Guess Who's Coming to Dinner

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.

Matt and Christina Drayton (Spencer Tracy and Katharine Hepburn) are a couple whose attitudes are challenged when their daughter brings home a fiancé (Sidney Poitier) who is black.

I had never seen this movie until last night, primarily because I never saw the point. The story seemed so obvious and cliché to me, having grown up decades after the film was released. Of course a family would react poorly when they see the racial difference of their daughter's chosen husband. But, I underestimated the whole thing.

The film is more complex, because as it turns out, the family is not actually racist -- at least not in theory. And this film allows theory to meet practice, which may be harder to overcome than they thought. Luckily, they have the advantage of the black man being a world-renowned doctor. Had he just been any old schmuck, the family might not have been as welcoming. It is a whole different story.

The two things I found most interesting about the film were: one, that the two people most opposed to interracial marriage were both black. That seemed quite the opposite of what you might expect. And two, I found it odd that the biggest problem was supposed to be the racial difference. The 14-year age gap and the fact they wanted to get married after only 10 days of knowing each other was largely ignored. I find that to be the much bigger problem -- how do you commit to a lifetime after only 10 days?

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.

Here's a great way to spend an afternoon: watching some of the greatest actors of all time in a film that still has relevance today. Such a cast! Hepburn is wonderful as always, very energetic, with no trace of the shakiness of her later years.

Tracy, gruff, the way most probably remember him - sort of a ratcheted up version of the roles he played with Hepburn in earlier years. His ill health is obvious though to the careful observer: voice a little weak at times, and Tracy's step missing the "spring" of his earlier films. The fact that this his last film was so memorable, and of such quality just adds to his legend.

Potier of course turns in a great performance, impeccable as always.

Watch for Isabel Sanford, ("The Jefferson's") particularly the one memorable scene where she explains to Potier's character just what "black power" really is.

Cecil Kellaway sparkles as Monsignor Ryan, and Beah Richards and Roy Glenn, as the parents to Potier's character, mirror Hepburn and Tracy.

Indeed, there is so much real honest-to-god acting talent concentrated in this movie, it seems almost unfair, what I'm about to say: Katharine Houghton, as 'Joey' is the only character with only 2 dimensions. She's the ever-smiling, but clueless daughter and object of Dr. Prentice' affection. She's such a Pollyanna, and remains oblivious to the drama going on all around her, and everyone else conspires to keep her in the dark throughout the entire film. (No wonder her father is concerned.) I think it's fair to say that Houghton's character is the one weak spot in this otherwise excellent film.

That said, this is a wonderful film that I will always watch when it comes on. It's such a treat to watch these legendary actors at work. I highly recommend it.

By the way, there's no glass in Spencer's eyeglasses during the ending monologue, is there – he's wearing only frames, right?

It's so easy to criticize this film. The soundtrack from DeVol is *awful*. The film is incredibly dated and there are some scenes, (the scene with the delivery boy and the ice cream shop), that are unbearable, like something out of a Gidget film.

Of course the other problem with this film, 33 years after its production, is who in the year 2000, would be upset about their daughter marrying a Yale educated Doctor?

However, despite all this, Guess Who's Coming to Dinner is a great film. The film is wonderful because it was the last film made by one of Hollywood's greatest duos, Katherine Hepburn and Spencer Tracy.

This film was made while Spencer Tracy was dying. Spencer had to put his entire salary in escrow in order for the film company to allow him to do the film.

So why did Katherine Hepburn and Spencer Tracy agree to do this film, without immediate payment? Because it's a film about forbidden love, it's a film about loving someone no matter what society thinks, or what the rules are. This is something Spencer Tracy and Katherine Hepburn knew a great deal about.

What makes this film outstanding is, by the end of the film you realize, Kate and Spencer are not even acting they are relaying their feelings about each other, through the film. Once you catch that, the drama of the final few scenes is just unparalleled and Spencer's final speech, about his love for Kate (Christina), can drive even the most twisted soul to tears.

A few things to catch in this film, watch Kate's face when Spencer recites the line, 'screw what the rest of the world thinks about your love'...those are real tears. Watch Spencer Tracey as he paces back and forth on the terrace near the end of the film. He realizes he is about to begin one of the last scenes he will ever film. He's line 'well I'll be a son of a bitch'...is more a realization he's about to make his last grandstand on the big screen, in his entire career.

Spencer Tracy is one of America's greatest actors. This is his last triumph. For that reason alone, it's a true cinematic treasure.