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By the 30s, Katharine Hepburn was box office poison. Then she made The Philadelphia Story
By the 30s, Katharine Hepburn was box office poison. Then she made The Philadelphia Story

The Guardian

timea day ago

  • Entertainment
  • The Guardian

By the 30s, Katharine Hepburn was box office poison. Then she made The Philadelphia Story

These days, Katharine Hepburn is revered as a progressive icon of Hollywood's golden age, an androgynous (and possibly queer) fashion rebel whose four best actress awards have yet to be topped at the Oscars. But back in 1938, only six years into her illustrious career, she was branded as 'box office poison'. She was a star ahead of her time, her domineering screen presence registering as shrill and petulant by the tail end of the 1930s. After the box office disappointments of Bringing up Baby and Holiday – both now canonised romcom classics – she retreated from Hollywood and signed on to a new play penned by her friend Philip Barry: The Philadelphia Story. Like its film adaptation, Barry's script centres on Tracy Lord, a stuck-up socialite (easily read as a stand-in for Hepburn herself) set to marry a wealthy politician, only for the wedding to be upended by the arrival of two competing romantic prospects: her ex-husband, CK Dexter Haven, and tabloid reporter Mike Connor. The production was a runaway success on Broadway, and Hepburn soon took the reins of a film version, for which she brought on her trusted collaborator George Cukor (A Star is Born, My Fair Lady and countless more) as director. Her initial choice of co-leads – Clark Gable (Gone with the Wind) and Spencer Tracy (Guess Who's Coming to Dinner) were vetoed. But it's hard to imagine a more dazzling collision of stars than the eventual casting of Cary Grant (Charade) and James Stewart (It's a Wonderful Life) as Dexter and Mike respectively. Across their four collaborations, which culminated in The Philadelphia Story, Hepburn and Grant would continually redefine one of the finest pairings in romcom history. The former's strong-willed, fast-talking women bulldozed over lesser leading men, but were perfectly parried by the slinky yet similarly imposing Grant. As embittered, sniping exes, they effortlessly locate each other's pressure points – Dexter's alcoholism, Tracy's performance of invulnerability – but they share a private camaraderie. It's James Stewart's Mike, though, who guides the film's sweeping romantic moments (and sets the benchmark for drunk acting). The night before the wedding, he shares a poolside flirtation with the bride-to-be that evolves into an exhilarating declaration of love, powered by Stewart's earnest intensity. 'You're lit from within, Tracy. You've got fires banked down in you, hearth fires and holocausts,' he beseeches. Cukor's rapturous direction presses into both actors until they're framed in glazed, moonlit closeups, Hepburn's eyes and beaded gown twinkling irresistibly. She's every bit the goddess that he sees. But the film doesn't allow her to bask in the image for long. The Philadelphia Story's success hinges on Tracy's humbling. She lowers herself from her own lofty esteem to eventually find love among other mere mortals, catering to the public's desire to see Hepburn taken down a peg. There's maybe some truth to Kazuo Ishiguro's dismissal of the film as 'a really nasty piece of work', especially considering how the screwball comedy traditionally revolved around stories of men being cut down to size. I think the screenplay deserves more credit for its intricacies: at each corner of the love triangle is a deeply fallible character who hides behind various defence mechanisms. Tracy's eventual happiness is entirely her own choice; she only submits to love upon finding the one person who can recognise and accept her faults. In a subgenre defined by its memorable female leads, Tracy Lord offers one of the more nuanced takes on the screwball heroine. She's a spoilt brat, an arrogant intellectual, an impervious fortress – and under Hepburn's command, you can't help but fall in love. The Philadelphia Story is available to stream on HBO Max in Australia and available to rent in the UK and US. For more recommendations of what to stream in Australia, click here

Sex and the City reboot turns interesting women into bumbling fools
Sex and the City reboot turns interesting women into bumbling fools

ABC News

time6 days ago

  • Entertainment
  • ABC News

Sex and the City reboot turns interesting women into bumbling fools

When Howard Hawkes's now-classic comedy, His Girl Friday, was released in 1940 starring Rosalind Russell and Cary Grant, the film critic of The New York Times, Frank Nugent, savaged lead character Hildy Johnson — a divorcee newshound chasing one last scoop before she heads off to re-marry — as "a wild caricature which should not be taken seriously". He was wrong, of course. Two years earlier, Katherine Hepburn had gone up against Grant at warp speed in the immortal Bringing Up Baby, and the idea of the fast-talking, ambitious, well-dressed, somewhat madcap woman had been a commercial success ever since Claudette Colbert hitched her skirt to hitch a ride with Clark Gable in It Happened One Night. These movies created a female character lead who became an American cultural classic. Every film and TV show that came afterwards featuring a headstrong, smart-mouthed woman owed a debt to what became known as the "screwball comedies" of the 30s and 40s. Their lineage is undeniable. You wouldn't have The Mary Tyler Moore Show, or Golden Girls, or 30 Rock, or Parks and Recreation without these films and this type of female character. Lena Dunham's Girls is the genre's granddaughter, but the HBO smash Sex and the City was the golden child of the "screwball comedy": it took all those romantic misunderstandings, outlandish scenarios, and the traditional "battle of the sexes" and wrapped them in enviable designer clothes and unapologetic sexual appetite. Like the classic films that defined the genre, SATC delivered strongly written female characters, handed them sharp dialogue and clever repartee and dropped them in situations just a few degrees south of what any romantically exhausted bachelorette might encounter in 1998: weird men with oral sex fetishes; married men who were compulsive liars and a dating roster of the odd, angry and addicted. Just another Friday night in Manhattan. This is a long run-up to where I know you suspect I'm going with all this but bear with me, because the horror of the present really only makes the most sense when you place it in its correct historical context. SATC was a success because the madcap was served with a withering millennial scepticism about love and sex, and the show made one key change from the screwball original: it switched out the male romantic lead for several female ones. The four women of SATC were each other's "love of their lives" as the toxic Mr Big finally figured out. And it made the romantic follies of single NY women bearable that, in the end, they always had each other. OK — we can't avoid it anymore: here we are, in 2025, and deep into the mystery confounding viewers worldwide: what the hell happened to these women? What the hell happened to the TV show that millions loved? We are now in series three of And Just Like That, the reboot of SATC, and this strange show has become without question the most awful, cringeful, embarrassing television most of us have probably ever persisted with. Don't take my word for it. And yet, we can't stop watching it. This bunch of smart, successful young women apparently grew up and lost everything — their sense, intelligence, social radars, insight, ability to read a room, their furniture and — in one case — apparently all their money. I must admit, I probably always hate-watched SATC — Carrie really was the most awful person — but my dread-watch of its bizarre reboot, And Just Like That, sits now at abysmal levels. Most of the great screwball comedies were, unsurprisingly, written by straight, white men (notably, except for Bringing Up Baby) and yet those blokes seem to have had a truer grasp of what drives a woman in love, or drives her mad, than do the ultra-hip writers' room of this show. This quintet of hand-waving hysterics seem to have forgotten how to negotiate an introduction, deal with an attractive co-worker or manage a pernickety neighbour, and have even forgotten their own personal histories. Why is Miranda, a woman who was for years a senior partner in a New York law firm, homeless and living in Airbnbs? Why does Seema, another former partner but of a real estate firm, have no savings at all? Why did Lisa apparently forget that her father was already dead in season one? These previously gimlet-eyed women are presented as stammering, stuttering idiots, fumbling basic social cues, agreeing to a five-year hiatus in their relationship and contradicting their own character arcs. In one episode, Carrie is bewildered and unable to ask her boyfriend even the basic meaning of his text messages; in another, she becomes a stone-cold bitch to her closest friend, Miranda, when she bells the obvious cat of Carrie's flirtation with her neighbour. I'm sorry for the repetition, but: who are these women? In this strange show, in which nothing ever happens (Seinfeld should sue for IP infringement), the women of SATC have devolved into the kind of unflattering caricatures of befuddled older women that would never have flown in the Golden Girls days. Everyone is asking but no one seems to know why. And Just Like That features several writers who also worked on the original Sex and the City, including Julie Rottenberg and Elisa Zuritsky, and showrunner Michael Patrick King continues to play a significant role in the writing and creative direction of And Just Like That, and of course, Sex-meister Darren Star, the original showrunner, is at the helm. You have to assume that the original writers and the newbies cherish these characters as much as their legions of fans do — and yet they twist them into strange and ludicrous shapes that are at the least insulting and, for me, verge on the misogynistic. I can't name a single female character from all my decades of consuming film and television as absurd as these women. My discomfort grows as I watch erstwhile capable women presented as bumbling fools, without the reassurance of well-written comedy or clever satire. Instead, the writing is woefully banal and the women are simply presented as unexplained absurdities. It feels as if it's all a bit of a send-up, as if depicting women in their 50s navigating their version of love, dating, marriage and romantic failure and success simply isn't worthwhile unless you turn them into idiots. Even the (male) titans of Hollywood's so-called "Women's Pictures" knew that'd be a folly: their audiences were smart; their female characters had to be smarter. Instead, in keeping with the general devolution of civilisation, in one of the most popular television shows in the world right now, the depiction of women has gone backwards. Kate Hepburn would smack them all over the back of the head. This weekend, the life of a working woman from a very different perspective: why is it so hard to get a job that provides enough to just live a life and enjoy it? Have a safe and happy weekend and don't forget to listen to the Hottest 100 of Australian music this weekend from 10am on Triple J It's going to be the biggest party in town. Consider this a frantic, last-minute vote: go well. Virginia Trioli is presenter of Creative Types and a former co-host of ABC News Breakfast and Mornings on ABC Radio Melbourne.

Cary Grant's widow has listed the estate they shared for $77.5M — featuring a complete overhaul
Cary Grant's widow has listed the estate they shared for $77.5M — featuring a complete overhaul

New York Post

time18-07-2025

  • Entertainment
  • New York Post

Cary Grant's widow has listed the estate they shared for $77.5M — featuring a complete overhaul

When Barbara Harris first met Cary Grant in the 1970s, the Hollywood legend was already deep into remodeling his Beverly Hills residence. Although the couple married in 1981, Harris — who was then working in public relations in London — had minimal involvement in the home's redesign. 'The design was already in process,' Harris, now 74, told the Wall Street Journal in an interview. 15 Cary Grant's former home lists for $77.5 million after his widow, Barbara, tore down the initial structure and built a modern property in its place. Corbis via Getty Images 15 When Barbara Harris met Cary Grant in the 1970s, the Hollywood icon was already renovating his longtime Beverly Hills home. Anthony Barcelo The two shared the estate until Grant's death in 1986, at which point she inherited the property. More than three decades later, she and her current husband, real-estate investor David Jaynes, have transformed the site entirely, replacing the original circa-1940s structure with a sprawling contemporary residence. 15 Though they married in 1981, Barbara had little say in the design and inherited the property after Grant's death in 1986. Getty Images 15 Decades later, now Barbara Jaynes, she and her second husband, real estate investor David Jaynes, tore down the outdated 1940s house and built a roughly 15,700-square-foot contemporary estate inspired by Aman resorts. Anthony Barcelo The newly built home is now listed for $77.5 million, according to the Journal. Located on roughly 2.9 acres in the heart of Beverly Hills, the six-bedroom estate spans approximately 15,700 square feet and is designed to capture sweeping views from downtown Los Angeles to the Pacific Ocean. Jaynes said the couple prioritized ceiling height and floor-to-ceiling glass to open up the interiors. 'We didn't want anything to clash with the beauty of the view,' Harris said. The couple's design sensibility took cues from their favorite hospitality brand, the ultra-luxury Aman, which portrayed privacy, simplicity and quality. 15 The home features minimalist, high-end finishes and sweeping views from downtown LA to the Pacific. Anthony Barcelo 15 The six-bedroom home features floor-to-ceiling windows. Anthony Barcelo 15 A movie theater. Anthony Barcelo Materials such as rift-sawn white oak, cream-colored stone and soft neutral fabrics were used throughout. The estate includes 12 bathrooms — two in the primary suite alone — as well as a lower-level theater, a first-floor wine room with stainless steel walls and custom oak cabinetry, and expansive terraces that wrap around both levels of the home. A tennis court, a swimming pool and manicured gardens featuring white and cream-colored roses round out the outdoor amenities. The landscape overhaul was extensive. Apart from a handful of old stone pine trees, nearly all of the original foliage was replaced. 15 They planted over 100 trees and 500 shrubs to create a serene, landscaped oasis. Anthony Barcelo 15 A library. Anthony Barcelo 15 One of 12 bathrooms. Anthony Barcelo 'The property was so outdated,' Harris recalled. 'Cary, even when he finished, he said, 'I should have knocked the whole thing down.'' The Jayneses ultimately did just that — starting construction on the new home in 2014 and completing it around 2022. 'It's very serene and peaceful down there,' Harris said of the new garden, which includes more than 100 newly planted trees and 500 shrubs. In a nod to the property's storied past, Harris recalled throwing a surprise party for Grant during the original home's renovation. 15 An expansive walk-in closet. Anthony Barcelo 15 The home boasts a wine room and expansive terraces, all on 2.9 acres with a pool and tennis court. Anthony Barcelo 15 A tennis court. Anthony Barcelo Harris recalled when guests like Frank Sinatra and Gregory Peck crawled through a window to get in the house. 'We were really happy here,' she said. Now approaching her 75th birthday, Harris said the timing felt right to make a move. 'It doesn't mean I won't miss the house, but I'm happy to move to a smaller place,' she said. Aaron Kirman of Christie's International Real Estate Southern California, who holds the listing with colleagues Josh Morrow and Rosh Vinyua, said despite broader market uncertainty, ultra-luxury properties in Los Angeles are still commanding strong interest. 15 Now, with Barbara approaching 75 and ready to downsize, the couple has listed the property for $77.5 million. Anthony Barcelo 15 Despite market challenges, top-tier LA homes are still seeing major deals, according to listing agent Aaron Kirman. Anthony Barcelo 'I think people recognize that they're getting pretty good deals in markets that are challenging,' he told the Journal. Kirman is also co-listing the home with Denise Moreno and Gordon MacGeachy of Hilton Hilton. Grant, who was born in England, purchased the property in 1946 for approximately $46,000, according to Harris, now Barbara Jaynes. Known for his roles in classics like 'His Girl Friday' and several Alfred Hitchcock films, the actor's connection to the home remains a key part of its enduring appeal.

Cary Grant's Reimagined Beverly Hills Estate Hits the Market for $77.5 Million
Cary Grant's Reimagined Beverly Hills Estate Hits the Market for $77.5 Million

Wall Street Journal

time17-07-2025

  • Entertainment
  • Wall Street Journal

Cary Grant's Reimagined Beverly Hills Estate Hits the Market for $77.5 Million

When 26-year-old Barbara Harris met Cary Grant in the 1970s, the legendary actor was already in the middle of renovating his longtime home in Beverly Hills, Calif. Even after the couple married in 1981, she took a back seat when it came to the project. 'The design was already in process,' said Barbara, now 74. The couple shared the home until 'The Philadelphia Story' actor died in 1986, when she inherited it.

‘High Society': ‘The Philadelphia Story' Remade, Not Recycled
‘High Society': ‘The Philadelphia Story' Remade, Not Recycled

Wall Street Journal

time07-07-2025

  • Entertainment
  • Wall Street Journal

‘High Society': ‘The Philadelphia Story' Remade, Not Recycled

In present-day Hollywood, movie remakes are too often initiated without any consideration for how a past project might be meaningfully improved. The goal seems to be to present a facsimile with modest modifications rather than a thoroughgoing reimagination, but in the absence of such changes, why bother? Nearly 70 years ago, however, one of Hollywood's most honored romantic comedies was retooled in ways that remain fresh and surprising. Released by Metro-Goldwyn-Mayer in July 1956, Charles Walters's 'High Society' had its roots in Philip Barry's 1939 play 'The Philadelphia Story,' which, the following year, was turned into a motion picture starring the triumvirate of Cary Grant, Katharine Hepburn and Jimmy Stewart—the last of whom won an Oscar. That earlier picture was an instant classic for its affectionate but barbed portrait of the marital challenges of inhabitants of the Philadelphia Main Line.

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