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The Philadelphia story.

Author: Katharine HepburnFranz WaxmanJoseph L MankiewiczJames StewartGeorge CukorAll authors
Publisher: United States : Metro-Goldwyn-Mayer, 1940.
Edition/Format:   Film : Film   Visual material : EnglishView all editions and formats
Database:WorldCat
Summary:
This is an example of the screwball comedy of remarriage - the couple have already been married and divorced well before the film begins (see also The Awful Truth and His Girl Friday). The comic tension arises from the fact that the couple know each other too well. The focus on the humanising of the woman (Hepburn) contradicts the usual movement of the genre where the woman rescues the man from social and academic  Read more...
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Details

Genre/Form: Drama
Material Type: Film
Document Type: Visual material
All Authors / Contributors: Katharine Hepburn; Franz Waxman; Joseph L Mankiewicz; James Stewart; George Cukor; Donald Ogden Stewart; Cary Grant; Joseph Ruttenberg; Philip Barry; Metro-Goldwyn-Mayer.
OCLC Number: 221875675
Notes: Based on the play by Philip Barry.
Credits: Producer, Joseph L. Mankiewicz ; director, George Cukor ; script, Donald Ogden Stewart ; photography, Joseph Ruttenberg ; music, Franz Waxman ; art director, Cedric Gibbons.
Cast: Cary Grant, Katharine Hepburn, James Stewart.
Description: 2 film reels (112 min.) : sound, black and white ; 16 mm

Abstract:

This is an example of the screwball comedy of remarriage - the couple have already been married and divorced well before the film begins (see also The Awful Truth and His Girl Friday). The comic tension arises from the fact that the couple know each other too well. The focus on the humanising of the woman (Hepburn) contradicts the usual movement of the genre where the woman rescues the man from social and academic rigidity (see Holiday, Bringing Up Baby). This film does conform, however, in directing female individualism almost entirely to male conquest. In adapting Barry's stage success Cukor showed his skill in the understated and fluent recreation of a play on film. The characters seem to behave rather than act. Barry and Cukor's affection for the wealthy is not without some ambivalence.

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Linked Data


Primary Entity

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   schema:contributor <http://experiment.worldcat.org/entity/work/data/1071224012#Person/barry_philip_1896_1949> ; # Philip Barry
   schema:datePublished "1940" ;
   schema:description "This is an example of the screwball comedy of remarriage - the couple have already been married and divorced well before the film begins (see also The Awful Truth and His Girl Friday). The comic tension arises from the fact that the couple know each other too well. The focus on the humanising of the woman (Hepburn) contradicts the usual movement of the genre where the woman rescues the man from social and academic rigidity (see Holiday, Bringing Up Baby). This film does conform, however, in directing female individualism almost entirely to male conquest. In adapting Barry's stage success Cukor showed his skill in the understated and fluent recreation of a play on film. The characters seem to behave rather than act. Barry and Cukor's affection for the wealthy is not without some ambivalence."@en ;
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