Devine qui vient dîner...

Let's not settle our 2016 values on this film. Interracial marriage is so commonplace these days. Not that it is accepted very well in many places. This film is one of the first to address the issue and it is not tame. When the young people go to the home of the white folks, there is a moment when a nuclear explosion may hit. Spencer Tracy always had a slow burn and he utilizes it well here. Still, it is too much for him at the beginning. One has to wonder if even the more liberal viewers of marriage knew that this was a road to a difficult life. Even today, it's a hard road to travel at times. One thing I appreciated was that we got the perspective from both sides, especially Sidney's father. Racial issues aren't always a one way street. This film needs to be seen even if one might think it dated.

Here's a great way to spend an afternoon: watching some of the greatest actors of all time in a film that still has relevance today. Such a cast! Hepburn is wonderful as always, very energetic, with no trace of the shakiness of her later years.

Tracy, gruff, the way most probably remember him - sort of a ratcheted up version of the roles he played with Hepburn in earlier years. His ill health is obvious though to the careful observer: voice a little weak at times, and Tracy's step missing the "spring" of his earlier films. The fact that this his last film was so memorable, and of such quality just adds to his legend.

Potier of course turns in a great performance, impeccable as always.

Watch for Isabel Sanford, ("The Jefferson's") particularly the one memorable scene where she explains to Potier's character just what "black power" really is.

Cecil Kellaway sparkles as Monsignor Ryan, and Beah Richards and Roy Glenn, as the parents to Potier's character, mirror Hepburn and Tracy.

Indeed, there is so much real honest-to-god acting talent concentrated in this movie, it seems almost unfair, what I'm about to say: Katharine Houghton, as 'Joey' is the only character with only 2 dimensions. She's the ever-smiling, but clueless daughter and object of Dr. Prentice' affection. She's such a Pollyanna, and remains oblivious to the drama going on all around her, and everyone else conspires to keep her in the dark throughout the entire film. (No wonder her father is concerned.) I think it's fair to say that Houghton's character is the one weak spot in this otherwise excellent film.

That said, this is a wonderful film that I will always watch when it comes on. It's such a treat to watch these legendary actors at work. I highly recommend it.

By the way, there's no glass in Spencer's eyeglasses during the ending monologue, is there – he's wearing only frames, right?

Guess who's coming to dinner is a first class film. It focuses on the subject of interracial marriage and the challenges that can arise. Set in the 1960s, this was definitely topical.

We are treated to first class acting from Sidney Poitier who is arguable one of the greatest and most dignified actors to grace the screen. Great performances from Spencer Tracy and Katherine Hepburn who play shocked and concerned parents. This film also focused on the important issue of walking the talk, righteous people who preach certain ways of living but we see it put to the test when they themselves are in that situation. The parents who raised a unbiased and open minded daughter must deal with her choices.

Spencer Tracey's speech to his daughter and Sidney is one of the best in film. He passes on an important message of understanding and righteousness to not just his daughter and son in law to be but the rest of America watching. A showcase of brilliant acting and messages in a film that was ahead of its time.

Continuing to review films featured with people of color in chronological order for Black History Month, we're once again in 1967 with Sidney Poitier's third film in release that year: Guess Who's Coming to Dinner. Here, he's Dr. John Prentice who, after spending vacation time in Hawaii for 10 days with one Joey Drayton (Katharine Houghton), is engaged to her and is meeting her parents for the first time in San Francisco. They're Christina (Katharine Hepburn) and Matt (Spencer Tracy) and they're both a little shocked when they meet John despite both being liberal people. Christina gets over hers while Matt takes a while. Their maid Tillie (Isabel Sanford) isn't thrilled at all while old friend Monsignor Ryan (Cecil Kellaway) approves and is bemused by all the reactions including those of John's parents (Beah Richards, Roy Glenn) when they arrive. I'll stop there and just say that while I'm sure the whole thing was made to provide such a mostly perfect representation of the black race for public consumption in presenting Poitier's characterization, he's still allowed to be a little human whether talking back a little to his father or saying he'll call off the marriage if his fiancé's parents have any reservations without consulting Joey first. Many of the funniest moments come from Ms. Sanford's Tillie during her outbursts about "black power"! There's also some nice moments concerning Tracy and Hepburn on screen together especially when one knows that this was Spencer's final movie before his death. Why, seeing Ms. Hepburn cry during her longtime loving partner's last speech on set is perhaps the most touching thing here. But let's not cut the lines of Ms. Richards and Mr. Glenn short here. Roy makes the then-pertinent point of how his son and fiancé would be considered criminals in at least 16 states (actually 14 during filming) if their relationship was known. But Beah herself is the one who gets through to Spencer about how both him and her husband seemed to have forgotten what it was like when they themselves were young and impulsive. It's that part that got her the worthy Oscar nomination. In fact, Cecil Kellaway, Ms. Hepburn, and Mr. Tracy all got worthy nods with Hepburn a worthy win (though I admit that with the exception of Audrey Hepburn in Wait Until Dark, I haven't seen the other nominees for Best Actress that year). I'm not so sure about the Best Picture nomination but it's not as embarrassing as that for Doctor Doolittle (though I'm basing that more on reputation since I've yet to see that one in its entirety). In summary, Guess Who's Coming to Dinner is still quite entertaining even with the obvious liberal point-of-view. P.S. Two other African-American players worth mentioning are Barbara Randolph (daughter of Lillian Randolph who's in my favorite movie, It's a Wonderful Life) as Dorothy who does a groovy dance with a white delivery guy and D'Urvile Martin who as Frankie gets his car accidentally hit by Spencer's automobile when the latter backs out of an ice cream parlor.

It's so easy to criticize this film. The soundtrack from DeVol is *awful*. The film is incredibly dated and there are some scenes, (the scene with the delivery boy and the ice cream shop), that are unbearable, like something out of a Gidget film.

Of course the other problem with this film, 33 years after its production, is who in the year 2000, would be upset about their daughter marrying a Yale educated Doctor?

However, despite all this, Guess Who's Coming to Dinner is a great film. The film is wonderful because it was the last film made by one of Hollywood's greatest duos, Katherine Hepburn and Spencer Tracy.

This film was made while Spencer Tracy was dying. Spencer had to put his entire salary in escrow in order for the film company to allow him to do the film.

So why did Katherine Hepburn and Spencer Tracy agree to do this film, without immediate payment? Because it's a film about forbidden love, it's a film about loving someone no matter what society thinks, or what the rules are. This is something Spencer Tracy and Katherine Hepburn knew a great deal about.

What makes this film outstanding is, by the end of the film you realize, Kate and Spencer are not even acting they are relaying their feelings about each other, through the film. Once you catch that, the drama of the final few scenes is just unparalleled and Spencer's final speech, about his love for Kate (Christina), can drive even the most twisted soul to tears.

A few things to catch in this film, watch Kate's face when Spencer recites the line, 'screw what the rest of the world thinks about your love'...those are real tears. Watch Spencer Tracey as he paces back and forth on the terrace near the end of the film. He realizes he is about to begin one of the last scenes he will ever film. He's line 'well I'll be a son of a bitch'...is more a realization he's about to make his last grandstand on the big screen, in his entire career.

Spencer Tracy is one of America's greatest actors. This is his last triumph. For that reason alone, it's a true cinematic treasure.