list http://www.spout.com/ Recent community activity around Adam's Rib on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Adam_s_Rib/412/default.aspx Title: Adam's Rib
Year: 1949
Director: George Cukor
Plot: Written by Ruth Gordon and Garson Kanin, Adam's Rib is a peerless comedy predicated on the double standard. Spencer Tracy and Katharine Hepburn play Adam and Amanda Bonner, a husband-and-wife attorney team, both drawn to a case of attempted murder. The defendant (Judy Holliday) had tearfully attempted to shoot her husband (Tom Ewell) and his mistress (Jean Hagen). Adam argues that the case is open and shut, but Amanda points out that, if the defendant were a man, he'd be set free on the basis of "the unwritten law." Thus it is that Adam works on behalf of the prosecution, while Amanda defends the accused woman. The trial turns into a media circus, while the Bonners' home life suffers. Adam's Rib represented the film debuts of New York-based actors Jean Hagen, Tom Ewell, and David Wayne (as Hepburn's erstwhile songwriting suitor), and the return to Hollywood of Judy Holliday after her Born Yesterday triumph. One of the best of the Tracy-Hepburn efforts, it inspired a brief 1973 TV series starring Ken Howard and Blythe Danner. ~ Hal Erickson, All Movie Guide
Times Tagged: 17
Number of Lists: 12
Number of blog posts: 3
SpoutRating: 3
]]>Sun, 19 Jul 2009 21:36:50 GMTAdam's Rib1949George CukorWritten by <a href="/players/P____92118/default.aspx" style='text-decoration:underline'>Ruth Gordon</a> and <a href="/players/P____96707/default.aspx" style='text-decoration:underline'>Garson Kanin</a>, Adam's Rib is a peerless comedy predicated on the double standard. <a href="/players/P____71578/default.aspx" style='text-decoration:underline'>Spencer Tracy</a> and <a href="/players/P____31873/default.aspx" style='text-decoration:underline'>Katharine Hepburn</a> play Adam and Amanda Bonner, a husband-and-wife attorney team, both drawn to a case of attempted murder. The defendant (<a href="/players/P____32908/default.aspx" style='text-decoration:underline'>Judy Holliday</a>) had tearfully attempted to shoot her husband (<a href="/players/P____22371/default.aspx" style='text-decoration:underline'>Tom Ewell</a>) and his mistress (<a href="/players/P____29551/default.aspx" style='text-decoration:underline'>Jean Hagen</a>). Adam argues that the case is open and shut, but Amanda points out that, if the defendant were a man, he'd be set free on the basis of "the unwritten law." Thus it is that Adam works on behalf of the prosecution, while Amanda defends the accused woman. The trial turns into a media circus, while the Bonners' home life suffers. Adam's Rib represented the film debuts of New York-based actors <a href="/players/P____29551/default.aspx" style='text-decoration:underline'>Jean Hagen</a>, <a href="/players/P____22371/default.aspx" style='text-decoration:underline'>Tom Ewell</a>, and <a href="/players/P____75090/default.aspx" style='text-decoration:underline'>David Wayne</a> (as Hepburn's erstwhile songwriting suitor), and the return to Hollywood of <a href="/players/P____32908/default.aspx" style='text-decoration:underline'>Judy Holliday</a> after her <a href=/films/4164/default.aspx style='text-decoration:underline'>Born Yesterday</a> triumph. One of the best of the Tracy-Hepburn efforts, it inspired a brief 1973 TV series starring <a href="/players/P____94977/default.aspx" style='text-decoration:underline'>Ken Howard</a> and <a href="/players/P____16922/default.aspx" style='text-decoration:underline'>Blythe Danner</a>. ~ Hal Erickson, All Movie Guide17Tag Target (>10)1233http://www.spout.com/ProductImages/t07740qckxw.jpghttp://www.spout.com/films/Adam_s_Rib/412/default.aspxFilm http://www.spout.com/blogs/dibot/archive/2008/7/1/31972.aspx Post By: dibot
Post To: dibot Blog
Post Date: 7/1/2008 1:33:19 PM
Body: I haven't read the Chronicles of Narnia, nor have I revisited the first film sine it came out. So, Prince Caspian seemed a little disjointed to me. But I did enjoy the story of a young prince trying to retake his kingdom from his evil uncle, with the help of those four kids from the first movie. The action was very good, as were the special effects. The message got a bit heavy-handed at the end, but I liked this better than the first, despite the special-needs bear. "For Aslan!"Coming Home stars Jane Fonda ("Georgia Rule") as the wife of an army captain who begins volunteering at the Veteran's hospital when her husband goes off to Vietnam. There she meets Jon Voight ("National Treasure: Book of Secrets"), who has returned from the war wounded and angry. He opens her eyes to the darkness and love. Voight is amazing, totally earning his Oscar with a couple of outbursts and an inspirational speech. All in all, I enjoyed the movie, but felt it moved a little slow. Good examination of how war affects people.Adam's Rib is worth seeing if only for the back-and-forth between Katharine Hepburn ("Love Affair") and Spencer Tracy ("Guess Who's Coming to Dinner"). The two star as married lawyers who end up on different sides of the same case. While much of it is amusing, the court case raises some interesting issues about morality and sexism. Tracy and Hepburn also explore how professional life can affect personal. Very good.I found Flawless to be quite boring. Demi Moore ("Mr. Brooks") plays an executive in a diamond company in the 1960s. She's bitter about getting passed over for promotions because she's a woman. So when the janitor, Michael Caine ("Sleuth"), proposes theft, she agrees. But the heist isn't that exciting and the puzzle of what happens to the diamonds isn't that interesting. Then there are the bookends with Moore in the future. Not really needed for the story and a bit cheesy.P2 was part of my Friday the 13th bad horror movie tradition and it was awful. A not-very-nice, nor very interesting woman gets trapped in the parking garage by a whiny, lonely, deranged parking attendant on Christmas Eve. He tries to teach her to be thankful while tormenting her, and she continually does stupid things. Just skip it.
]]>Tue, 01 Jul 2008 17:33:19 GMTdibotdibot Blog7/1/2008 1:33:19 PMI haven't read the Chronicles of Narnia, nor have I revisited the first film sine it came out. So, Prince Caspian seemed a little disjointed to me. But I did enjoy the story of a young prince trying to retake his kingdom from his evil uncle, with the help of those four kids from the first movie. The action was very good, as were the special effects. The message got a bit heavy-handed at the end, but I liked this better than the first, despite the special-needs bear. "For Aslan!"Coming Home stars Jane Fonda ("Georgia Rule") as the wife of an army captain who begins volunteering at the Veteran's hospital when her husband goes off to Vietnam. There she meets Jon Voight ("National Treasure: Book of Secrets"), who has returned from the war wounded and angry. He opens her eyes to the darkness and love. Voight is amazing, totally earning his Oscar with a couple of outbursts and an inspirational speech. All in all, I enjoyed the movie, but felt it moved a little slow. Good examination of how war affects people.Adam's Rib is worth seeing if only for the back-and-forth between Katharine Hepburn ("Love Affair") and Spencer Tracy ("Guess Who's Coming to Dinner"). The two star as married lawyers who end up on different sides of the same case. While much of it is amusing, the court case raises some interesting issues about morality and sexism. Tracy and Hepburn also explore how professional life can affect personal. Very good.I found Flawless to be quite boring. Demi Moore ("Mr. Brooks") plays an executive in a diamond company in the 1960s. She's bitter about getting passed over for promotions because she's a woman. So when the janitor, Michael Caine ("Sleuth"), proposes theft, she agrees. But the heist isn't that exciting and the puzzle of what happens to the diamonds isn't that interesting. Then there are the bookends with Moore in the future. Not really needed for the story and a bit cheesy.P2 was part of my Friday the 13th bad horror movie tradition and it was awful. A not-very-nice, nor very interesting woman gets trapped in the parking garage by a whiny, lonely, deranged parking attendant on Christmas Eve. He tries to teach her to be thankful while tormenting her, and she continually does stupid things. Just skip it. http://www.spout.com/blogs/jj79/archive/2008/6/6/30789.aspx Post By: JJ79
Post To: JJ79 Blog
Post Date: 6/6/2008 4:45:58 PM
Body: Released: November 18, 1949Director: George Cukor*****The fundamental problem with Adam's Rib, featuring a married couple at odds over a court case, is Amanda's (Katharine Hepburn) position: a cheating husband is held to a different standard than a cheating wife would be when confronting the lover-on-the-side with a gun. There is no doubt Doris Attinger (Judy Holliday) did shoot her husband and tried to shoot his mistress. Amanda wants to make this the ultimate equality fight between the sexes while Adam sees it as a strict case of the law.The only thing which keeps the film, a screwball comedy apparently, afloat is the interplay between the two leads. Verbally sparring with one another and making laughs where none should be (notice the door slamming episode) is more than just screen chemistry or good acting: it's people who understand how the other works...and uses that against them. The story and supporting players all let the duo down, though.For a screwball comedy, there isn't much screwball in the proceedings. Some events, like Adam being lifted in the courtroom, fall into the category, but by and large Adam's Rib is a message film...a heavy handed, 2 x 4 to the head message film whose problems are further compounded by a neighbor with the hots for Amanda and a concurrent plot about the couple's issues at home during the trial.This is hardly their best collaboration. For that, check out Desk Set or Guess Who's Coming to Dinner
]]>Fri, 06 Jun 2008 20:45:58 GMTJJ79JJ79 Blog6/6/2008 4:45:58 PMReleased: November 18, 1949Director: George Cukor*****The fundamental problem with Adam's Rib, featuring a married couple at odds over a court case, is Amanda's (Katharine Hepburn) position: a cheating husband is held to a different standard than a cheating wife would be when confronting the lover-on-the-side with a gun. There is no doubt Doris Attinger (Judy Holliday) did shoot her husband and tried to shoot his mistress. Amanda wants to make this the ultimate equality fight between the sexes while Adam sees it as a strict case of the law.The only thing which keeps the film, a screwball comedy apparently, afloat is the interplay between the two leads. Verbally sparring with one another and making laughs where none should be (notice the door slamming episode) is more than just screen chemistry or good acting: it's people who understand how the other works...and uses that against them. The story and supporting players all let the duo down, though.For a screwball comedy, there isn't much screwball in the proceedings. Some events, like Adam being lifted in the courtroom, fall into the category, but by and large Adam's Rib is a message film...a heavy handed, 2 x 4 to the head message film whose problems are further compounded by a neighbor with the hots for Amanda and a concurrent plot about the couple's issues at home during the trial.This is hardly their best collaboration. For that, check out Desk Set or Guess Who's Coming to Dinner http://www.spout.com/blogs/rik_tod/archive/2007/8/7/17477.aspx Post By: rik_tod
Post To: The Cinema 4 Pylon: SpOutpost
Post Date: 8/7/2007 12:14:58 AM
Body: OK, so maybe this film isn't directly about divorce, but it feels like it to me. Ostensibly, Adam's Rib is meant to be a comedy about the war between the sexes, where what seems at first to be the perfect marriage in the home nearly gets decimated when the couple, equally feisty lawyers inhabited by top thespians Katharine Hepburn and Spencer Tracy, start getting a little too competitive in the courtroom instead. Reviewing the film is futile for me, because despite the facts it is supremely well-produced on nearly every level, and that I do get the comedy, however dark, writ large in the material, it reads as nothing but drama to me.Perhaps taking a cue from when I was twelve and my parents were going through their troubles, leading to a nasty and personally scarring divorce, any film that has couples arguing, let alone one that has the word "divorce" in it, tends to put me at unease. At that age, when the Hayley Mills version of The Parent Trap showed on NBC one evening, owing to the tender nature of the situation, my brothers and I were told by our mother that we weren't supposed to watch the movie when she went out that evening. The babysitter, however, acquiesced to our insistent pleading to let us see the film (in effect, we lied to her sweet, trusting Jesus-freak face), and we laughed and laughed because we had won our short-term, small-minded victory. For the moment.My brothers really had no understanding of the whole divorce issue at that time, and I will admit that until I watched Trap, I really hadn't thought of it as something into which people really put all that much emotional investment. I had friends who had parents that had divorced, but it never meant anything to me. I believe my mother's fear would be that we, who were already prone to engaging in thoroughly crazy and stupid pranks, would take a cue from the film and use the same to try and get her back together with our father. Which I meant have been inspired to if the film, despite the laughter it initially caused, didn't give way to my actually understanding the opposite was the truth. I knew at that moment that my parents weren't ever to get back together; I understood fully that it was only a silly Disney movie, and it led to a tear-soaked bedtime where our extremely kind sitter held my hand and tried to talk me out of my first sincerely deep depression. It led to an angry teenager, who nearly ruined his entire life due to his selfish brattiness. Eventually, it would lead to my being too scared to go through with my own divorce much later, even though its inevitability was far, far too apparently the best course for both parties.And it also led to my not being able to fully enjoy incredible movies like Adam's Rib. Tracy and Hepburn do their darnedest, and I have seen the film numerous times over the years, mainly to enjoy the two of them in a pair of their finest roles, and also to enjoy the sharp and quite edgy script by Ruth Gordon and Garson Kanin (themselves tart-tongued marrieds). I quite like the film, but for the same reason that stage dramas with too much bickering and shouting between lovers has me looking for an early bathroom break, and for the same reason that my head starts to buzz when even the lightest argument between Jen and myself occurs, I can't really get the same experience that others get out of Adam's Rib. It won't keep me from watching it over the years, and I will continue to try and laugh at the appropriate moments, but the angrier moments, the pensive state that develops between the main characters, and the misunderstandings that cause the rift are devastating to me. For my own safety, I will always proceed with caution.
]]>Tue, 07 Aug 2007 04:14:58 GMTrik_todThe Cinema 4 Pylon: SpOutpost8/7/2007 12:14:58 AMOK, so maybe this film isn&#39;t directly about divorce, but it feels like it to me. Ostensibly, Adam&#39;s Rib is meant to be a comedy about the war between the sexes, where what seems at first to be the perfect marriage in the home nearly gets decimated when the couple, equally feisty lawyers inhabited by top thespians Katharine Hepburn and Spencer Tracy, start getting a little too competitive in the courtroom instead. Reviewing the film is futile for me, because despite the facts it is supremely well-produced on nearly every level, and that I do get the comedy, however dark, writ large in the material, it reads as nothing but drama to me.Perhaps taking a cue from when I was twelve and my parents were going through their troubles, leading to a nasty and personally scarring divorce, any film that has couples arguing, let alone one that has the word &quot;divorce&quot; in it, tends to put me at unease. At that age, when the Hayley Mills version of The Parent Trap showed on NBC one evening, owing to the tender nature of the situation, my brothers and I were told by our mother that we weren&#39;t supposed to watch the movie when she went out that evening. The babysitter, however, acquiesced to our insistent pleading to let us see the film (in effect, we lied to her sweet, trusting Jesus-freak face), and we laughed and laughed because we had won our short-term, small-minded victory. For the moment.My brothers really had no understanding of the whole divorce issue at that time, and I will admit that until I watched Trap, I really hadn&#39;t thought of it as something into which people really put all that much emotional investment. I had friends who had parents that had divorced, but it never meant anything to me. I believe my mother&#39;s fear would be that we, who were already prone to engaging in thoroughly crazy and stupid pranks, would take a cue from the film and use the same to try and get her back together with our father. Which I meant have been inspired to if the film, despite the laughter it initially caused, didn&#39;t give way to my actually understanding the opposite was the truth. I knew at that moment that my parents weren&#39;t ever to get back together; I understood fully that it was only a silly Disney movie, and it led to a tear-soaked bedtime where our extremely kind sitter held my hand and tried to talk me out of my first sincerely deep depression. It led to an angry teenager, who nearly ruined his entire life due to his selfish brattiness. Eventually, it would lead to my being too scared to go through with my own divorce much later, even though its inevitability was far, far too apparently the best course for both parties.And it also led to my not being able to fully enjoy incredible movies like Adam&#39;s Rib. Tracy and Hepburn do their darnedest, and I have seen the film numerous times over the years, mainly to enjoy the two of them in a pair of their finest roles, and also to enjoy the sharp and quite edgy script by Ruth Gordon and Garson Kanin (themselves tart-tongued marrieds). I quite like the film, but for the same reason that stage dramas with too much bickering and shouting between lovers has me looking for an early bathroom break, and for the same reason that my head starts to buzz when even the lightest argument between Jen and myself occurs, I can&#39;t really get the same experience that others get out of Adam&#39;s Rib. It won&#39;t keep me from watching it over the years, and I will continue to try and laugh at the appropriate moments, but the angrier moments, the pensive state that develops between the main characters, and the misunderstandings that cause the rift are devastating to me. For my own safety, I will always proceed with caution. http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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