Grace Quigley

The best two scenes in the film in my view are where Katherine Hepburn is standing up for herself in the face of scoundrels. The first, a mean spirited landlord and the second, a sneaky and avaricious taxi driver. These scenes have passion and spark. The rest of the film was a rather hum drum and occasionally bleak dark comedy/farce.

The concept has the bare bones of a very funny dark comedy, but the execution was not terribly successful here because the dialogue and action is not witty enough.

For a witty dark comedy that is not a million miles away in terms of its theme, I would suggest Throw Moma from the Train.

I read in one of the reviews that the two leads did not get on and that reviewer considered that this didn't show in the film. I think it did show, as the scenes with Hepburn and Nolte appeared rather forced to me.

The third time was not the charm for the acting/directing team of Katharine Hepburn and Anthony Harvey. The two had been responsible for Kate's Oscar winning performance in The Lion In Winter and an acclaimed television version of The Glass Menagerie.

But gold went to brass in this black comedy, Grace Quigley about an old woman who sees a professional hit-man off her landlord. Truth be told the landlord was not the nicest guy in the world and there's no shock for the audience see the murder from Kate's point of view.

But Hepburn in the title role sees Nick Nolte as the hit-man as the solution to all her problems. She hasn't much reason to hang around this mortal coil with no family and friends taking the big trip, more it seems all the time. She blackmails Nolte into doing a hit on her, and maybe a few interested friends. And things get complicated there.

Kate also manages to pick a hit-man with issues. Nolte is in analysis and this new complication in his life is of interest to his doctor, Chip Zien. And Nolte who never had a family so to speak and the little old lady form one unusual bond that even Nolte's girl friend Kit Lefever can't break nor does she really want to.

This rather ordinary material is made much better by the sheer presence of Katharine Hepburn. She seems to be taking her Madwoman Of Chaillot character and Americanizing it in Grace Quigley. I doubt if a lesser actress could have made this palatable.

Grace Quigley marked the final performance of Walter Abel whose career stretched all the way back to World War I. Abel is one of the old folks just dying for Nolte's services.

Grace Quigley is primarily for Katharine Hepburn fans, I don't think it has too much appeal beyond that. Then again Kate has one big legion of fans.

Katharine Hepburn in a Cannon production? Yes, and though the color process on the photography is typically brackish and the technical aspects of "Grace Quigley" seem slapdash, this turns out to be a quirky, exceptionally funny piece about a hit-man's friendship with an elderly woman in New York. Reportedly, Hepburn and Nick Nolte clashed during filming, but you'd never suspect that from the finished returns (they have an easy rapport). The crux of the plot (that aged folks would rather die mercifully at the hands of a hired killer then live in loneliness or pain) was controversial in 1984--and still smacks of bad taste--yet director Anthony Harvey keeps the whole thing bubbling like the most genial of comedies. As for Kate, she's feisty as usual, but also delightfully daffy and loose; she's a team player. **1/2 from ****

This little unpolished gem from Cannon films almost defies definition with its frankly depressing premise and it's superannuated director and actors. It's no surprise it never found mainstream box office or even critical success at least in the mangled form it was largely released in. Talking Pictures TV ran the Ultimate Solution of... version - generally considered a good later screenplay fix. What can I say, it's one for movie nerds perhaps but with the spirited work of the great Nolte and Hepburn one can be assured it gets carried through safely, even over the several rough patches in a production that has the rather cheap and gaudy feel of 80s television, but don't let that disguise the fact this is a deadly serious drama about the futility of old age, with some jokes. There are just enough minor gags and sweet moments to prevent the viewer from sticking one's own head in the proverbial oven before the movie is out. Of course there's tongue in cheek elements and it's ultimately ambiguous morally, and even with Katherine's rather disturbing real-life Parkinson's on display, playing a desperate suicidal granny, one might forget she went on to live for two more golden decades, well after this film sort of had quietly died in its sleep with hardly a trace of collective memory. There's enough humour in the history of this much maligned film alone to give it a patient and respectful look. I admire it's quirkiness and subversive attitude, giving the polite finger to the whole entertainment film establishment in a way, an anti-epitaph for many of the crew, but done in such a humane and quietly charismatic way.

Great "black comedies" have one thing in common, great acting. Bud Cort and Ruth Gordon in "Harold and Maude", Paul Bartel and Mary Woronov in "Eating Raoul", George Segal and Ruth Gordon in "Where's Poppa?", Frances Fuller in "Homebodies", and definitely right up there is Katherine Hepburn and Nick Nolte in "Grace Quigley." The deadpan planning of "helping" the elderly move on" is played perfectly, and Nolte finds Grace's business plan to be quite profitable. In order for "dark comedy" to work it cannot be mean spirited, and "Grace" handles all the arrangements in a very dignified manner. Also, this is the only movie on the Planet that has a car chase with four hearses. Recommended for sure. - MERK