“Now, I have some instructions for you….” DON’T MISS THIS FILM!
I fear I am not a good enough writer to describe the myriad of reasons to come see Guess Who’s Coming to Dinner, on February 11 at 6:30 p.m. I also don’t have enough room on the page.
Wikipedia tells us it is a 1967 American comedy-drama, starring film-legends Sidney Poitier, Katharine Hepburn, and Spencer Tracy and is one of the few of that time to depict interracial marriage in a positive light. At the time of its release, laws prohibiting interracial marriage had only recently been struck down by the U.S. Supreme Court.
Frank Rich, in a 2008 New York Times article, noted that “[t]hough the film was a box-office smash and received 10 Oscar nominations, even four decades ago it was widely ridiculed as dated by liberal critics. The hero, played by the first black Hollywood superstar, Sidney Poitier, was seen as too perfect and too ‘white’.” But, according to director Stanley Kramer, the film was intentionally structured to debunk ethnic stereotypes and purposely created idealistically perfect, so that the only possible objection to him would be his race, or the brevity of the 10-day engagement. This factor lends itself to the concerns of both sets of parents: the lack of thought and consideration to what a mix-race marriage would mean.
While a victim of its times, with all the clichés and what some will find politically-incorrect positions, Guess Who’s Coming to Dinner transcends the shallow, ridicule-filled approach of today’s films, with a subtle, empathetic and non-judgmental recognition of the very real, and very personal, struggles of all its characters. Though it may have all of the flaws its critics claim, it is still a great film that recognizes that there is always more than a single layer or motivation behind our behavior and portrays this internal deliberation with sensitivity and understanding. Don’t get me wrong – there are plenty of scenes where blatant racism is called out and ridiculed, not the least of which is Hepburn’s surgeon-like extraction of her snoopy, ill-mannered employee.
For me, the beauty of this film is not the obvious. It is not the crackling dialog addressing the issue of race in a way few movies of its time dared, but rather, it is the study of two mature marriages and the generational conflict of a father and son. Both concepts are portrayed throughout the film, but most beautifully by Beah Richards as she reproaches Spencer Tracy’s character in the most dignified and heartfelt scene in the movie, juxtaposed artfully with Poitier’s angry, yet loving, discussion with his father’s character about their difference in self-image and what it means to him as a man.
In 2017, Guess Who’s Coming to Dinner was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.” It was the winner of the Best Screenplay Oscar and gave Hepburn her second Oscar for Best Actress. It is the last time Hepburn/Tracy were on screen together and indeed, the last film of Tracy’s career – he died just days after its release and it was questionable he would even complete filming. Hepburn and Tracy may be the main dishes of this fantastic meal, but delicious performances by Poitier, Beah Richards, Isabel Sanford (best known for her role as Weezy in the T.V. sitcom The Jeffersons) and Cecil Kellaway make for a banquet to be savored. Just as a fine chef layers flavor upon flavor to achieve a culinary masterpiece, Kramer and the all-star cast serve up a multi-layered film that makes us not only laugh and cry, but critically consider our biases and relationships.
Will you be coming?!
After a run of 694 performances on Broadway during the 1955-1956 season, Cat On A Hot Tin Roof made it to the big screen in 1958, just in time for Elizabeth Taylor to get her second Best Actress Oscar nomination in two years. The film was highly acclaimed by critics and audiences alike and it received five additional Oscar nominations: Best Picture; Best Actor (Paul Newman); Best Director (Richard Brooks); Best Writing; Screenplay Based on Material from Another Medium (Richard Brooks and James Poe); and Best Cinematography – Color (William Daniels).
Cat On A Hot Tin Roof is truly an actor’s movie, and it is one of those rare films where every single actor is perfect.
Paul Newman and Elizabeth Taylor are both brilliant as Brick and Maggie. Not very often is there a screen couple that have the same chemistry together that they do. And those eyes! It is hard to say which of them had the most captivating eyes. Taylor and Newman were more than extraordinarily beautiful. She was an amazing actress, and he is arguably one of the greatest actors of all time. The relationship between Brick and Maggie is fascinating; full of confusion, betrayal, honesty, dishonesty, love, desire, and trust.
As Big Daddy, Burl Ives gives one of the best performances of his exceptional career. Jack Carson, Madeleine Sherwood, and Judith Anderson round out the cast as Gooper, Mae (Sister Woman), and Big Momma, and all deliver performances that are astoundingly memorable.
Tennessee Williams was reportedly unhappy with the screenplay, which removed almost all of the homosexual themes and diminished the original play’s critique of homophobia and sexism. But it is important to remember that the play and the film are two separate entities. The film is an adaptation, and they are not meant to be the same. They should be judged each on their own merit!
Cat On A Hot Tin Roof is one of the great pieces of 20th century American literature and cinema. It has some universal lessons we could all profit by in viewing it.
Managing Artistic Director