This year Glasgow Film Festival has instituted a set of free screenings of classical Hollywood films under the heading of ‘The Dream Team’ with pairings such as Bogart and Bacall, Doris Day and Rock Hudson, Butch and Sundance etc. Tickets are only obtainable 30 minutes before the screening at 10.30 am. I rolled up to find a queue outside GFT but there was plenty of room in GFT1, the largest auditorium, and everyone was easily accommodated. The pairing was Katharine Hepburn and Spencer Tracy in their first film together, Woman of the Year. The screening was introduced (as all GFF screenings I’ve attended have been) but, unlike on most other occasions, co-director Allan Hunter said quite a lot about the film, offering us information about the production and the long loving relationship between Hepburn and the still married Tracy hat started on this film shoot. The intro was well received by an audience that wasn’t totally made up of pensioners. For younger members, Hunter’s insights were no doubt very useful.
Woman of the Year was an MGM production on which Hepburn had a considerable input since she sold the script package to the studio and chose both Tracy as her leading man and George Stevens as director. Hunter told us that she thought Stevens could talk to Tracy about sports. I was partly attracted to the film because of Stevens – who later directed Shane in a manner rather different to his pre-war films. I wondered if the film would have been different if George Cukor had been agreed by Hepburn (she had previously worked with both directors). Stevens had a good pedigree in comedy and Woman of the Year fairly zips along with great dialogue exchanges. Hepburn is Tess Harding – a character based on the leading American female journalist of the period –who is elected ‘Woman of the Year’. Tracy is Sam Craig, the leading sports columnist on the same paper. When they meet they fall for each other immediately and marry quickly despite their obvious differences in background and tastes.
I found the film refreshingly sharp and witty with two great players and a tight script by Ring Lardner Jr. and Michael Kanin. The two actors seem to feed off each other. The main interest in the film today is in the ending which legend has it was the result of studio bosses wanting to see the strong assertive woman cut down to size and ‘behaving herself in a man’s world’. The final sequence was not in the script that Hepburn brought to the studio and though its force was slightly ameliorated by the writers, even so it is seen as dating the film because it wouldn’t be acceptable post 1960s feminism etc. I’m not sure if that analysis makes sense (whatever the studio’s intention). Tess has behaved badly (in her treatment of a refugee child). This is mainly because she has lived the life of a wealthy and privileged woman and doesn’t understand a few basics. The final scene sees her trying to appease Sam by making him breakfast in the kitchen of the new apartment he has taken after leaving her. Since she knows nothing about cooking or kitchens, everything goes wrong in a glorious sequence of blunders with untameable food technology. Stevens began his career photographing Laurel and Hardy films for Hal Roach and he organises this well. Tess’ failure to cook is demeaning not because she is doing ‘women’s work’ but because she is a rich young woman who has never done menial work in the home. She isn’t being ‘punished because she is a woman but because she has no contact with the world of the everyday for most people. It’s also true that the costume Kate is wearing is immensely impractical and gets in the way of cooking. Personally I can never see Ms Hepburn as a submissive woman on screen – she always seems to be in charge. Having said that, Allan Hunter told us that the normally assertive Katharine Hepburn was remarkably subservient to Spencer Tracy in their personal relationship. So, ‘that’s acting’ as more than one female star has said.