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Today, the world around us may be changing by leaps and bounds, but as this film so aptly illustrates, this is nothing new; the world has always been, and always will be, in a constant state of flux, from one generation to the next. In `Holiday,' a delightful romantic comedy directed by George Cukor, a young man of thirty has some decisions to make about his life and love that are going to determine the course of his life. After a whirlwind, ten day romance with Julia Seton (Doris Nolan), a girl he's just met, Johnny Case (Cary Grant) asks her to marry him; and she accepts. But the story really begins when he shows up at her house to meet her widowed father, Edward (Henry Kolker), to ask for Julia's hand in marriage.

This is not an early version of `Meet the Parents,' however; Johnny's a regular guy with a good job at an investment firm, and he's in love. All is going well; he's about to meet the family of the woman he loves, and he's made a decision about his life. And when he arrives at Julia's house, he makes some startling discoveries: First, she's filthy rich-- her house is so big he calls it a museum-- and she has a beautiful, spirited sister named Linda (Katharine Hepburn). But soon he'll be married to Julia, and if all goes right with a deal he's been working on for the firm, he'll also be able to follow through on his decision. If the deal at work goes through, it'll put some change in his pockets, which is all he wants; but not because it'll put him on the fast track to getting ahead with the company. He wants to make enough to get married and quit his job, so he can take a `holiday' while he's still young enough to enjoy it-- even if it only turns out to be three months or so-- and have some time to discover just where he fits into a world that's rapidly changing. Now all he has to do is explain it all to Julia. And to her father. And all while trying to deny the fact that he's attracted to Linda.

Cukor takes a lighthearted approach to this story, which keeps it upbeat and entertaining, and he laces it with warmth and humor that'll give you some laughs and put a smile on your face. But beyond all that, Cukor shows some real insight into human nature and the ways of the world. And it makes this film timeless. Consider Johnny's comments about how the world is changing, and wanting to find out for himself where he fits in; or the comment by one of Julia's cousins, Seton Cram (Henry Daniell)-- who is already wealthy, apparently, beyond all comprehension-- that there would be a lot of money to be made if only `The right government was in place.' To make this film today, you'd only have to change the dates on the calendar, shoot in color, substitute Norton for Grant, Danes for Hepburn and bring in Nora Ephron to direct.

But what really makes this one special are the performances of Grant and Hepburn. Grant is as charming as ever, but just a bit looser and slightly less debonair than he is in most of his later roles. And it becomes him; he endows Johnny with youthful exuberance, good looks and personality, as well as a carefree yet responsible attitude that makes him someone you can't help but like. And Hepburn fairly sparkles as Linda, a role she was born to play; this young woman filled with a zest for life and an indomitable spirit. She imbues Linda with that same, trademark Hepburn feistiness you'll find in so many of her characters in films like `The Philadelphia Story,' `Adam's Rib' and `The African Queen.' All of whom she plays with a variation that makes each of them unique. And it's that personal spark of life that she's able to transfer to her characters that makes Hepburn so special. Whether she's locking horns with Tracy, pouring Bogart's gin into the river or falling in live with Grant, nobody does it quite like Kate. And Cukor had an affinity for Hepburn that enabled him to bring out the best in her, always. Arguably, her best work was with Cukor.

The memorable supporting cast includes Lew Ayres (Ned), Edward Everett Horton (Nick), Binnie Barnes (Laura), Jean Dixon (Susan) and Mitchell Harris (Jennings). A thoroughly enjoyable film, `Holiday' makes a subtle statement about embracing the time you have and grabbing for the brass ring while you're still able; that in the end, life is what you make of it. But Cukor never lets it get too serious, and never lets you forget that the main thing here is to have some fun, beginning with this movie. And by the time it's over, the world seems just a little bit brighter somehow. And that's the magic of the movies. I rate this one 8/10.

I actually like this Grant and Hepburn pairing even better than The Philadelphia Story! The theme that love and independence are what's really important and that riches are not the be all and end all of life is very inspirational. Grant and Hepburn, and even Grant and Nolan at the beginning, have great chemistry and bring their characters to wonderful life. The supporting cast complements them perfectly. Cukor did a masterful job converting the story from the stage to the screen and coaxing the performances out of his cast. This is simply a wonderful movie, 9/10.

Katharine Hepburn brought three Phillip Barry characters to life on the screen in Without Love, The Philadelphia Story and first and foremost Holiday. Her upper class upbringing in Connecticut made her the perfect actress for his plays about the fabulously wealthy which Depression Era USA just ate up.

Holiday of necessity had to be updated. It debuted on Broadway in the boom year of 1928 so some lines to acknowledge the Great Depression had to be included. When Henry Daniell says his obscene market profits would be better with the right kind of government, he's taking dead aim at the New Deal, in particularly the newly formed Security Exchange Commission.

One guy who wants out of the money making rat race is Cary Grant as Johnny Case. He's a poor kid who's worked his way up, probably the same as the founder of the Seton fortune did back in the day. But he's decided there's more to life than just making money. Like Grandpa Vanderhof in You Can't Take It With You or Charles Foster Kane who admittedly inherited his. Henry Kolker as Edward Seton and George Coulouris as Thatcher think exactly alike.

Case has a vision of his life and wants to share it with his fiancé Doris Nolan. But he's picked the wrong sister, it's younger sister Katharine Hepburn of the Seton girls who's his soul mate.

As one who's now retired and admittedly not living in the style of the Setons I can empathize with Cary Grant. As long as you have enough to live on and you have interests to occupy yourself and you don't have a family to support, why work? In fact make room for the next generation who might have a family to support.

In that sense Holiday has a message that applies more for today than it did in 1938. Make what you can, take care of those who depend on you, but get out and enjoy life.

And enjoy Holiday.

Katharine Hepburn and Cary Grant on paper, I suppose, look like an odd pairing, but they were absolutely marvelous together, and "Holiday," directed by George Cukor, is no exception. Hepburn plays the unhappy, bored, but bright Linda in a dysfunctional, upper crust New York family. Her brother, Ned (Lew Ayres) is a miserable drunk, and her father controls the family with an iron hand and the ethic that money is their god. Their mother, who was like Linda, is deeply missed by her. Linda adores her younger sister, Julia, but has idealized her and doesn't see that she has the same upper class values as their father. When Julia brings home her fiancée, Johnny Case (Grant), it is immediately obvious to the audience (and later to the characters) that Johnny fell for the wrong girl.

"Holiday" is a film filled with heart, poignancy, and some warm humor provided by Johnny's friends, played by Edward Everett Horton and Jean Dixon, who come up against the society crowd at a party. Hepburn gives a beautiful performance as a young woman who wants to break free, and Ayres is heartbreaking as a man who can't. Grant, of course, is in the kind of role he did best in his early career, a young man from the wrong side of the tracks who is an independent spirit. He does some great gymnastics in the film, and he and Hepburn have a wonderful moment where she stands on his shoulders, and they fall into head rolls. Really marvelous stuff. The only problem I have is that the character of Julia, the younger sister, is so uptight and shallow, it's amazing that Johnny fell for her at all. Since they met while she was vacationing in Lake Placid, the audience must assume that out of the family home, she was more fun and playful, but when she comes up against her father, she falls right in with him.

Hepburn and Grant worked together in "Bringing Up Baby," "The Philadelphia Story," and this film - actually, three films in a row - plus "Sylvia Scarlett." One wishes they had appeared together even more. They had great chemistry.

Wit, insight, deft characterization, family misery, and social commentary all play a part in Holiday. The acting and script are superb -- all the characters are sympathetically drawn and interact in the foreground, while wealth and its "privileges" form the background.

Is love a social obligation? Or does it spring from sheer affinity? Should the acquisition of wealth be the summum bonum of experience -- or happen accidently, as the result of hard and honest work? These are the questions that will tease you, as you enjoy the gleaming intelligence of Katherine Hepburn and the polished insouciance of Cary Grant. Both are in top form!!!

What stands out in my recollection of this film is the theme of play. The stars are playful; they get acquainted among the toys in a playroom. The plot revolves around a holiday -- a chance for adults to play. There are plays on words. The Play is the Thing. Holiday is ultimately about the importance of play, in all its connotations: flexibility, acting out, silly behavior, continuous learning, freedom to be.

It is okay for adults to play sometimes, or do adults need "permission" to play?