Rat mal, wer zum Essen kommt

Seeing this film for the first time more than thirty years after it was made, I was struck by the theme's endurance in time. It remains relevant today, even if not to the same degree. And even though I'm almost thirty years old, I can say with mixed emotions of embarrassment and vindication, that Spencer Tracy taught me a better way to tie a tie. Who's says movies don't teach you anything?

The film is dated, to be sure, by many things, from clothing to music, cars and expressions. At times the dialogue seemed a bit hokey, and others, simply brilliant. I swear, I half expected an entourage of go-go dancers to spontaneously burst through the streets of San Francisco. And if I never hear the "Story Of Love" ever again in my life, it would be too soon.

But I can't help but think that the more things change in thirty years, sometimes they remain the same. Certainly there's more examples of interracial couples today than thirty years ago, and therefore a greater degree of tolerance, but for a lot of narrow-minded individuals, it's still as controversial or "appalling" as it was thirty years ago.

Some of the lines actually had me laughing out loud, enjoying the moment as it follows into another well complimented scene. I'm speaking in particular of the scene where Katharine Hepburn fires her employee for her prejudicial views, and basically everything that follows that scene for the next five minutes.

I try my best to imagine what it would be like to be in the shoes of any character in the film, to appreciate what it might've been like for them, in that time, and while I think I can muster an inkling, I don't think my creativity is up to a challenge of that nature. And I think that ultimately, that's a good thing, and I'm grateful to those who came before.

Guess Who's Coming to Dinner takes place during the course of one day as two families struggle to overcome their concerns about the interracial marriage of their children. This film is a treat for the eyes with lovely sets and beautiful people. It also has a nice 1960's feel that is reinforced by sophisticated wardrobing and an "easy listening" soundtrack--featuring The Glory of Love as the signature tune. The film relies very heavily on the use of dialog and reflects the elegance of a time when people were entertained by stimulating conversation. The San Francisco backdrop also is the perfect setting for a movie that challenged racial convention.

But there are a few serious flaws. This is an introductory role for Katharine Houghton (Hepburn's niece) who plays Sidney Portier's fiancé--Johanna Drayton. Her inexperience is apparent, particularly in comparison to heavyweights Portier, Tracy and Hepburn and as a result, she is unconvincing in the part. Moreover, her character is not well-written or well-developed which makes it difficult to understand why Sidney Portier's character--John Prentice-would fall in love with a woman who appears to have so little to offer intellectually --given his significant professional achievements as a doctor. One also must ask why it was necessary for his character to be cast as a doctor in order to be seen as an acceptable partner for a young white woman who had not really accomplished anything accept being born into a privileged family. The answer is simple. Making Prentice a doctor-and not just any doctor-but a world renowned expert in tropical medicine, made the interracial relationship more acceptable to white audiences during the 1960s.

The other cast members are outstanding and the on-screen chemistry phenomenal. Katharine Hepburn (Christina Drayton) and Spencer Tracy (Newspaper Publisher Matt Drayton) deliver brilliant performances as Johanna's parents. John Prentice's modest working class parents are played with great dignity by Beah Richards and Roy E. Glen. Mrs. Prentice and Mrs. Drayton favor the marriage and both characters provide passionate, articulate arguments as to why their husbands should agree. But their husbands voice serious objections and the families spend the evening in intense discussions over the issue, accurately reflecting the racial fears that existed 40 years ago. Prentice's father reminds him that in many states interracial marriage is illegal and that he is "getting out of line." There are also a number of very memorable and funny lines. In the scene in which Matt Drayton wonders why "the colored kids dance better than the white kids", Portier's response is classic--"you dance the Watusi, but we are the Watusi!"(For readers under 40, the Watusi was a popular dance in the 1960s and also an African tribe). Cecil Kelloway, who plays friend of the family, Monsignor Ryan, deftly brings a sense of humor and moral guidance that is effective because it is not "preachy". He challenges Matt Drayton's liberal credentials and suggests that Drayton's misgivings about his daughter marrying a black man reveal his hypocrisy. Isabel Sanford ("Weezy from The Jeffersons TV program) plays the feisty maid of the Draytons.

It's been said that in the final scene Tracy--who was very ill at the time and who died shortly after the movie was completed--delivered one of the longest soliloquies in American film history, in only one take. Katherine Helpurn was clearly so moved by the scene that it's hard to believe that she is just acting as her eyes brim with tears.

Although the some of the sentiments are dated, this film is highly entertaining, and provides a rare opportunity to experience outstanding performances from six gifted actors who bring compassion and depth to Stanley Kramer's film. Its' angst relative to interracial marriage also reminds us of how far we have not come.

Matt and Christina Drayton (Spencer Tracy and Katharine Hepburn) are a couple whose attitudes are challenged when their daughter brings home a fiancé (Sidney Poitier) who is black.

I had never seen this movie until last night, primarily because I never saw the point. The story seemed so obvious and cliché to me, having grown up decades after the film was released. Of course a family would react poorly when they see the racial difference of their daughter's chosen husband. But, I underestimated the whole thing.

The film is more complex, because as it turns out, the family is not actually racist -- at least not in theory. And this film allows theory to meet practice, which may be harder to overcome than they thought. Luckily, they have the advantage of the black man being a world-renowned doctor. Had he just been any old schmuck, the family might not have been as welcoming. It is a whole different story.

The two things I found most interesting about the film were: one, that the two people most opposed to interracial marriage were both black. That seemed quite the opposite of what you might expect. And two, I found it odd that the biggest problem was supposed to be the racial difference. The 14-year age gap and the fact they wanted to get married after only 10 days of knowing each other was largely ignored. I find that to be the much bigger problem -- how do you commit to a lifetime after only 10 days?

Here's a great way to spend an afternoon: watching some of the greatest actors of all time in a film that still has relevance today. Such a cast! Hepburn is wonderful as always, very energetic, with no trace of the shakiness of her later years.

Tracy, gruff, the way most probably remember him - sort of a ratcheted up version of the roles he played with Hepburn in earlier years. His ill health is obvious though to the careful observer: voice a little weak at times, and Tracy's step missing the "spring" of his earlier films. The fact that this his last film was so memorable, and of such quality just adds to his legend.

Potier of course turns in a great performance, impeccable as always.

Watch for Isabel Sanford, ("The Jefferson's") particularly the one memorable scene where she explains to Potier's character just what "black power" really is.

Cecil Kellaway sparkles as Monsignor Ryan, and Beah Richards and Roy Glenn, as the parents to Potier's character, mirror Hepburn and Tracy.

Indeed, there is so much real honest-to-god acting talent concentrated in this movie, it seems almost unfair, what I'm about to say: Katharine Houghton, as 'Joey' is the only character with only 2 dimensions. She's the ever-smiling, but clueless daughter and object of Dr. Prentice' affection. She's such a Pollyanna, and remains oblivious to the drama going on all around her, and everyone else conspires to keep her in the dark throughout the entire film. (No wonder her father is concerned.) I think it's fair to say that Houghton's character is the one weak spot in this otherwise excellent film.

That said, this is a wonderful film that I will always watch when it comes on. It's such a treat to watch these legendary actors at work. I highly recommend it.

By the way, there's no glass in Spencer's eyeglasses during the ending monologue, is there – he's wearing only frames, right?

I went to see it for the first time with my grandmother when I was 17. I loved it but it felt strange to me because my grandmother after 22 years of widowhood, had remarried to an African American man. He had become a blessing in my grandmother's life and in ours. How could Spencer Tracy of all people be against the union? After the movie we went to dinner and my grandmother answered all my questions with a single answer that's been with me always and that sometimes explains absurdities like Charlottesville 2017 - "Society, humanity doesn't evolve all at the same time" Of course Grandma', you were right. Watching Guess Who's Coming To Dinner in 2017 was an experience. Is not that Spencer Tracy is against their union, - Tracy was only worried to what his daughter was going to face 1967 - He was thinking like a father and not like a thinking, evolved liberal. On the other hand, Roy Glenn, Sidney Poitier's father objects to his son marrying a white girl. Sidney Poitier stops him by saying "Dad, you see yourself as a colored man, I see myself as a man" Was it as didactic as it sounds in 1967? Who cares? The message was delivered - I also was so moved to see Katharine Hepburn and Spencer Tracy together for the last time and they knew it was for the last time. Sidney Poitier is superb as the messenger who points at the absurdity of racism. Guess Who's Coming To Dinner is a delicious document of its day.