Woman of the Year

First 70 minutes: 9 stars. I marveled over the chemistry between Hepburn and Tracy, and even more over her character, who is a highly sophisticated, intelligent, strong, funny, and romantic woman. She calls the shots, interviews heads of state, flies all over the world, speaks what seems like every language, and can hold her own drinking Scotch. At the same time, she falls for this salty sports reporter and her body language and affection for him are so tender, including when she re-assures him that he won't feel like a weekend guest while staying in her apartment on their honeymoon night with a wonderful little hint of seductiveness, and when she says "hello daddy" in a baby voice when he comes home one night. My favorite bit of dialogue was this though, where he shows such interest and acceptance of her; the way that they look at each other is wonderful:

Hebpurn: Well, we're alone. Talk. You do have something to talk about? Tracy: Yeah, yeah. You. You. I'd like to know what you like and don't like, and how you feel about being you. Hepburn: I feel very good about it. Always have. I like knowing more about what goes on than most people. Tracy: And telling them. Hepburn: Yeah, and telling them.

Last 45 minutes: 5 stars. The film starts unraveling with Hepburn's rash decision to adopt a refugee, not because that's a bad thing (it's a great thing), but because she does so without telling her husband, or without the slightest thought to actually caring for the child. It spirals from there until that horrific prolonged ending scene, where this intelligent, brilliant woman fumbles around in the kitchen, apparently not knowing how to use a toaster. It's, quite frankly, god-awful on every possible level.

The message is loud and clear: if a woman chooses to focus on a career, she will neglect her husband, not have a clue about raising kids, and be incompetent at performing wifely tasks like making breakfast. It's terribly insulting, and undoes a lot of the great things it did in the first 70 minutes. Hepburn's character wins the "Woman of the Year" award, but it's ironically Tracy who is showcased as award-worthy, for having put up with the "difficult case" of his wife, remained level-headed, and taught her a good lesson in what it takes to have a good marriage.

The only small saving grace is that his character suggests she can have both, a career and a family, as long as she doesn't go to extremes in either. It's only too bad the film didn't simply show us how women can do this balancing just as well as men, but it was 1942, and a lot of people - including those in powerful positions - were simply not ready for this message.

Aside from the historical value of first teaming Spencer Tracy and Katharine Hepburn (she had wanted Tracy in the previous year's THE PHILADELPHIA STORY, but scheduling conflicts had prevented it), WOMAN OF THE YEAR holds its own as a bright, smart 'Odd Couple' romantic comedy/drama, with witty dialog, a rich, textured performance by the reliable Tracy, and Hepburn showing a sexiness that she rarely gets to project on film.

The scenario is simple; Beautiful, brilliant Claire Booth Luce-type journalist(Hepburn) and practical, salt-of-the-earth sportswriter (Tracy) clash over whether athletic events should be suspended for the duration of the war (she finds them too frivolous in such serious times, he believes them essential for morale). After she makes some insensitive comments on the radio, he criticizes her in his sports column. Despite the paper-selling feud that results, their editor brings them together to make peace...and the pair, seeing one another in person for the first time, fall in love! Despite their busy schedules, he takes her to a ball game (which she loves) and she introduces him to her international friends (which he doesn't). Nonetheless, they marry, but he quickly discovers she is so busy 'saving the world' that she can't make time for him...and then she 'adopts' a war orphan, without consulting him, or considering how little time for 'motherhood' she's willing to give. He realizes a drastic step must be taken, as she is clueless about what being a 'wife' and 'mother' means...

While the domesticity scene concluding the film seems out of place (the story goes that MGM added it to make Tracy the 'winner' of the 'battle of the sexes', to a much more chauvinistic 40s audience), so many scenes ring true that the film goes beyond simple comedy/drama to a timeless statement about commitment, priorities, and accountability for one's actions. And despite the serious issues raised, it makes you laugh, too! Hepburn's reactions at the ball game, and Tracy, trying to be inconspicuous at the women's club meeting, are among the comic highlights. The star duo are so natural together that it's hard to believe this was their first teaming, and the chemistry carried over into their private lives as well, beginning a romance that lasted 25 years.

WOMAN OF THE YEAR is, deservedly, a classic!

Hepburn shines as a beautiful, world-famous political columnist. It is hard to believe that she would fall for an Average Joe sports columnist like Tracy and the latter's performance is too dull to make her attraction to him believable. The first teaming of the pair has its moments but can't quite decide if it is a comedy or a drama. The basic message of this movie seems to be that a woman's place is in the kitchen although there is an amusing sequence in the kitchen where Hepburn tries to disprove this notion. Something seems to be missing from the timing/delivery of the humor. In 1942, the same year as this movie, Director Stevens had much better success with "The More the Merrier."

Legend has it that Spencer Tracy said he would cut Katharine Hepburn down to size when upon meeting her in heels for the first time on the set of Woman of the Year.

I think that's what the authors of the screenplay Michael Kanin and Ring Lardner, Jr., had in mind in the script as well. As mismatched a pair if there ever were, he a down to earth sports columnist and she a world famous news reporter and commentator, fall in love.

As her celebrity is much wider known than his, Hepburn expects to have it all her own way. The rest of the film is concerned with their efforts to adjust to each other.

Katharine Hepburn's character is based on liberal radio commentator and reporter Dorothy Thompson. Not surprising that no one has mentioned that yet in all the reviews so far. The giveaway is Tracy first hearing her voice on the radio while in his favorite sports bar on Information Please where Thompson was a guest. Her career petered out after World War II, so she's not known to today's audience.

Writers Kanin and Lardner had as a model for the Tracy character Lardner's own father. Ring Lardner was one the celebrated sports writers of the first half of the 20th century, a great reporter and humorist. While Tracy is not as witty as Ring Lardner, he is definitely as down to earth.

My favorite scene is Spencer Tracy trying to feel comfortable at an international gathering at her place, looking even for people who speak English. Of course she's equally as uncomfortable at William Bendix's bar where Tracy likes to hang out.

Hepburn, comfortable in her celebrity, just sails through life, getting awards here and there. When she thinks of a Greek orphan kid she gets pressured into taking in as another award, that's when Tracy puts his foot down.

Based on some real celebrities, Tracy and Hepburn become those celebrities in the flesh. It's an awesome debut for what turned out to be a great screen team.

Look for fine performances by William Bendix, Fay Bainter, Minor Watson and Dan Tobin. Kanin and Lardner copped the film's only Oscar for an original screenplay. Hepburn was nominated for Best Actress, but lost to Greer Garson in Mrs. Miniver.

If Woman of the Year were remade today, the producers might consider making the woman the sports reporter. Seeing Jeannie Zelasko covering the World Series this year, I'm sure it would work very well.

Most commentators on this movie miss the its point completely, and criticize what they misunderstand as the outdated sexual politics of the 1940's from the standpoint of the outdated sexual politics of the 1970's. Blinded by political correctness, they miss the many virtues of the sparkling script.

The point of the script is actually relatively modest. It is not, in fact it is far from, The Taming of the Shrew, or the subjugation of the independent woman. Tracy's character admires Hepburn's character's independence and competence, and he doesn't want her to renounce them to become the "little woman" -- that is the burden of his "kitchen speech" at the end. He simply understands better than she does, at least until the end of the film, that maintaining a relationship and a marriage requires time, work, and attention. That may well be an unwelcome message, but it is not an unwise one.

The comedy of the film comes from their characters' different worlds -- Tracy is a sportswriter and Hepburn an international politics columnist. The drama comes from their different levels of commitment to being a couple. The script delicately and for the most part successfully (with the possible exception of the Greek orphan subplot), balances these two conflicts and the comedy and drama.