Guess Who’s Coming to Dinner
Stanley Kramer
1967, 108 mins.
The eyes have it
Well now, decades after its release, Kramer’s classic—ahead of its time—about mixed marriages, sadly, still has as much to say regarding frowned-upon marriages in the 21st century as it did in 1967.
Sidney Poitier (as the brilliant doctor, John Prentice, is the interracial glue to this tale of a tragically widowed man—previous wife and son years ago)—and his sudden wife to be Joey (Katharine Houghton cavorting more than acting in this pivotal role).
Her parents (Katherine Hepburn and Spencer Tracey) literally carry the film but mostly more through their imaginatively postured eyes than their lines—save and except Tracy’s movie-stealing soliloquy at journey’s end (and of course, resulting in happily ever after).
Those of us who have readily coexisted in inter-racial relationships will marvel at such a film SO ahead of its time; for the bigots still amongst us, of course, they will never get past the first reel.
All of which explains the musical cantus firmus, “Glory of Love”. JWR
His Girl Friday
Howard Hawks
1940, 92 mins.
“I just want to wish you everything I couldn’t give you”
From a covey of inventive, madcap writers (Ben Hecht, Charles Lederer and Charles MacArthur) based on The Front Page (first produced on Broadway in 1928), and legendary director Hawks, it’s certainly worth a relook at this star-studded film 84 years later to discover that the laughs are mostly still there and its foreshadowing of politics (winning at any cost), conspiracies (the “Red” threat has never really vanished) and fake news (all that’s fit to print whether factual or not) is still as relevant today.
Cary Grant demonstrates his great sense of comedic chops and timing playing NYC newspaper publisher Walter Burns. In a plot twist from the original script, Hildy Johnson morphs into a woman (and—off and on—Burns’ babe); Rosalind Russell is ideally cast in the “now I want a real life” part and carries most of the movie. Her fiancé, naïve insurance salesman Bruce Baldwin (done up with wide-eyed believability by Ralph Bellamy) provides the perfect foil to the duelling (professionally and personally) journalists with a cause (largely their own).
As the victim, John Qualen delivers a fine “did he, or didn’t he?” take on death row inmate Earl Williams.
Sure, there are lots of laughs: the press room simultaneous telephone duets and trios are a marvel of timing and pace, an albino shifted to being an Albanian is a quick yuk, but one can only wonder what sort of present-day satires will emerge after the dust or destruction settles after November 5, 2024. JWR
Sleepless in Seattle
Norah Ephron
1993, 105 mins.
The boy steals the show
Seen once again in 2024, the screenplay (Ephron, David Ward, Jeff Arch) most certainly shows its age (lots of fun in the ‘90s but rife with decidedly cheesy dialogue now) but is still well worth a look for two reasons: the marvellous soundtrack overflowing with memorable tunes from “As Time Goes By” to “Bye, Bye Blackbird” and Ross Malinger’s captivating performance as eight-year-old Jonah.
Tom Hanks is just OK playing Sam, while Meg Ryan’s take on conflicted lover Annie looks better than it feels. More convincing are Rosie O’Donnell as confidante Becky and Rob Reiner’s brief but memorable part as Jay.
This bit of long-past nostalgia in a bottle, artfully anchored by the real An Affair to Remember, needs to be seen at least once by all cinephiles. JWR