Without Love

WITHOUT LOVE is such an uneven film--some of it is quite inspired--but it's safe to say that there are a few scenes that make it worth watching even if it is a bit overlong in getting to its inevitable conclusion. Hepburn and Tracy are at their most polished as romantic partners. The subplot is handled with skill by Lucille Ball and Keenan Wynn (who does a great drunken bit) and fans of Tracy and Hepburn won't be disappointed in their handling of rather unusual roles.

Hepburn has never been one of my particular favorites--I find her mannerisms are a turn-off by the time any film starring her has gone beyond fifteen minutes--but here she is actually showing a warmth, tenderness and vulnerability that she seldom really showed in any of her more well-known comedy roles. And Tracy is so natural, you forget he is just acting.

The plot has two unlikely people who have given up love for opposite reasons actually finding out that they truly do love each other--but not until the last reel. All of their scenes are enhanced by the added device of having a dog who looks just like Toto (from the 'Wizard of Oz') steal many a scene. For added measure, Lucille Ball pops up in a brief but delightful supporting role opposite Keenan Wynn.

Hepburn is more appealing here than she was as the stuck-up heroine of THE PHILADELPHIA STORY and the story, although predictable, has some very unusual touches that make it well worth watching, especially if you're fans of Hepburn or Tracy.

Patricia Morison has a thankless supporting role and Gloria Grahame has a brief bit as a flower girl allergic to flowers in a nightclub scene.

Without Love, one of the Tracy/Hepburn movies, is one little-known films from that series. It is a sweet story of a developing love between two people. There is a lot of comedy as well, which is fantastic and it is truly funny at times. Katie and Spence, are, as usual, sizzling up the screen and acting to perfection. Although it may not have the charm of Woman of the Year or the biting dialog of Adam's Rib, it is a charming story. Katharine Hepburn plays a widow, Spencer Tracy plays a man who doesn't want to love again. This movie is not for everyone, I especially recommend it to Tracy/Hepburn fans as they will appreciate the real romance behind this picture and enjoy watching them sizzle. Beautiful film.

Philip Barry's play about a scientist/inventor who rooms with a widow during the war might've fallen flat with a less-experienced cast; it is middling material, weighted with palaver, not even offering anything in the way of surprises. However, Spencer Tracy and Katharine Hepburn are well-attuned to these characters (and to each other) and make the most of it. Tracy is talked into a platonic marriage with Kate, but eventually feels the pangs of real romance. The play's stagy action is opened-up expertly for the screen, with talky scenes nicely balanced by lively set-pieces (such as the train-sequence, the best moment in the film). The colorful supporting cast, including Gloria Grahame (in a bit part) and Keenan Wynn, perform with aplomb, plowing right through the contrivances. As Kate's girlfriend, Lucille Ball gives one of her best performances, and she has a classic retort to Spencer Tracy who commands his dog to lie down (Ball to Tracy: "Who, me?"). Not a perfect showcase for the leads, but very pleasant nonetheless. *** from ****

Spencer Tracy is Patrick Jamieson, a hard-headed scientist whose heart gave up on love a long time ago and which now takes refuge in facts and only facts. Katharine Hepburn is Jamie Rowan, a young widow who, having had her perfect first love and husband die in a riding accident, has closed herself off to love and life, believing she should--and could--never love again. So, from this common ground and the respect they share for the sciences, Pat and Jamie decide to get married: how perfect, how *convenient* a marriage without love can be! No jealousy, no bickering, just companionship.

Well, that's the *idea* anyway... the viewer knows with pretty much any Hepburn/Tracy vehicle that the two leads are going to wind up together, and very happily so, in the end. The thrill in coming to a film of theirs fresh is seeing how their characters get there. It's a pretty fun ride in WITHOUT LOVE: Hepburn is pitch-perfect as a widow set on becoming a spinster, and Tracy has his slightly bemused, man-(sorta)-above-the-fray character down to a T. The love story is given a lot of care in this film, so that you really can believe that eventually, love--or more importantly, the *lack* of love--can get in the way of a marriage. You watch Pat getting used to Jamie, beginning to find her indispensable; you see Jamie opening up, smiling, even longing for love again. Jamie's loneliness within their self-declared 'loveless' marriage is especially well-handled, because it is *her* heartache, at the loss of a perfect husband and true love, that seems so insurmountable and must be overcome first. Of course, it can't hurt to have the main characters played by Hepburn and Tracy--already there's a built-in audience waiting and expecting these two to get together! But the script also had quite a part to play in that, by the end of the film, I was definitely willing Pat and Jamie to discover their love for each other, and to voice it out loud instead of pretending that their marriage 'without love' hadn't already turned into one full of love. The final scene between Pat and Jamie is startlingly sweet: the roundabout way in which Pat admits his love for Jamie is both heartfelt and true to the relationship between the characters.

All this having been said, WITHOUT LOVE, along with the two melodramas KEEPER OF THE FLAME and THE SEA OF GRASS (and perhaps also Frank Capra's THE STATE OF THE UNION), still remains one of the forgotten--or at the very least, much lesser-known--movies of the nine collaborations between those immortal screen (and real-life) lovers. There probably is a reason for this--the film is entertaining (witness the scene where Pat quite literally sleepwalks into Jamie's bed!), with a clever script ("Are you trying to be vulgar?"/"It takes no effort.") and a great cast (Hepburn and Tracy, of course, but Lucille Ball and Keenan Wynn also shine and charm in their small roles to great effect). However, WITHOUT LOVE (also based on a Philip Barry play) is quite simply *not* THE PHILADELPHIA STORY. The script just doesn't have the same zing or exuberance (though you can tell Barry has tried his hardest), and the actors don't share and feed off that same electric current that charged Hepburn's acting against Cary Grant and James Stewart. It can't have been too difficult to figure out, given the greatly contrasting Broadway runs the two plays (both starring Hepburn in the role she originated on stage) had--one smooth and receiving tumultuous welcome wherever it went, the other... well, not *quite* so joyously received.

Still, how often *does* a film like THE PHILADELPHIA STORY come along? Surely while waiting between classics, it couldn't hurt to watch a few solid, sweet and thoroughly engaging films like WITHOUT LOVE. And this film has bonuses as well--Pat and Jamie are more truly equals than any of the characters I've seen Hepburn and Tracy play so far... no 'slapping down' of the Hepburn character by the big gruff bear-paw of the Tracy character. Hepburn fans also get to see her sing (in French!) and totter around in the most alarming feathery get-up (that ending scene is really a hoot!). Keenan Wynn plays a delightful Philip Barry drunk--which means that he's wittier and more lucid than the rest of us, even when we're sober on a good day!--and Lucille Ball is luminous in her small role as Kitty Trimble.

So why not give WITHOUT LOVE a chance to put a smile on your face? With any luck, it'll do that and much, much more...!

Without Love is the third Philip Barry play that Katharine Hepburn was in on Broadway and then brought to the screen. It certainly is less well known than Holiday and The Philadelphia Story, but it's not as good.

The story concerns a government scientist who arrives in town without a place to stay. The housing shortage in Washington, DC during the World War II years was the whole premise behind The More the Merrier. Here it's a vehicle that gets Tracy to meet Hepburn. She's a Washington socialite with a big house that she's trying to sell. Perfect for Tracy and his experiments trying to invent an oxygen mask for high altitudes.

They develop feelings for each other, but both have been married before. Tracy's gone through a bad divorce and Hepburn is a widow. They agree to marry, but without emotional involvement.

How that all works out is the reason you ought to see the film. For me it's the weakest of all their films together. It doesn't have the sparkle of either Woman of the Year or Adam's Rib.

Possibly because on stage, Tracy's part was played by Elliott Nugent. I'm sure that the part had to have been built up for someone of Tracy's stature to even consider it even if it was Hepburn as the leading lady.

Lucille Ball, Keenan Wynn, and Patricia Morison all have good supporting parts here.

The fans of Tracy and Hepburn, individually and collectively, should appreciate this. That's a group that takes in a whole lot of territory.