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I remember watching one of those dreadful "Police Academy" movies which left me guffawless, chortleless. Not only does it stand up to repeated viewings, it seems almost to *require* them; there's no way to absorb everything at one go. The characters in this movie are flat out unabashedly stupid people. Grant e Hepburn estabelecem uma ótima dinâmica e revelam um impecável timing cômico, mas nem mesmo o ritmo invejável da narrativa consegue ocultar o fato de que algumas de suas principais gags envelheceram mal.
Bringing Up Baby is also a perfect example of why directors (and even us brilliant professional critics) can often be completely in the dark about what works. Cary Grant and Kate Hepburn both do their best under the adverse circumstances, and the slapstick with the leopard towards the end of the film is genuinely funny. The movie takes risks that Hollywood isn't even aware of anymore.

(I've heard those were his trademarks, though.) This heiress is Katharine Hepburn, and she doesn't make it easier for him, since she's totally self-involved with her own eccentricities, and in one hilarious montage after another we see Grant trying to fetch his bone while getting entangled in the wildest of circumstances, one in particular which includes a tame tiger that is meant for Susan's aunt (May Robson). The supporting cast is also uniformly excellent. Don't get me wrong; I love both Katharine Hepburn and Cary Grant, but just not in this film.

One of the finest screwball comedies ever...Fast, furious and very, very funny. I love Cary Grant and couldn't feel more sorry and stressed for his character in this movie. In summary: great cast, great director, torturous film.

He though it didn't work because there were no normal characters in the film...which exactly makes it a screwball comedy. Yet it regularly does; Hawks keeps the momentum going majestically; it is one incredibly surreal, bizarre tangent going off unexpectedly into another, at every juncture. Bringing Up Baby Review. One scene after another at breakneck pace, but never a dull moment. Déjà vu! It is to arrive on the morrow, his wedding day. But Huxley's efforts on the golf course become a shambles when he encounters blithe and playful, "conceited, spoiled little scatterbrain" Susan Vance (Hepburn).

Hawks, a master of any genre, was one of the innovators of deliriously frantic, overlapping dialogue; only His Girl Friday (1940 — also Hawks) can claim faster talking. Grant was brilliant as the exasperated zoologist and Hepburn also shines as his troublemaking foil. After boy friend Howard Hughes bought her the rights to Phillip Barry's play, she then rescued her career with her big hit "The Philadelphia Story" (1940). What's with the recent bashing of this film? He also likes mauling the hapless professor Huxley, as does Susan, who is determined to have him and keep him near when she discovers how handsome he is without his academic specs on. All rights reserved. Maybe the prototypical example of the breed, in fact. Give her 24 hours and disaster instigator Susan is going to turn David's life upside down. Bringing Up Baby's narrative and thematic directions have much in common with those of Shakespearean comedy. I was thoroughly entertained. The best part is that the funny bits are just as funny on the sixth viewing as they were on the first, if not even funnier, because you've grown to really love the scatter-brained chatterbox Susan, and the befuddled, confused David.

The screen treatment, by Dudley Nichols and Hagar Wilde, made this movie the classic it became to be after not being embraced by the public when it was originally released. But with Cary Grant and Katharine Hepburn you know your getting the best of the best performances. The humor, if one can call it that, is forced, and the physical comedy is painfully unfunny. The savvy star owned a piece of it. In the first minutes of the movie, Hepburn takes Grant's car and acts like someone rich,entitled and spoiled. The hilarious golf course scene at the beginning is followed immediately by the equally riotous nightclub scene. I've tried. In case you haven't gotten the point, I highly suggest you see this movie. If you value plot above all else, the film will leave you cold; it's basically a lot of running around. As Hawks admits, Bringing Up Baby isn’t a perfect film. If you see a thriller that doesn't thrill, you just shrug your shoulders. Yet he plays such suave roles in other movies. The 25 Best Console Launch Games (Since 2000). In clumsier hands, screwball all too often gallops into the frenetic, fraying the nerves; Hawks maintains a presto pace, but never lets the mixups and misunderstandings grow implausible – he just glides serenely to something else. and to receive email from Rotten Tomatoes and Fandango. Ever mindful of his audience, Hawks ru Now that I've gotten that off my chest, I want to say that I really did have a laugh a minute. Read honest and unbiased product reviews from our users. There's a strong sense that this couple scares each other long after we leave their frenetic company. But there’s an undeniable, ephemeral magic that comes from watching him, Hepburn, and Grant all work together on such a madcap story.

But who hasn't been to the movies?

Katharine Hepburn and Cary Grant excel in these atypical roles, and Walter Catlett is so hilarious. From this point on Huxley is subject to an almost continuous series of humiliations and misfortunes. They knew their craft, and are great at it here. She moved back to New York for two years, returning in possession of the rights to film The Philadelphia Story, for which she chose Grant to partner her in a triumphant comeback — at MGM. By Chris Barsanti. Thanks for subscribing!

All the bickering and small talks, led to this, one of the finest pair I encountered on screen. I'd give this Howard Hawks perennial four stars (like everyone else) if I didn't find the climactic jailhouse scene so labored. Hepburn and Grant, who made four films together, are a peerless partnership in the departments of good looks, charm and comic timing, throwing themselves down slopes, into water holes, atop a dinosaur and into love like no-one else. He photographs and presents his actors in the most charming and amusing possible ways, and the film is certainly a more leisurely, perfectly pitched film than "His Girl Friday", which I nonetheless admire. It's perfect. Baby starts slowly and gradually builds momentum before becoming a comic frenzy. This film ought to almost be considered the textbook example of a screwball comedy.

In short, when you make a "comedy", it's supposed to be funny. By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions. If you find this funny then this film is for you. [12 July 1998, p.30]. Classic screwball comedy stars Hepburn, Grant. Screwball comedy is one of the hardest to bring off, and director Howard Hawks realized that you have to play real to make it succeed. I love classic movies and I like to make a point of seeing ones that have huge stars such as this one. Top Critic.

Bringing Up Baby Hawks, maybe, has the ingredients that I don't prefer. And if you believe that true love comes with utter understanding, prepare yourself for a serious letdown. After the first five minutes of the Music Hall's new show - we needed those five to orient ourselves - we were content to play the game called "the cliche expert goes to the movies" and we are not at all proud to report that we scored 100 per cent against Dudley Nichols, Hagar Wilde and Howard Hawks, who wrote and produced the quiz. Hepburn's latest of several flops, it ended her work at RKO. Katharine Hepburn is literally the most selfish, annoying and manipulative psycho and it was so stressful to watch her entrap Cary Grant with her antics. The movie takes risks that Hollywood isn't even aware of anymore. Copyright © Fandango. Howard Hawks must have been some director to be able to fashion such a great movie out of a madcap pace and a script in which everyone talks at the same time and is always ad-libbing.
Though it's almost impossible, try to sit back sometime and enjoy this 1938 Howard Hawks masterpiece not only for its gags, but for the grace of its construction, the assurance of its style, and the richness of its themes.

The Acting you CAN compare, though. Highlights include Susan, unaware David's foot is on her hem, stomping off minus the back of her lame gown, forcing a tandem silly walk out of a club to cover her exposed drawers; Susan and David harmonizing I Can't Give You Anything But Love to a sulking Baby on the roof, over a Viennese psychiatrist who's already convinced they're insane; and the enraged David aggressively accosting stately Aunt Elizabeth (May Robson) while he's wearing nothing but a marabou-trimmed negligee. Get the freshest reviews, news, and more delivered right to your inbox! Look very closely when Hepburn drags the snarling beast into the police station (actually she was heaving a prop man tied to her rope), and you may just glimpse the ghost image of another rope (the underlay footage of the trainer pulling the leopard).

Countless films have imitated Bringing Up Baby, most famously Peter Bogdanovich's homage What's Up, Doc? Bringing Up Baby, which cost about a million dollars to make, did not find favour with audiences on its first release and actually lost about $365,000. But she's doing some serious poaching on a young version of the kind of roles Mary Boland or Billie Burke would play. Constant senseless unromantic chaos. Full Review.

Think of the parts these two women played and you can definitely see Hepburn in Bringing Up Baby if you imagine Boland and Burke years younger. Certainly, the scenario is far-fetched but that's exactly the global idea! Sign up here. Read full review Screwball comedy is defined by the eccentric characters, unconventional situations, slapstick, mishaps, sexual chemistry and snappy repartee of this landmark jape.

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