironically Tracy who is showcased as award-worthy, for having put up with the "difficult case" of his wife, remained level-headed, and taught her a good lesson in what it takes to have a good marriage.

The only small saving grace is that his character suggests she can have both, a career and a family, as long as she doesn't go to extremes in either. It's only too bad the film didn't simply show us how women can do this balancing just as well as men, but it was 1942, and a lot of people - including those in powerful positions - were simply not ready for this message.

Right off I have to say that this is at once the funniest, most romantic, most intelligent & most realistic depiction of a romantic relationship I have ever seen.(For perspective, I'm a 60 year-old multi-lingual film buff).

Whatever kind of film George Stevens tried, he did it to perfection. Witness Gunga Din, Swingtime & A Place in the Sun to mention just a few. It was like watching something by Hawks, Lubitch & Sturges all rolled into one.

Hepburn never appeared softer, more vulnerable, less mannered than in Woman of the Year. I fall in love with her all over again every time I watch it, which is surprisingly often, especially in the scene where she carries on about Oswald Spengler while plastered under the table.

Then there's Tracy, the most honest actor who ever lived. But not just that: there was his ability to delve seemingly without effort into an infinite bag of gestures & expressions & tones & just plain old-fashioned but highly manifest wisdom & come up with the most richly nuanced guy ever depicted on-screen. Tracy was a giant, a genius, the Rembrandt of film.

A delightful, dazzlingly perfect grown-up movie.

Most commentators on this movie miss the its point completely, and criticize what they misunderstand as the outdated sexual politics of the 1940's from the standpoint of the outdated sexual politics of the 1970's. Blinded by political correctness, they miss the many virtues of the sparkling script.

The point of the script is actually relatively modest. It is not, in fact it is far from, The Taming of the Shrew, or the subjugation of the independent woman. Tracy's character admires Hepburn's character's independence and competence, and he doesn't want her to renounce them to become the "little woman" -- that is the burden of his "kitchen speech" at the end. He simply understands better than she does, at least until the end of the film, that maintaining a relationship and a marriage requires time, work, and attention. That may well be an unwelcome message, but it is not an unwise one.

The comedy of the film comes from their characters' different worlds -- Tracy is a sportswriter and Hepburn an international politics columnist. The drama comes from their different levels of commitment to being a couple. The script delicately and for the most part successfully (with the possible exception of the Greek orphan subplot), balances these two conflicts and the comedy and drama.

... then start here, where they were introduced to each other and fell in love. You can actually feel that love in their performances. Tracy plays a sportswriter, Sam Craig, not a particularly well traveled man or a deep thinker. Hepburn plays Tess Harding, an international affairs correspondent, and with the world at war there is much to correspond about. Thus she runs around at a dizzying pace and I lost count of how many languages Tess spoke. Her mother died when she was an infant, and she grew up globetrotting with her father, and only returned to America as an adult.

Tess and Sam meet when they have a war of words in their articles over baseball, and when the editor tells them to make up, that is when they begin seeing each other. Now Tess doesn't hide how busy she is, or how full her apartment often is of people from all over the world that she knows, yet Sam marries her and I get the feeling that he is disappointed that nothing changes. Their wedding being practically a drive through affair should have given him a hint.

So naturally the marriage eventually fails when Sam walks out. That is Tess' first surprise. Her second surprise is when the woman she has patterned herself after for years and years, Ellen Whitcomb (Fay Bainter), makes a totally unexpected, but not unwelcome, move. How does this all work out? Watch and find out.

I'm not sure this film is ultimately sexist or feminist. It does look like the script was trying to paint Hepburn's character as an ice queen, and she just acted her way out of being portrayed in that fashion. She ultimately plays it as a person who, if she takes up a task, goes all the way with it, right down to the humorous scene where she tries to make breakfast and acts like every utensil in the kitchen is from another planet, yet she persists in the face of hilarious adversity and inexperience. However, if you turn the roles of Sam and Tess around, you could say this was a feminist film, maybe giving men a dose of their own 1942 medicine when they expected women to just live with whatever work schedule the man had, even if they sat home alone at nights.

I'd highly recommend this as one of the great romantic films, and they didn't make many of those during WWII outside of Casablanca.