So many brilliant aspects: the bravura script, a three-dimensional Cary Grant, the pathos of Lew Ayres and Hepburn managing to be simultaneously refined and sophisticated and yet emotionally naked. One can feel a tragic subtext pulsing beneath its crackling wit and energy while the central preoccupations with meaning, conformity and love resonate deeply. Funny, delightful yet also melancholic - very special indeed.
Cary Grant, excellent as he is, is not usually to my taste in his comedies, but this was an unexpected gem. Pretty subversive for glamorous Hollywood, insightful and very smart, it balances these qualities with humour and Hepburn doing silly acrobatics. Give up the big, money-making office job to sail the seas with a couple of university professors and the "black ship" of the rich family, what a kickass idea!
A melancholic comedy. Unspoken desires and class tensions flow underneath the surface of this story of people who are just trying to find where they belong in the world. The entire cast has such magnetic chemistry, but of course Hepburn and Grant shine brightest as the pair who don't know, and then don't want to admit, that they belong together.
Hepburn! Grant! But don't be fooled that this is just a screwball comedy- while some bits are motormouth charming and funny like His Girl Friday and The Awful Truth, there's also a very dark undercurrent about the relationships between love, class and expectations. Highly recommended.
Great stuff. Hepburn and Grant are reliably superb and the whole thing is effervescent, but there's also a surprising undertow of sadness and darkness and it feels deeply relevant still to the world we inhabit today. Has profound things to say about society's mixed-up priorities, but it says them in the least portentous way imaginable.
For those of us who have strained so many times to see the (C.G.) interior man beyond the immaculate demi-god carapace, it is here revealed with a different beauty and humanity .. qualities which seek counterpart and reveal contrast in this 'photoplay' . Although this was made in 1938 it's art direction 'inter-joggles' with the styles and qualities of 1928 ; a last deep breathe before Hollywood norms seize tight.
Foolish politics in a world of childish characters. The Golden Age of Hollywood was as full of conservatism as it was of blandness. When the sweetness of it all does not make for the sillyness of its comedy, let alone its infantile social commentary, the result is a feeling of awkwardness. Take away the special chemistry between Hepburn and Grant and what is left simply is a forgettable silly joke.
Some nice social commentary reminding the victims of the US' largest depression that money isn't everything. Hm ...Fortunately, the sugar-coating by Grant, Hepburn, Nolan under Director Cukor puts Mary Poppins in the shade - we swallow the package whole. Another highball, anyone?
Absolutely lovely. An inspection of the issues regarding extreme wealth and its effects on those it entangles, Grant searches for a life beyond material wealth, while those around him seek to bend him, namely his fiancee and future father-in-law. The script constantly illuminating the role of the house as a visual representation of wealth in its vastness, one room stands out as a symbol of a certain freedom.