Die Nacht vor der Hochzeit

I really wasn't so much wowed by The Philadelphia Story's "story",as it were,as I was mesmerized by three of the big screen's strongest ever screen presences' interaction with one another.Katherine Hepburn,Cary Grant,and James Stewart were great (if that is even a strong enough word) individually,but together here in this film,they were absolutely out of this world.The story,quite frankly,gave me a headache overall,but I did find the ever famous "hiccup" improvisation between Stewart and Grant hysterical as it was obvious both men could barely compose themselves,but being the professionals that they were,they got it together and moved on,and that's what made the scene so entertaining.I had a great time watching.

Obviously, the three lead actors are all just as great as we remember them, especially Jimmy Stewart in his Oscar-winning role. But don't miss the turns by Ruth Hussey, as the long-suffering but still devoted assistant to Stewart's journalist character, and Roland Young (who'd already starred with Cary Grant in the rightfully popular first and best "Topper" movie) here as Uncle Willie. So who ultimately winds up with Katherine Hepburn's character? Her ex, played by the suave Cary Grant, who may be a cad, or the earnest and down-to-earth young writer played by the honest Stewart, or the safe but utterly uninteresting fiancé played by John Howard. (Who? Exactly!) You'll have to watch all the way to the end to find out. Heck, just try not to! 😁

If this is sophisticated comedy, I'll take the gaucheries of Airplane (1980) any day. Despite the celebrated cast, director, and screenwriter, the movie's not very amusing, unless you think drunks are automatically amusing. In fact, at times the antics are downright annoying, especially the shrill Hepburn character and Stewart's going way over the top as an inebriate reporter.

At best, actress Hepburn is a matter of taste. Here director Cukor gives full reign to her most troublesome habit—sheer staginess. For Tracy (Hepburn), there's no such thing as a simple movement; instead, every inflection is an exaggeration of some sort. Just as bad for the movie, Grant is not allowed his usual superb comedic skills; instead, he gets to look on in a rather wooden manner, a not unreasonable reaction. Unfortunately, this is another example of MGM's Louis Mayer's infatuation with the idle rich and well-housed.

One of the film's few positive notes are the many subtle innuendoes. In fact, the strategic use of such innuendoes as 'intact' made me wonder if the Grant-Hepburn marriage had ever been consummated. Then again, why any man would warm up to such a bitchy "goddess" remains perhaps the movie's biggest conundrum. On the other hand, the supporting cast, particularly Hussey and Weidler, furnish what there is of the movie's meager amusement. Too bad it's only in support.

To me, the movie's exalted reputation is likely the result of Hollywood's promotional arm working overtime. After all, if the production's got this many illustrious names, it's got to be a classic. For a revealing contrast, catch the Grant-Hepburn-Hawks genuinely funny Bringing Up Baby, made only two years earlier. At least, Hawks knew how to edit a scene without letting it drone on and on. Here, Stewart's adaptation of the Barry play may have looked good on paper, but on screen it's quite a different matter, despite all the hoopla.

My Rating: ***1/2 out of ****.

The Philadelphia Story is one of the earlier Romantic Comedies. It is also one of the best. This film basically has what most romantic comedies today dont have. That would be a well-written script, Great Acting, and actually funny.

The acting is a huge strength in the film. This is called Katharine Hepburn's best role by many, while I admit she is excellent in a number of scenes, I think she tends to overact at times. Cary Grant is great here. Everyone else is Great but I believe James Stewart to be the standout. He is perfect for this role, its a flawless performance, that he deservedly won the Best Actor Oscar for.

The Script has wonderful dialogue thats delivered flawlessly by the actors. Even simple dialogue like "Isn't that awful" was delivered superbly by Katharine Hepburn. George Cukor made this project look like nothing, he made many films which were "womens films" but he does a damn good job here.

If you think Romantic Comedies of today are good, look at The Philadelphia Story and they will pale in comparison. The Philadelphia Story is a very good film and worth remembering, unlike the mediocre to crappy romantic comedies of today. The Philadelphia Story is highly recommended.

That this brilliant story originated on stage is obvious. The stage requires personas of epic and electric beauty. Philadelphia Story boasts three of the brightest stars that ever burned to occupy these personas, which they do with miraculous luminance.

The play, of course, was written for Hepburn by Phillip Barry, and after over 400 performances on Broadway she cleverly bought the film rights right out from under the noses of Hollywood moguls who fancied themselves smarter than Dear Kate. This came at a time when Hepburn was tops on the list of stars who had been labeled box office poison by producers.

The dynamics between the stars are legendary. Finer actors never lived, and these are the performances of a lifetime for each of them. Stewart is funny, smoldering, passionate and moving and he has moments, many of them, of stunning brilliance in each of those emotions. Grant is his typical stilted and elegant self, funny, gracious, urbane and, yes, beautiful. And then there is Hepburn. She is breathtaking to look at, and she plays your heart strings in a masterful glissando plucking at every emotion as she moves effortlessly across her entire unmatched range.

The supporting cast is worthy of the surplus of talent that surrounds them, and offer a few unforgettable moments of their own. And the presence of George Cukor, the greatest director of women in history, and the best director of Hepburn as well, coaxes every brilliant word of the script to its full potential.

You must not miss this treasure simply because it is from another era. It depicts that era with insight and irreverence that expose it, and the rarified world of old Philadelphia Money (yes, with a capital "M") like few films of its time, or any time, could. Every time I watch this movie, and the frequency would embarrass me if I were honest about it, I love it more.

Watch it. Study it. Assimilate every second of it and your understanding and appreciation of cinema will be enriched for it. And you'll have a great time doing it!