[8] Norma Shearer (The Divorcee) fronts an all-star, all-female cast in George Cukor’s adaptation of Clare Boothe Luce’s The Women. Shearer plays a happily married woman of privilege who learns through the gossipy grapevine that her husband is having an affair with another woman, played by Joan Crawford. Shearer struggles under the dueling influences of her mother (Lucile Watson) and her so-called ‘friends’, which include …
[6] In the first and least successful of their screen pairings, Katherine Hepburn and Cary Grant star as swindlers who end up running a traveling vaudeville show on the shores of England. Hepburn’s character disguises herself as a young man in order to evade police looking for her father (Edmund Gwenn), a gambler on the lam. The episodic script becomes unfocused when the father becomes …
[6] George Cukor directs Katharine Hepburn as Jo March in one of the earliest screen adaptations of Louisa May Alcott’s Little Women, a chronicle of the lives and loves of four sisters growing up in New England during the Civil War. There’s intrinsic nostalgia and sentimentality to the storytelling, but Cukor never lets the film become maudlin. That’s largely owed to Hepburn’s contribution. The then-controversial …
[4] Katharine Hepburn’s affection for director George Cukor began with this, her feature film debut. A Bill of Divorcement stars John Barrymore as a man returning home after five years in a mental asylum. During that time, his wife (Billie Burke) and daughter (Hepburn) have moved on with their lives and are planning their respective weddings. Imagine their surprise when Barrymore returns home and promises …
[6] Greer Garson, Richard Hart, and Robert Mitchum star in this twisted romantic drama about a woman who learns of her husband’s death from his visiting WWII buddy. She and the man then strike up their own romantic relationship, but everything unravels when the deceased husband shows up in town still very much alive. Desire Me was plagued with production problems, not the least of …
[6] Spencer Tracy and Jean Simmons star in this adaptation of an autobiographical stage play by writer/actress Ruth Gordon (Harold & Maude, Rosemary’s Baby). The story centers around teen-aged Gordon’s final year at home with her parents, when she first set her sights on acting while dodging her father’s efforts for her to pursue a more practical line of work. Director George Cukor sticks to …
[6] Director George Cukor (Gaslight, Adam’s Rib) adapts this stage play about a wealthy couple who invite a handful of high society friends for, you guessed it — Dinner at Eight. Everyone’s got a problem or a secret they’re grappling with, and everyone seems to be connected to each other in some way. Lionel Barrymore’s on the verge of losing his shipping company while John …
[7] Ingrid Bergman won the first of her three Oscars for this psychological thriller from George Cukor. Bergman plays a woman increasingly traumatized by her husband, a thief who nearly succeeds in convincing her that she’s losing her mind. It’s easy to invest in a movie when someone’s being mean to Ingrid Bergman. I only wish that she were more empowered in the story’s third …
[5] At her sister’s funeral, an eccentric woman meets her uptight nephew and takes him globe-trotting to find an old flame. The combination of the great George Cukor and the ever-acerbic Maggie Smith doesn’t add up to anything compelling in this Auntie Mame wannabe. The screenplay, based on Graham Green’s novel, is distractedly episodic and Smith’s performance is over-the-top even for her. The tone is …
[8] George Cukor directs from the play by Philip Barry (The Philadelphia Story), giving Katharine Hepburn and Cary Grant a chance to shine in this screwball romance. There’s not a Hepburn/Grant pairing I don’t like, and this one comes with a great supporting performance by Lew Ayres as Hepburn’s sobriety-impaired brother. Grant plays a somewhat Bohemian man who falls in love with a rich socialite …
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