Devine qui vient dîner...

Let's not settle our 2016 values on this film. Interracial marriage is so commonplace these days. Not that it is accepted very well in many places. This film is one of the first to address the issue and it is not tame. When the young people go to the home of the white folks, there is a moment when a nuclear explosion may hit. Spencer Tracy always had a slow burn and he utilizes it well here. Still, it is too much for him at the beginning. One has to wonder if even the more liberal viewers of marriage knew that this was a road to a difficult life. Even today, it's a hard road to travel at times. One thing I appreciated was that we got the perspective from both sides, especially Sidney's father. Racial issues aren't always a one way street. This film needs to be seen even if one might think it dated.

Continuing to review films featured with people of color in chronological order for Black History Month, we're once again in 1967 with Sidney Poitier's third film in release that year: Guess Who's Coming to Dinner. Here, he's Dr. John Prentice who, after spending vacation time in Hawaii for 10 days with one Joey Drayton (Katharine Houghton), is engaged to her and is meeting her parents for the first time in San Francisco. They're Christina (Katharine Hepburn) and Matt (Spencer Tracy) and they're both a little shocked when they meet John despite both being liberal people. Christina gets over hers while Matt takes a while. Their maid Tillie (Isabel Sanford) isn't thrilled at all while old friend Monsignor Ryan (Cecil Kellaway) approves and is bemused by all the reactions including those of John's parents (Beah Richards, Roy Glenn) when they arrive. I'll stop there and just say that while I'm sure the whole thing was made to provide such a mostly perfect representation of the black race for public consumption in presenting Poitier's characterization, he's still allowed to be a little human whether talking back a little to his father or saying he'll call off the marriage if his fiancé's parents have any reservations without consulting Joey first. Many of the funniest moments come from Ms. Sanford's Tillie during her outbursts about "black power"! There's also some nice moments concerning Tracy and Hepburn on screen together especially when one knows that this was Spencer's final movie before his death. Why, seeing Ms. Hepburn cry during her longtime loving partner's last speech on set is perhaps the most touching thing here. But let's not cut the lines of Ms. Richards and Mr. Glenn short here. Roy makes the then-pertinent point of how his son and fiancé would be considered criminals in at least 16 states (actually 14 during filming) if their relationship was known. But Beah herself is the one who gets through to Spencer about how both him and her husband seemed to have forgotten what it was like when they themselves were young and impulsive. It's that part that got her the worthy Oscar nomination. In fact, Cecil Kellaway, Ms. Hepburn, and Mr. Tracy all got worthy nods with Hepburn a worthy win (though I admit that with the exception of Audrey Hepburn in Wait Until Dark, I haven't seen the other nominees for Best Actress that year). I'm not so sure about the Best Picture nomination but it's not as embarrassing as that for Doctor Doolittle (though I'm basing that more on reputation since I've yet to see that one in its entirety). In summary, Guess Who's Coming to Dinner is still quite entertaining even with the obvious liberal point-of-view. P.S. Two other African-American players worth mentioning are Barbara Randolph (daughter of Lillian Randolph who's in my favorite movie, It's a Wonderful Life) as Dorothy who does a groovy dance with a white delivery guy and D'Urvile Martin who as Frankie gets his car accidentally hit by Spencer's automobile when the latter backs out of an ice cream parlor.

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.

Guess who's coming to dinner is a first class film. It focuses on the subject of interracial marriage and the challenges that can arise. Set in the 1960s, this was definitely topical.

We are treated to first class acting from Sidney Poitier who is arguable one of the greatest and most dignified actors to grace the screen. Great performances from Spencer Tracy and Katherine Hepburn who play shocked and concerned parents. This film also focused on the important issue of walking the talk, righteous people who preach certain ways of living but we see it put to the test when they themselves are in that situation. The parents who raised a unbiased and open minded daughter must deal with her choices.

Spencer Tracey's speech to his daughter and Sidney is one of the best in film. He passes on an important message of understanding and righteousness to not just his daughter and son in law to be but the rest of America watching. A showcase of brilliant acting and messages in a film that was ahead of its time.