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Kate talks to Clive James:
The entire interview:
The entire interview:
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He ended up being Gale Storm's dad on MY LITTLE MARGIE.
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I don’t know how, but I’ve been sleeping on Katharine Hepburn. I recently watched Bringing Up Baby after seeing a clip, and oh my gosh, what a hoot of a film!
After that, I went down the rabbit hole and watched her other collaborations with Cary Grant: The Philadelphia Story (which I liked, though I was a bit puzzled by the plot and ending, I went in basically blind, but I did enjoy the quick, sharp dialogue), and Holiday, which was just fantastic.
I’m definitely going to watch more. I love the feeling of discovering a new actor and diving deep into their filmography.
After that, I went down the rabbit hole and watched her other collaborations with Cary Grant: The Philadelphia Story (which I liked, though I was a bit puzzled by the plot and ending, I went in basically blind, but I did enjoy the quick, sharp dialogue), and Holiday, which was just fantastic.
I’m definitely going to watch more. I love the feeling of discovering a new actor and diving deep into their filmography.
I'm glad you've discoverd Katharine Hepburn. I think my favorite movie of hers is "Adams Rib" (1949) where she co-starred with Spencer Tracy. I rewatched that again last year and the movie still held up well on my third watch or something like that. 
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I have to say (and probably already have, earlier in this thread, but I'm too lazy this morning to go back and peruse it) I have a strong preference for Kate's dowager roles from later in her career. Her earlier comedic parts are just fine -- she's chic and elegant (I have a copy of THE PHILADELPHIA STORY yet find it hard to trudge through sometimes).
But, for me, Hepburn becomes more interesting, magisterial yet looser, as she ages. She's alternately breathtaking and awful in LONG DAY'S JOURNEY INTO NIGHT (1962) and her most deserved Oscar (although she had to share it with Streisand) was for LION IN WINTER (1968) -- one of the great dialogue pictures ever.
THE TROJAN WOMEN (1971) was not one of her biggest hits, critically or financially, but how many actors could handle a scene like this??, from about 01: 21:00 thru 01:24:00...
But, for me, Hepburn becomes more interesting, magisterial yet looser, as she ages. She's alternately breathtaking and awful in LONG DAY'S JOURNEY INTO NIGHT (1962) and her most deserved Oscar (although she had to share it with Streisand) was for LION IN WINTER (1968) -- one of the great dialogue pictures ever.
THE TROJAN WOMEN (1971) was not one of her biggest hits, critically or financially, but how many actors could handle a scene like this??, from about 01: 21:00 thru 01:24:00...
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If you're ever in Old Saybrook, CT, I highly recommend a visit to the lovely small museum at the Katherine Hepburn Cultural Arts Center. The have rotating special exhibits and show her movies. When I was there last month, they had her real life wedding dress and other dresses that she wore in plays and movies. Love that she gave Spencer Tracy's hat to Henry Fonda when they filmed On Golden Pond, so sweet.
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Review of LONG DAY'S JOURNEY INTO NIGHT:
The 1962 movie --- it's quite long; Kate is alternately awful and awfully brilliant:
The 1962 movie --- it's quite long; Kate is alternately awful and awfully brilliant:
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From Reddit: The 13 actresses Kate beat for Best Actress. May Robson, Diana Wynyard, Anne Bancroft, Faye Dunaway, Edith Evans, Patricia Neal, Audrey Hepburn, Vanessa Redgrave, Joanne Woodward, Diane Keaton, Marsha Mason, Susan Sarandon and Meryl Streep.
It's wild that Hepburn competitively overlapped with Streep.
It's wild that Hepburn competitively overlapped with Streep.
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Have you seen "The African Queen", "Guess Who´s Coming to Dinner" and "The Lion in Winter"?
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I have.. and they were ok, but not my favorites.
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I watched CALL ME KATE (2023), a documentary I had no idea even existed until this past week. It's on Netflix, so I decided to give it a look after I stumbled upon it.
Right from the start, I notice there's something "off" about the voiceover narration that's supposed to be Katharine Hepburn. It's most definitely not her, it's a "sound-alike" impersonation that is honestly quite distracting in some areas, especially when it comes right before or right after Hepburn's real voice clipped from interviews and other recordings.
That aside, the documentary was pretty good. It focuses on her life, as all documentaries aim to do. During her liberal-leaning childhood and adolescence, she was embedded with ideals she took into adulthood and she allowed those same beliefs to carry her through life. One of the things I found most informative about this documentary was the aftermath surrounding the suicide of Hepburn's older brother when she was quite young. Her father practically erased him from their lives, barring the very mentioning of his name. "They had to pretend like he was never a part of their family," the narration says. That's honestly quite sad and something I couldn't have dealt with.
Other than that, the documentary was pretty much what one might expect: there's talks on her introduction to Hollywood, her determination in the negotiations, her changing the face of womanhood on screen, her relationships, her decades-long relationship with Spencer Tracy, and her later life resurgence as one of the most famous women in the world. There's also a little tangent about her rumored homosexuality or bisexuality, but it's basically brushed off. The real Hepburn even pops in for a voiceover where she makes a few jokes about people thinking she's a lesbian.
As I say, it's on Netflix, and it might even be streaming elsewhere. It's worth a look, so give it a try.
Right from the start, I notice there's something "off" about the voiceover narration that's supposed to be Katharine Hepburn. It's most definitely not her, it's a "sound-alike" impersonation that is honestly quite distracting in some areas, especially when it comes right before or right after Hepburn's real voice clipped from interviews and other recordings.
That aside, the documentary was pretty good. It focuses on her life, as all documentaries aim to do. During her liberal-leaning childhood and adolescence, she was embedded with ideals she took into adulthood and she allowed those same beliefs to carry her through life. One of the things I found most informative about this documentary was the aftermath surrounding the suicide of Hepburn's older brother when she was quite young. Her father practically erased him from their lives, barring the very mentioning of his name. "They had to pretend like he was never a part of their family," the narration says. That's honestly quite sad and something I couldn't have dealt with.
Other than that, the documentary was pretty much what one might expect: there's talks on her introduction to Hollywood, her determination in the negotiations, her changing the face of womanhood on screen, her relationships, her decades-long relationship with Spencer Tracy, and her later life resurgence as one of the most famous women in the world. There's also a little tangent about her rumored homosexuality or bisexuality, but it's basically brushed off. The real Hepburn even pops in for a voiceover where she makes a few jokes about people thinking she's a lesbian.
As I say, it's on Netflix, and it might even be streaming elsewhere. It's worth a look, so give it a try.
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I don't have a problem with documentaries using recreations long as they're identified as such. I've only seen the promo for this particular doc. The sound-alike didn't seem to sound very much alike.
In Kate's case, odd to even need a sound-a-like; we have so much of Kate talking about her own life, including her narrating her own autobiography, that it seems like there was plenty in her own voice to pull from.
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This was the film where Lucille Ball says Hepburn showed up, very chic and very thin, her mid-Atlantic accent incomprehensible, and ignored the whole cast.
Soooo .... typecasting.
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I'm sure I've said it before, but I love STAGE DOOR; one of my top 20 favorite films of the era.
RKO really tried to salvage Kate's career. Unlike when MGM saddled Crawford with mostly bad scripts in her final years at the studio, RKO gave Kate three great movies in a row (STAGE DOOR; BRINGING UP BABY; HOLIDAY). Even with Ginger Rogers and Cary Grant to bolster her, audiences rejected Kate. Crawford and Davis were branded "box office poison" the same time Hepburn was, but that stuck to Kate a lot longer.
RKO really tried to salvage Kate's career. Unlike when MGM saddled Crawford with mostly bad scripts in her final years at the studio, RKO gave Kate three great movies in a row (STAGE DOOR; BRINGING UP BABY; HOLIDAY). Even with Ginger Rogers and Cary Grant to bolster her, audiences rejected Kate. Crawford and Davis were branded "box office poison" the same time Hepburn was, but that stuck to Kate a lot longer.
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Did Hughes have something to do with that?