GamerTab That was an excellent one.

NekoHomey Purely Joyful Movie!

Glimmerubro It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

pyrocitor Recently, when my mother was having a tough time, she creaked open her cupboard, and pulled out a well-loved DVD. "Let's watch The Philadelphia Story. It'll be nice to disappear into the delightful struggles of the rich and beautiful for a while." And, though it's an indisputably lovely watch for audiences old and new alike, whether watching for the first or thirty-first time, it's more than rote comforting, Classical Hollywood escapism that makes The Philadelphia Story truly special. It's seldom that we find a film with such modestly entertaining aspirations assembled with such consummate care, as director George Cukor's feather-light direction and perfect pacing allow the film to bubble like champagne, but sink in like a sumptuous feast - indisputably one of the most impeccably loveable and utterly unmissable films of its era. Naturally, it helps to boast one of the most airtight, razor-sharp romantic comedy scripts of all time. Writer Philip Barry (adapting Donald Ogden Stewart's stage show) has as much fun peppering the film with the deliciously salty repartee as he does having his characters playfully massage every syllable out of the most riotously intricate names - from the mouth of Jimmy Stewart, the seven syllables of 'C.K. Dexter Haven' somehow emerge as a contemptuous political haiku. Cukor and his players have a ball poking fun at the ludicrous posturing of old money snobs, but the film's class divide is treated far more tongue-in-cheek and with tender sympathy than the savage, cartoonish satire of the average circa 1940 screwball. The film's plot might suggest the gossamer silliness of a Society Magazine take on Much Ado About Nothing, but underneath the Russian Doll subplots of mischievous double-bluffs of masquerade and library and poolside meet-cutes (all delectably zany in their own right) lies a surprisingly rich, compelling, and fundamentally human story, bursting with emotion and heart. Underneath the marquee of comedy of manners zingers lurks an underbelly of genuine family drama, as affecting as it is entertaining, postulating that a yearning for genuine connection - to be really known, beyond social status, trappings, presumptions, projections, and posturing - is, perhaps, the most universal of desires, and the message hits home with the effervescent pop of a bottle of champagne downed a little too fast. But, let's be honest: we're here for the legendary triple-act of Classical Hollywood heavyweights Hepburn, Stewart, and Grant. They do not disappoint, playing off each other with dazzling ease, and showcasing some of the most effortless banter and deep-set chemistry in cinema history. Hepburn has never been better than she is here - she imperiously commands the screen with a hailstorm of scathing punchlines, before embodying the self-esteem imbalance of a woman inundated with superficial praise, but seldom genuinely appreciated, to an unnervingly human degree. She's funny, sad, and almost unspeakably loveable, in an astoundingly heartfelt rollercoaster of a performance. Still, this is unquestionably the Jimmy Stewart show, as his sour, curmudgeonly indictments of the superfluity of wealth are as utterly hysterical, even moreso when giving way for a softer, poetic, recitations betray an aspiring artist beaten down by self-doubt and the financial impediments to wholeheartedly pursue his dream. A decidedly unconventionally subdued Grant rounds up the trio with the least showy performance, but his performance betrays staggering subtleties of inner emotion and past demons. Sneakily puppeteering his peers while firing off innocently acrid witticisms with his never-drier deadpan makes him an exquisitely sarcastic Greek chorus of sorts, and the mischievous twinkle in his eye is as entertaining as all the banter in the world. The rest of the ensemble are all magnificent in their own right, particularly Ruth Hussey as Stewart's perennially spurned, icily deadpan photographer companion, and twelve-year old Virginia Weidler, uproariously funny as the Lord family's gutsy daughter, belligerently unwilling to accept the stubbornness of her older family members causing mishap after mishap. There's the occasional bump in the road where the film shows its age - the calamitous, climactic partner-swapping follies flirt with being too silly to sit comfortably, and it's nicer to just pretend the eyebrow-raising prologue, which treats spousal abuse as a rollicking punchline, just never happens (thank goodness for DVD track-skipping). But, on the whole, this is the highest, most delightful caliber of movie magic imaginable. Whether you need to laugh or cry (usually both), find an airy diversion from life's tribulations, or discover genuine insight in the interplay of immaculately constructed characters, you'd be hard pressed to find a more deeply satisfying watch than The Philadelphia Story. To quote our dear C.K. Dexter Haven: "My, she was yar." -10/10

Antonius Block What a delightful movie this is - loaded with star power, clever dialog, and a script that keeps us guessing. The first scene, where Cary Grant is shown leaving his wife Katharine Hepburn with no words spoken, sets the tone. As Hepburn plans to remarry, Grant seeks to get revenge on her by sneaking a reporter (Jimmy Stewart) and photographer (Ruth Hussey) into her home on the wedding weekend. Stewart is brilliant in the role from beginning to end. He's upset over being there in the first place, as he's a serious writer who has been asked to write a trashy tabloid story, and he's not a big fan of the well-to-do either. The scene early on where he examines the silver, thinking he's alone, and is confronted by the butler, is hilarious. Later he dials up another room within the home at random and says "This is the bridal suite, would you send up a couple of caviar sandwiches and a bottle of beer?" When asked who he is, he then says "This is the voice of Doom calling. Your days are numbered 'til the seventh son of the seventh son," before hanging up. He has other comic scenes early on, including asking the librarian "Dost thou have a washroom?" after sensing her formality.I just loved how the film wrong foots us, as we expect it to go in a direction of these two being undercover spies with all sorts of similar antics throughout the weekend. Instead, Hepburn immediately sees through the ruse, and proceeds to hilariously torture the pair with questions of her own. Along the way an uncle will be assigned the identity of the father, only to have the father show up unexpectedly himself. Hepburn's much younger little sister (Virginia Weidler) is part of the fun, at one point going up to the piano with a gleam in her eye, and busting out a raucous tune: "Lydia, oh Lydia, say have you met Lydia? Oh Lydia, the tattooed lady. She has eyes that folks adore so, and a torso even more so..."Throughout all this madcap chaos, the script is fast-paced and clever. For example, in response to her mother asking if there's no privacy anymore, Hepburn quips, "Only in bed, mother, and not always there." I also loved it when she referred to the poet Li Bai at one point: "There was a Chinese poet who was drowned while trying to kiss the moon in the river. He was drunk....but he wrote beautiful poetry." More importantly, there are observations on character and love. The father (John Halliday) tries to explain an older man's attraction to a younger woman, and even though he seems like a rake, there's something to what he says. The film takes a serious turn when he and Grant both say some devastating things to Hepburn about her insensitivity, and the hurt in her reaction shows her acting prowess. With all of that said, I think it was really Jimmy Stewart who really made this movie special with two wonderful scenes. The first is where he's drunk and goes over to Grant's place, which is an absolute classic. The scene was unrehearsed, what we see was the first take, and it includes a couple of improvisations - Stewart hiccupping, and Grant quipping "Excuse me." The look in Stewart's eyes really make us feel that he's drunk, and that we're getting a glimpse at two friends (the actors themselves) having fun. In fact, the way Stewart looks at people throughout the movie - the butler, the librarian, Grant, and Hepburn - is just fantastic, and still makes me smile thinking about it.The second amazing scene is when he and Hepburn (who's also drunk) realize they're in love. "A magnificence that comes out of your eyes, in your voice, in the way you stand there, in the way you walk. You're lit from within, Tracy. You've got fires banked down in you, hearth-fires and holocausts," he says. She answers, "I don't seem to you made of bronze?", a reference to one of the cruel things that's been said to her, and he responds, "No, you're made out of flesh and blood. That's the blank, unholy surprise of it. You're the golden girl, Tracy. Full of life and warmth and delight...". When he kisses her, she emits a beautiful "golly," and later, before they dash off across the lawn, she says "put me in your pocket, Mike." It's a wonderful, romantic scene. Oh, and I should say, the lines they say to each other earlier in the evening - "Hello you... You look fine", "I feel fine" are just lovely too. It's for that reason that I have to say, I was a bit disappointed in Hepburn's choice at the end. The evening before she does say "The time to make up your mind about people is never", and it is in the spirit of a reconciliation which grows, but just doesn't feel right. Aside from her feeling the blame for her ex-husband's alcoholism (the nerve of her not understanding him better!), the real passion and chemistry is with Stewart. With that said though, it's a delightful movie, and the story behind its making and Katharine Hepburn's resurrection is a real testament to her intelligence.

Shweta Mayekar You really cant beat the classics. Its lines such as these and the manner of delivery that crack me up.This is comedy at its finest. James Stewart's delivery and expressions are laugh out loud. Katherine Hepburn is a beauty and the only thing that outshines her is her acting. The is a well made movie and great fun to watch. And most surprisingly, its not dated at all.

elvircorhodzic THE PHILADELPHIA STORY is a great comedy directed by George Cukor. Despite the fact that the thematic framework already narrated and seen earlier this movie seems fresh. I think in this film, everyone can find something for themselves. Humor is a varied and meaningful. See Grant, Hepburn and Stewart in the same film is quite challenging. The script is very good and is followed by an even better acting. The Philadelphia Story is the story of luxury and elegance, teasing, sarcasm, love, drinking, arrogance and generally, a wide range of human qualities. The cellophane high society are seamlessly wrapped diversity that makes us who we are.Three men and three different characters are linked, each in its own way, with the rich ice queen Tracy Lord (Katharine Hepburn). C.K. Dextera Havena (Cary Grant) is profound, eloquent and charming ex-husband. This character is a bit neglected, but always in the right place and pronounce the keywords at the right time. Grant is excellent, but I was a bit bored with the roles of ex-husbands. Macaulay Connor (James Stewart) is "forever" unhappy writer who immigrated to write the yellow press. The voice of criticism, and the voice of reason. The character who has something to say to everyone except himself. George Kittredge (John Howard) He was betrothed young rich and untouchable upstart who answer its her standards.Cukor with the help of the aforementioned scenarios exported tangle heated, smart and wiggly dialogue, spiced with romantic intrigue which no lack of questions. Antagonisms and friendship between the characters is another of the features that contribute to such receptivity of the film, which are equally contributed by all.Stewart and Grant are the face and did a great job. However, my sympathies were given ladies. Hepburn is in her crazy performance authentic, of forcing a prude who does not forgive until the fine souls who want love and violations of their own (unnecessary) rules and countless prejudices. Ruth Hussey as Elizabeth Imbrie is paparazzo and would-be painter. She offered a lot of sarcasm beneath which hides their romantic thoughts. Always responds readily to prevent the drawer own feelings.An honest, romantic, funny and extremely sophisticated comedy who on my own joy is not a failure.