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It's ironical this film to be titled as the main male character, above all when this raises among film classics for its accurate depiction, not only of the main female one, but also of the female secondary roles. It is probably due to the fact that it is directed by a woman, but the talent of Arzner goes beyond through accurate cinematography and a sense for lyrical melodrama far from the soapy tone of the majority of its contemporaneous. Katharine Hepburn is exulting as the brave woman always a step further its era, here in love for the first time with a married man. Particularly moving is the last sequence, with Hepburn trying to achieve the altitude record with her airplane as she confronts the most relevant facts of her story. A little gem to be discovered.

Sir CHRISTOPHER STRONG, staunch family man and Conservative MP, finds himself falling in love with a free-spirited aviatrix.

Given splendid production values by RKO Radio Pictures, this high-class soap opera proved to be an excellent showcase for the talents of young Katharine Hepburn. Tall, angular, tomboyish, in a role patterned after Amelia Earhart, Hepburn is utterly fascinating as the woman who's never loved. Whether striding about in men's clothing or swathed in an outrageous moth costume, she makes the heartache & jubilation of her character play across her expressive features. It is almost painful to try imagining anyone else in the role. Her final scene, as she gives the ultimate sacrifice, is especially poignant.

Colin Clive seems an unlikely choice as the object of Hepburn's passion, but he acts his part with great earnestness, deftly underplaying what could have easily been a stiff & cardboard characterization. In a serious role, the wonderful Billie Burke skillfully delineates the agony of the unloved wife. Like Hepburn, she remains in the memory long after the film ends.

Helen Chandler & Irene Browne, as Clive's daughter & sister respectively, do well with their portrayals of socially irresponsible females. Ralph Forbes, as an upper class philanderer, also resonates in an important supporting role; here was an actor with the talent & charm to have become a major Hollywood star, but it was not to be.

Pioneering director Dorothy Arzner includes subtle suggestions of the sapphist in Hepburn's character, to be rejected or respected by individual viewers. As it is, certain situations in the plot show its pre-Production Code status.

Christopher Strong is a rather short and underbaked movie. The film starts out with a young woman and her boyfriend participating in a treasure hunt where they have to find a woman over twenty who has never had a love affair and a man who has been married over 5 years who has never had an affair. The woman brings her father, the titular Christopher Strong, along and her boyfriend finds a career driven aviator Cynthia Darrington, who will cop to being over twenty and having had no boyfriends. There is an immediate attraction between Christopher and Cynthia and the bulk of the movie is devoted to the eventual consummation of their love affair and the consequences that follow.

This was only Hepburn's second movie, but Darrington is a classic Hepburn role, independent, honest, and tomboyish. Colin Clive is really too young for the role he was meant to play and has ridiculously little chemistry with Hepburn. They barely register as a couple at all.

Unless you're a fan of one of the stars or an Arzner completist, this pre-code film isn't really worth your time.

This early Katherine Hepburn picture about a daring woman pilot united the most liberated, confident and assertive female in film history, Hepburn herself, with the early sound era's most tragic female victim, Helen Chandler. Chandler was a gifted actress who gained film immortality as the exquisite blonde Mina in Dracula, only to fall victim to bad parts, bad choices, and a casual drinking habit that cost her roles and swiftly became compulsive and fatal alcoholism.

Haunting and heart-wrenching in the extreme, the film almost unintentionally sets up the brave Lady Cynthia (Hepburn) in direct contrast to the embittered, tormented and weak-willed Monica (Chandler.) Hepburn is the daring lady pilot enjoying a wicked affair with strong, solid Sir Christopher Strong, while Chandler is Strong's weak daughter, the jealous and resentful Monica.

"Of course I do whatever I choose," Hepburn announces, striding into the drawing room in her daring and very masculine attire. "What woman doesn't?" The only woman wearing pants in this movie, Hepburn hardly seems to notice that other women lack her strength. Only a few feet away we see a lovely blonde on the sofa, her eyes blazing and her hands shaking as she gulps down a drink in helpless defiance. Helen Chandler hardly needed to act as she portrays a woman whose guts have been torn out already, but her smallest gestures are still remarkable. Taking the first drink, waiting for the effect, shuddering with relief. The constant fidgeting, the inability to look anyone in the eye. The twitching of her hand when trying to wave off questions about her drinking.

As the film unfolds, Monica is supposed to be spoiled and disdainful, but Helen Chandler willingly or not somehow puts across an almost pitiable quality of spineless dependency. Monica lives in terror that her father will discover her drinking, yet hates the laughing, confident and healthy woman who has engaged his interest. Trapped in her own life of appearances and lies, her weak, sweet-faced mother can do nothing but look on worriedly as angry Monica stews on the sofa, either puffing greedily on a cigarette or gulping another drink.

In the big "party" scene, Hepburn is is calm and triumphant, while Chandler's Helen is just the opposite -- her laughter too loud, her movements too frantic, her wild gestures almost a savage parody of youthful enjoyment. It's like there's a fiend inside her, a demon who has taken the soul and left only a fragile and hopeless shell.

The demon was alcohol, and by the time this movie was made Helen Chandler was only a shell of her former self.

I'm not quite sure why the title of this film is not Lady Cynthia Darrington since the film rises and falls on the action of Hepburn's character and not on Colin Clive's title role of Christopher Strong.

Clive is a most proper member of Parliament, probably a Tory, who through a treasure hunt, a la My Man Godfrey, he meets Hepburn who is a young titled woman who has an interest in aviation. In fact she's the British version of Amelia Earhart.

Clive and wife Billie Burke have a daughter, Helen Chandler, who is something of a wild child. She's having an affair with the unhappily married Ralph Forbes. But before long it's Clive and Hepburn who get involved.

Colin Clive gives us a perfect portrayal of a man going through midlife crisis when everything just seems to settle in a dull routine. He's so taken by Hepburn's vitality and independence that their affair has an inevitability about it.

Dorothy Arzner one of the few women directors around at that point also gives us one of Kate's very first feminist icon roles. Her first film, A Bill of Divorcement, had Kate as a dutiful daughter who gives up her man to care for an insane father. Kate has some critical choices to make in Christopher Strong as well.

What she does might not make sense to today's audience, but made perfectly good sense in post Victorian Great Britain. She and Clive make a wonderful pair of tragic lovers in a drama that while old fashioned still holds up.