Review of The Philadelphia Story (1940) by Jennifer W — 18 Apr 2009

This film is so funny! The dialogue and story, adapted from the play of the same name by the actual playwright, includes so many excellent one-liners, candidly ascerbic and timeless observations, and undeniable wit, it's hard not to fall in love with it. In fact, the storyline unfolds not unlike an Oscar Wilde play, minus the pithy English affectations. The banter is quick and intelligent, the commentary is about the disparities of class, and the situations are a bit screwball without actually crossing the line.

This film also contains three legendary actors that were never in another film together again and that were at their finest at the time of its making. Hepburn negotiated a comeback for herself after years of being labeled "box office poison," but the role suited her to a tee, and you have to admire her sense of survival and business acumen. The other two were also in top form. Stewart won the only Oscar of his career for this movie, and while many thought he should have won for Mr. Smith Goes to Washington, his performance in this film is at least unique. It was not frequent that Jimmy played cynical and sardonic, and even his character in Rear Window doesn't quite measure up to the Connor character's piercingly merciless commentaries on class. The novelty of seeing Jimmy Stewart in this film doing this particular type of character - so against his type of imperfect but relatable everymen - is truly worth the watch. And, of course, Cary Grant was at his dapper and debonair finest, even if the character wasn't much of a stretch for him.

Even though the film is a romantic comedy with at least an expected outcome, the journey toward that outcome makes everything entirely fulfilling. Tracy learns some lessons, Dexter learns (or re-learns) forgiveness, Connor relaxes his own prejudices. Plus, the subtext of the story is to remark on tabloid voyeurism and the idiosyncracies of the wealthy. This kind of discussion, even if superfically considered in a romantic comedy, is as timeless as this film has now become.

All in all, it may not be George Cukor's most visually creative picture, but there are some romantically poetic uses of camera and lighting to create and reflect mood, such as the scene when Tracy stares thoughtfully at the model of her prior honeymoon sailboat in her pool that was given to her by Dexter as a wedding present. Ultimately, though, the true Philadelphia Story is about its pitch-perfect writing and one-shot assembly of such a talented and enjoyable ensemble cast.