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The film does a wonderful job of integrating newsreel footage with its narrative. I assume that Lindbergh's triumphal Broadway procession after his return from Paris in 1927 was the basis for Darrington's ticker tape parade after her round the world flight. It was hard to believe that her aircraft insisted on such a dangerous entrance to its cockpit. The pilot had to climb in while only a couple of feet from a rotating propeller (or "airscrew" as the Brits would say). Hepburn is utterly convincing as an aviation obsessed and sexually neutral aristocrat. Her love affair with Strong is nicely contrasted with that of his daughter with her boyfriend. The film also shows how a missed appointment -- insignificant to one person but all the world to the other -- can have fatal consequences. Well-made, well-sequenced -- the kind of film they used to make in wonderful black and white.

This film is Katharine Hepburn's second film and her first in a starring role. In her first film, 1932's "A Bill of Divorcement", Billie Burke had starred with Hepburn fourth billed. Here the situation has reversed itself, and Hepburn supplants Burke in more ways than one. Hepburn plays Lady Cynthia Darrington, a member of the British gentry whose family has lost its money. As a result, she pursues aviation for both her love of it and for money to try and restore the family fortune. She has forsaken love up to this point in her life, and as the result of a human scavenger hunt at a party attended by one of her friends, she winds up at the party because she is a virgin, and Christopher Strong (Colin Clive) winds up there because he is a faithful husband to Billie Burke's character. The two meet, fall in love, and eventually this leads to the loss of what distinguished both of them in the first place.

There are several things that make this film interesting - not the least of which being that Hepburn's role turns out to be semi-autobiographical. In actuality Hepburn was an athletic and independent woman of aristocratic roots who fell for a married Spencer Tracy who also never technically divorced his wife. Then there's that metallic moth suit complete with antennae that Cynthia wears to a party - yikes! And the middle-aged Lord Strong doesn't even do a double take when she walks in wearing this outfit. So much for the stuffy image of the British aristocracy. The ending is odd since it doesn't seem consistent with Cynthia's strong independent streak. Her solution to her dilemma when she realizes that, although Strong loves her, he would only actually leave his wife out of a sense of duty to Cynthia, seems completely out of character. Also, Billie Burke does such a good job of playing the wronged wife who suffers in silence and dignity that it is really hard to sympathize with anyone but her. Finally, the title is a bit of a mystery. The title character, Christopher Strong, is really secondary to Hepburn's Cynthia Darrington, and I can't help but wonder why the film wasn't titled after Hepburn's character instead.

Director Dorothy Arzner, the only female director in Hollywood during this time, certainly took some chances with this one. Some of the film worked and some of it didn't, but I don't think it would have had a chance without Hepburn in the lead. I recommend this film to anyone interested in the evolution of Hepburn's acting style.

None too subtle story of a famous aviatrix (Hepburn -- the movie calls her a "girl flier") in love with a married nobleman (Clive). They put off consumating their affair, even muttering to each other in one ridiculous scene about how "special" they are. Burke turns in a quality performance given a very standard mother role, giving her character the convincing quality it needs to withstand the transition from anger to frustration to final acceptance of the situation. A story that could not have been filmed this way 2 or 3 years later. Includes Hepburn in her infamous "moth suit." Clive does well, and Hepburn is great, but given how it's written and (especially) how she plays it, it's no surprise this film did nothing to improve her standing in the eyes of the more prurient elements in the audience. Perhaps, even, some of their later vindictiveness (including placing her on the list of so-called "box-office poison") could be seen as their own reaction to her character transferred onto Katherine Hepburn. Well directed and photographed. Unconvincing ending unhinges the movie in its final reel, but I guess last reel reconciliations by way of death were soon to be the rule in Hollywood (as they always had been in more conservative film centers), so it's good Selznick got in fairly early in the game. Will be remembered more by Hepburn's fans than by fans of good, solid movies, because she provides many of its most memorable moments.

Katharine Hepburn is a beautiful and accomplished aviatrix in "Christopher Strong," a 1933 film also starring Clive Owen and Billie Burke, and directed by Dorothy Arzner.

Hepburn's role of Lady Cynthia is loosely based on Amelia Earhart, a young, ambitious career woman who is not interested in marriage and home but rather accomplishment. She's an early feminist, and the role is perfect for Hepburn, who with her androgynous looks and strong performances would go on to play many such roles in her very long career.

"Christopher Strong" is of interest because it's early Hepburn, has a feminist theme in the early '30s, and also because it's pre-Code. Arzner does a great job depicting the love affair of Hepburn and Owen and yet shows nothing, with a hand reaching up and checking the time on a small clock...then the light is turned off and plunges the room into darkness after the lovers exchange a few words.

The problem with the movie is that it's badly dated, a '30s melodrama with tremulous, "we must be honorable," pip-pip and all that rot dialogue.

Owen tells everyone at a party that he will never be unfaithful to his wife, that it is a moral charge he holds high - and seconds later he meets Hepburn and you can tell he's already falling. Owen is an odd choice of a romantic partner - he's not exactly the man one would give up everything for.

A bigger problem is the performance of Billie Burke, a fine actress. She is extremely sympathetic as the suffering wife - so sympathetic, in fact, and Hepburn seems so callous about the whole thing for most of the film, that one sides with what I'm sure is the wrong person.

Also, putting up with your husband's infidelity and not saying anything brings us right back into aggressive non-feminism.

I am forced to agree with one of the other comments - yes, it is directed by an important director, yes, it stars an important, legendary star, yes, it's early feminism, and yes, it's not that great a movie, rather, an artifact.

Worth seeing? To catch Hepburn in that moth costume - absolutely.

CHRISTOPHER STRONG (RKO Radio, 1933), directed by Dorothy Arzner, with a haunting score by Max Steiner, began production as "A Great Desire." Starring Katharine Hepburn in her second feature film following her successful debut in A BILL OF DIVORCEMENT (1932), it pairs her opposite Colin Clive for the only time. Set in England, she plays Lady Cynthia Darrington, an enthusiastic aviatrix (possibly inspired on Amelia Earheart), who is over 21 and has never had a lover or an affair because she makes no time for it. All that changes when she meets Sir Christopher Strong (Colin Clive), whose life is not only absorbed in his political career, but with his wife (Billie Burke) and his single adult daughter (Helen Chandler) who has a married lover (Ralph Forbes), but becomes her husband after he is finally granted his divorce.

CHRISTOPHER STRONG is particularly interesting mainly because of some pre-production code stuff, and seeing Kate playing "the other woman" on screen for the only time who meets her dismal climax, something not common in a Hepburn movie. There is even a "bedroom scene" which camera focuses mainly on Kate's hand by the lamp while the viewer only hears some mono dialog exchange between her and Chris before she turns off the lights, leaving something to the viewer's imagination. By today's standards, this is nothing compared to what Hollywood would make of this particular scene today. I won't reveal any more about the plot, but this is early Kate Hepburn as the liberated woman with carefree ideas that come back to punish her. Maybe casting Hepburn in this type of role was RKO 's way of trying to develop her into a tragic heroine like MGM's own Greta Garbo. Worth a look, however, especially seeing Colin Clive in something other than that as Dr. Henry Frankenstein, his most famous performance(s) in Universal's FRANKENSTEIN (1931) and THE BRIDE OF FRANKENSTEIN (1935). CHRISTOPHER STRONG, which formerly played on the American Movie Classics cable channel prior to 2001, can be seen occasionally on Turner Classic Movies. It was once available on video cassette through the Nostalgia Merchant and RKO Home Video, but presently, it's out of print. Look quickly for future Warner Brothers actress Margaret Lindsay appearing in a small role as a girl who wants to get Cynthia's autograph. Not a box office success when released, but better roles for Kate in 1933 would soon follow with MORNING GLORY and LITTLE WOMEN. (**1/2)