Assim Amam as Mulheres

CHRISTOPHER STRONG (RKO Radio, 1933), directed by Dorothy Arzner, with a haunting score by Max Steiner, began production as "A Great Desire." Starring Katharine Hepburn in her second feature film following her successful debut in A BILL OF DIVORCEMENT (1932), it pairs her opposite Colin Clive for the only time. Set in England, she plays Lady Cynthia Darrington, an enthusiastic aviatrix (possibly inspired on Amelia Earheart), who is over 21 and has never had a lover or an affair because she makes no time for it. All that changes when she meets Sir Christopher Strong (Colin Clive), whose life is not only absorbed in his political career, but with his wife (Billie Burke) and his single adult daughter (Helen Chandler) who has a married lover (Ralph Forbes), but becomes her husband after he is finally granted his divorce.

CHRISTOPHER STRONG is particularly interesting mainly because of some pre-production code stuff, and seeing Kate playing "the other woman" on screen for the only time who meets her dismal climax, something not common in a Hepburn movie. There is even a "bedroom scene" which camera focuses mainly on Kate's hand by the lamp while the viewer only hears some mono dialog exchange between her and Chris before she turns off the lights, leaving something to the viewer's imagination. By today's standards, this is nothing compared to what Hollywood would make of this particular scene today. I won't reveal any more about the plot, but this is early Kate Hepburn as the liberated woman with carefree ideas that come back to punish her. Maybe casting Hepburn in this type of role was RKO 's way of trying to develop her into a tragic heroine like MGM's own Greta Garbo. Worth a look, however, especially seeing Colin Clive in something other than that as Dr. Henry Frankenstein, his most famous performance(s) in Universal's FRANKENSTEIN (1931) and THE BRIDE OF FRANKENSTEIN (1935). CHRISTOPHER STRONG, which formerly played on the American Movie Classics cable channel prior to 2001, can be seen occasionally on Turner Classic Movies. It was once available on video cassette through the Nostalgia Merchant and RKO Home Video, but presently, it's out of print. Look quickly for future Warner Brothers actress Margaret Lindsay appearing in a small role as a girl who wants to get Cynthia's autograph. Not a box office success when released, but better roles for Kate in 1933 would soon follow with MORNING GLORY and LITTLE WOMEN. (**1/2)

Katharine Hepburn is a beautiful and accomplished aviatrix in "Christopher Strong," a 1933 film also starring Clive Owen and Billie Burke, and directed by Dorothy Arzner.

Hepburn's role of Lady Cynthia is loosely based on Amelia Earhart, a young, ambitious career woman who is not interested in marriage and home but rather accomplishment. She's an early feminist, and the role is perfect for Hepburn, who with her androgynous looks and strong performances would go on to play many such roles in her very long career.

"Christopher Strong" is of interest because it's early Hepburn, has a feminist theme in the early '30s, and also because it's pre-Code. Arzner does a great job depicting the love affair of Hepburn and Owen and yet shows nothing, with a hand reaching up and checking the time on a small clock...then the light is turned off and plunges the room into darkness after the lovers exchange a few words.

The problem with the movie is that it's badly dated, a '30s melodrama with tremulous, "we must be honorable," pip-pip and all that rot dialogue.

Owen tells everyone at a party that he will never be unfaithful to his wife, that it is a moral charge he holds high - and seconds later he meets Hepburn and you can tell he's already falling. Owen is an odd choice of a romantic partner - he's not exactly the man one would give up everything for.

A bigger problem is the performance of Billie Burke, a fine actress. She is extremely sympathetic as the suffering wife - so sympathetic, in fact, and Hepburn seems so callous about the whole thing for most of the film, that one sides with what I'm sure is the wrong person.

Also, putting up with your husband's infidelity and not saying anything brings us right back into aggressive non-feminism.

I am forced to agree with one of the other comments - yes, it is directed by an important director, yes, it stars an important, legendary star, yes, it's early feminism, and yes, it's not that great a movie, rather, an artifact.

Worth seeing? To catch Hepburn in that moth costume - absolutely.

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.

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.

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.