Adam's Rib

source: Adam's Rib

Lawyers Spencer Tracy (Adam) and Katharine Hepburn (Amanda) spend the film on opposite sides during the trial of Judy Holliday (Mrs Attinger) who is up on a charge of attempted murder after she shoots her husband Tom Ewell (Mr Attinger). Given that the film is a comedy, it can only really end one way for Judy Holliday. Tracy and Hepburn undoubtedly work well together but the film has occasions where these two characters talk across each other and it just seems too shouty. It may be realistic but it certainly is not entertaining. Hepburn tends to over-exaggerate and lay on the dramatics when she acts and Spencer Tracy is clearly the better actor of the two. Actually, the best character is that played by Tom Ewell. He steals the film in all his scenes because he is genuinely funny. Judy Holliday is good if you can get past her terrible voice but musician neighbour David Wayne (Kip) is awful – not in the fact that he is meant to be an annoying character, but in the fact that he doesn't know how to convincingly portray a realistic person. He plays it gay one minute, then straight another minute, he's rubbish at acting. Nothing about his character rings true. At the heart of the film is Hepburn's ridiculous notion about women's lib and some sort of feminist ideals – you know, the sort of thing that makes women annoying. Face the facts Hepburn, Judy Holliday had just tried to kill someone for goodness sake – it's got nothing to do with gender! It's certainly a watchable film with some amusing parts (mainly with Tom Ewell), and some annoying parts (Katharine Hepburn and every appearance of David Wayne), and overall, it's more annoying than funny. Certainly not a classic as people seem to believe because they are told that it is. Everyone has done better.

An obvious Hepburn/Tracy vehicle, riding on the couple's real-life romance, Adam's Rib suffers from a blatant absence of plot and, come to think of it, pretty much anything that makes a good film. Adam and Amanda Bonner, respectively attorney general and lawyer, take sides in a courtroom battle over a woman's case who cooled her husband's adulterous ardour by clumsily trying to shoot him down. Sure enough, the legal joust spills over into the counsels' private life, with Hepburn making a case for women's rights and Tracy trying to compete on traditional, i.e. "manly" legal grounds. What could have been a pacey screwball classic quickly turns into a humdrum romance-*-esprit playlet deludingly relying on desperately "witty" colloquy and the chemistry between the two stars, foggily directed by an uninspired George Cukor, who must have been crying secretly in between takes. Though Tracey and Hepburn are on cruise control mode, there's only this much anyone could have siphoned out of a virtually non-existing intrigue, and after a somewhat upbeat beginning, it all drifts off into precocious women's lib rhetoric, most of it obstructing any further development of the story. Worst of all, the side plot – the couple's friend, a viscerally annoying wannabe songwriter and singer openly courting Miss Hepburn – is about the patchiest piece of script you've come across, shredding this hapless comedy into bits of fluffy dinner talk and cack-handled situation comedy. The truth of the matter is that, right from the start, Cukor follows the wrong cue, when he decides to stage a gender fight by settling on the obvious option, which is Hepburn siding with the betrayed female and Tracy defending the shot-at husband. This is of course a wild and foolish guess, but Billy Wilder, in his heyday, would have likely tackled the same story by going head first for a reversal of roles, perfidiously casting Tracy as a reluctant champion of the "weaker sex" instead, which in itself could have sparked off a firework of quiproquos and story twists and, incidentally, prevented anyone involved in this weakling from trying to get away with a routine job. For all those tender souls who keep fooling themselves about the grand cinema of olden days, and how everything was so much better in those days, this is shattering proof that futility is timeless.

Feminist attorney Katharine Hepburn has a new cause. She freely admits to doing a bit of ambulance chasing to get the case of Judy Holliday who shot her husband Tom Ewell after catching him in a love nest with floozy Jean Hagen. Problem is that of all the cases that he could have been assigned, Spencer Tracy, Hepburn's husband and assistant District Attorney, he got assigned to prosecute Holiday. I guess Spence felt a little of what Bogey felt when Ingrid Bergman came back into his life in Casablanca. Men down through the ages have certainly had the right to shoot the lovers of their wives when caught, why not women argues Hepburn. The case gets quite a bit of notoriety and of course it puts a strain on the marriage. But the plot is sure the right vehicle for a lot of great lines and situations. This is Spence and Kate at their very best. Of the comedies they did, this is my favorite, just like State of the Union is my favorite among the more serious films. Probably Adam's Rib's best known scene is when defense witness Hope Emerson picks up Spencer Tracy in a visual attempt to show feminine prowess and power. Even after seeing it several times you still will laugh yourself silly. For Adam's Rib, George Cukor denuded Broadway of stars to play in support of Tracy and Hepburn. Making film debuts were David Wayne, Tom Ewell, Judy Holliday, and Jean Hagen. Wayne is particularly funny and if Adam's Rib was made today, he'd certainly be more explicitly gay. He's the next door neighbor of Spence and Kate and some of the cracks Tracy aims in his direction would be considered downright homophobic. But let's face it, Wayne is an obnoxious scamp and that bit of vengeance that Tracy wreaks upon him and Hepburn in the climax involving licorice is a great cinematic moment. Adam's Rib is Tracy and Hepburn at the very top of their game and I think folks who are not necessarily fans of their's would be amused.

'Adam's Rib' is arguably the greatest Tracy-Hepburn film, and is certainly the most popular of their teamings. Brightly written (by the husband and wife team of Ruth Gordon and Garson Kanin), it takes the premise of a wife (the sparkling Judy Holliday, in her film debut) on trial for shooting her unfaithful husband (Tom Ewell, establishing himself in the kind of role he'd reprise in The Seven-Year Itch), and turns it into a forum of the sexual values and standards of the 1940s, and a showcase for the fabulous Tracy and Hepburn, who were were never better than as the battling D.A. and defense attorney. In the courtroom and out, the love they share, and tweaking of each other's egos is a sheer joy to watch. That the story is also a knowing commentary about women's inequality under the law makes the film even more topical today, and doesn't reduce the film's enjoyment value at all. It is a VERY funny film, and can be enjoyed at MANY levels! In addition to Holliday and Ewell, the supporting cast includes the terrific David Wayne as a smarmy songwriter-neighbor who covets Hepburn, and 'writes' the ditty 'Goodbye, Amanda' for her (actually composed by Cole Porter, Hepburn's character's name in the film was changed to Amanda, to fit the song!) Among the many wonderful scenes of the film are the 'home movie', which accurately reflected much of Tracy and Hepburn's own relationship; the infamous massage scene ("I know a slap...!"); the circus 'Strong Woman', demonstrating that women can be as physically powerful as men by lifting the panicking Tracy over her head easily (in the middle of the courtroom!); the infamous licorice-gun confrontation as Tracy confronts Hepburn with Wayne; and Tracy's crying-on-demand revelation. 'Adam's Rib' is a film which never seems to age, but just gets better and better!

I usually don't like Kate. The entire equation is backwards. The way I would like it to be is that someone envisions some work that connects with us, that has whatever value you might suppose. Ideally its more than just the slightest amusement, but even simple amusements can be worth experiencing if crafted well. But you have to start with the notion of what makes for an effective connection with the viewer. If it were a manufacturing business, you'd think in terms of what really would make people's lives better instead of what you can trick them into buying. What we have here is the equation turned on its head. You start with two actors with some box office appeal. Kate had engineered projects specifically designed for her narrow strengths since "Philadelphia Story" and this was merely one in a long string. This project starts with Kate and Spence and ends with them. The whole thing is based on wit, sparks, warmth that is supposed to be genuine. The basic problem is that they just aren't very rich people. They're stupid and uninteresting in fact. This bald fact is rubbed raw in the script, put together by a couple friends who were not professional writers. It drifts from one center to another. It depends heavily on timing, the sort of comic timing in "His Girl Friday" and that neither of these actors would ever touch in their entire careers. They are laconic readers who don't lean into their lines. They patiently wait their turn and mess up the beat. "African Queen" was designed the way I need. Not this. Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

"Adam's Rib", directed by George Cukor, and with a screenplay by Ruth Ford and Garson Kanin, was one of the happiest films the two stars did together. Mr. Cukor knew how to direct this couple, and it shows. There are no false moments in a movie. The rivalry between Adam Bonner and Amanda, his wife, comes to a head as they both get involved in a criminal case. Adam, as an Assistant D.A. is assigned to it. Amanda, as a successful trial lawyer, decides to get involved in it because she believes Doris Attinger acted in a moment of madness. This film was ahead of its time because Amanda questions the right of a woman to be judged the same way as a man, something the penal system seemed to ignore. Doris Attinger is a woman that has had enough with the philandering husband that appears to have fallen out of love with her. Warren Attinger doesn't care who he hurts, until Doris decides to take the matter into her own hands. Katherine Hepburn shows an impeccable delivery as Amanda Bonner. She has an inner beauty that shines and make her glow. Ms. Hepburn was at the top of her career just about then and it shows. Spencer Tracy is Ms. Hepburn's match as the D.A. prosecuting the case. Mr. Tracy is delightful to watch in their scenes together. He has such a mischievous presence that endeared him to us in anything he played. The revelation in this film was Judy Holliday. As Doris, the accused woman, she shows talent beyond imagination. In a way, it is sad to realize this amazing actress didn't live to make it even bigger in the movies. She was a natural and she is a joy to watch in the film. Lucky are we to be able to see her best work preserved for posterity. In minor roles David Wayne plays Kip Lurie, a Broadway composer. He is an annoying neighbor who admires Amanda, much to Adam's chagrin. Kip has written a song that becomes popular, "Dear Amanda", that is heard throughout the movie. Also, in the cast Jean Hagen, Eve March, and Hope Emerson who are effective in their roles. Thanks to George Cukor, Ruth Ford and Garson Kanin for bringing this enjoyable comedy to the screen. Above all, thanks to Spencer Tracy and Katherine Hepburn for playing the Bonners.

Spencer Tracy and Katharine Hepburn make fireworks in this cute film about a well-to-do married couple who both happen to be lawyers. Hepburn is a die-hard Woman's Rights supporter, so when a ditzy lady is charged with shooting her husband after catching him being unfaithful, Kate decides to take her case and defend her. The trouble is, old-fashioned husband Tracy is already penciled in as the prosecuting attorney. Let the Battle of the Sexes begin! The script sets up a great opportunity to have Tracy and Hepburn sparring with one another during every phase of the trial, as well as at home every night after they've spent each day trying to outwit each other. As a comedy, there aren't any huge belly-laughs, but it's a charming enough little take on the differences between men and women which also manages to make the point that, in many ways, the sexes aren't really all that different when all is said and done. **** out of ****

Could Spencer Tracy be underplaying any more than here? The script is dreadful and I was simply bored. Now that's one thing I rarely am in a Hepburn picture. This, along with "Bringing Up Baby" just hasn't aged well at ALL. At least 'Bringing Up Baby' is funny because of the screwball element. 'Woman of the Year' is still a far better film, covering some of the same topics as this, but in a far cleverer fashion. I can even see parallels between the two plots. You still get a sense of the Hepburn/Tracy chemistry here, but the rest of it is a gigantic mess. Even the Cole Porter song is boring.

Hepburn and Tracy do great improvisation when they have nothing to talk about. They're fun to watch when the plot isn't getting in the way. But the plot DOES get in the way. I still wonder why they couldn't have thought up a better scenario to test the equality of men and women other than what Hepburn calls an "unwritten rule". I've seen a good number of Hepburn and Tracy movies now and have yet to see one that rates higher than a 6 merely because the plots are so weak. Did everyone think that they could carry a movie no matter how bad it would otherwise have been? I didn't really like any of the supporting characters, either, especially the hard-to-watch David Wayne. I didn't live through this period, and I'm sure this was considered shockingly feminist in its day, but it hasn't aged well. It comes across as just the opposite now.