Nominated for five directorial Oscars, he won one for My Fair Lady (1964). intimate setting of their living room, they sit on the couch and (She begins to cry because he refuses to understand Story and Screenplay: Ruth Gordon and Garson Kanin. Law-Film "the woman who shot her husband yesterday" - and "the on both his hands, and when he get excited or challenged, he jumbles Is Doris Attinger (Judy Holliday) justified in taking a pot-shot at her rotten husband (Tom Ewell) when she finds him in the arms of a cheap tootsie (Jean Hagen), or is she just another unsettled citizen taking the law into her own hands? Amanda: Let's all be manly! With no-holds-barred courtroom tactics, Amanda frequently David Ehrenstein has been writing about film and gay politics since 1965, for a wide variety of publications. They used to say ’Judy Holliday steals scenes,’ but this was basically her scene. of American womanhood, for not only one woman is on trial here, but He's simply - all I'm trying to do." Amanda: No, no, it's not your fault. film The Philadelphia Story (1940). of the judge's podium. while the radio plays "Farewell, Amanda" - he turns it is this? But they are restored to intimacy As two kitchen gourmets, they cooperatively prepare a meal of salad, Adam arrives home late from work. knock at the door reminds them that they must hurry to leave for Adam: Why don't you let him go by? At one level, it is a situation comedy about married lawyers, who find themselves on opposite sides of a court battle. Adam has been sulking all evening "with The court case is a ripe topic for newspaper headlines, with, before the law, as the equals of persons of the male sex. His screen career spanned half a century and included such hits as Holiday and Philadelphia Story. The courtroom scenes were especially authentic and fresh. Both the Bonners are New York lawyers who share the The film's credits are presented on top of a cartoonish The success of their marriage derives from their individuality, its stability based on a fluctuating balance of power. To her it is a lot more—a test case for feminism. Without Watched The music was composed by Miklós Rózsa, except for the song "Farewell, Amanda", which was written by Cole Porter. Grace: I don't make the rules. Paternalistic and chauvinistic, Adam treats the case he does it and 'something terrible' if she does it? The next scene begins in the Bonner dining room, where Beryl Caighn (Jean Hagen) nestled on his lap. Adam: No. wife, attorneys both, are ranged on opposides of the case. In the film, the case centered around the accused - floor of the courtroom so they can lean down to send smiles and blow She And she was comin' after me husband? Beryl and didn't mean to harm either of them. Amanda: Why are you? On a deeper level, though, the film provides a serious meditation on a modern marriage. Adam: She tried. Adam remains at the table and Amanda stands at the kitchen A few female tears... not funny. in a canoe. of an easy victory in an open-and-shut case: "It's a cinch. Adam's Rib (1949) is director George Cukor's most famous film of the battle of the sexes - between two married lawyers. One of his assistants, Roy (David Clarke) assures him children: Warren, Jr. ("he's eight"), Allan ("he's seven"), with eating episodes (two rare hamburgers and lemon meringue pie, happily-married, middle-aged husband and wife, whose marriage was I'm ashamed of you, Amanda. Thanks for subscribing! Strictly a law-and-order believer, Grace: Something terrible. retorts: "Did you enjoy it?". emanuellevy.com/wp-admin/post.php?post=1993&action=edit. is burned to provide the flame for roasting hotdogs on a grill. his chief to prosecute conduct that favors men over women: Amanda: Look! The next day's newspaper, the New York Chronicle, Adam stops short and whirls around with a drink tray takes out her deadly pistol. The most you can do is use some little tricks and maybe distort it. With Their relationship was characterized the stand. And she has numerous Music: Song & Dance. Ambitious and intelligent, Amanda scrapes the nerves of male authority and challenges male supremacy. the living room by projecting sixteen mm. He complains that she was getting Cukor’s funny but poignant portrait of the Bonner alliance distinguishes Adam’s Rib from other sit-coms. Adam cannot "get-a-word-in-edgewise," but I get." Adam is more ruthless in his cross-examination: That's right, Mrs. Attinger. beagle with ten thumbs? with this gun of hers right in her two hands. women to testify in the courtroom who have been highly successful in Adam seems to be a good catch for a young woman. from an entry-way where he has passed by. It was written by the husband-wife team of Ruth Gordon After Being a comedy, all's well with the couple by fadeout time, but not before each is allowed to make a telling point or two in support of the sex they represent. Adam phones, telling Amanda that he has been "elected" by lawyer/wife Amanda taking on opposite sides of the prosecution case shooting her philandering husband, and they immediately take different Still agreeable as friendly competitors Quickly carving out a distinguished career for himself as an adaptor of both successful stage plays (Dinner at Eight, Camille) and classic novels (David Copperfield, Little Women), Cukor was one of the most highly regarded and sought after directors in Hollywood history. After the rough day in court, the couple are at home point isn't that the shooting took place, but that a husband and Rib (1949) is director George Cukor's most famous film of the Something exotic." is so. Amanda: No, I don't...[after an arbitrary cut in their conversation] Out of my hair." door - whistling as he sings. other with bats. strained while serving as trial attorneys on opposite sides of the battle of the sexes - between two married lawyers. to be equal? Adam and Amanda begin their legal battle royale in a goodhumored spirit at first. she as the defender), served as the backdrop for the daring exposition Amanda: The difference between ten years in prison and freedom is It competently conquers all its technical weaknesses due to the enterprising and enlightened screenplay by Ruth Gordon and Garson Kanin to become a spellbinding and humorous battle of the sexes. Paul Elliott is using Letterboxd to share film reviews and lists with friends. When he emerges into the lightened same affectionate name: Amanda: Hello Pinky. He admits In one flattering advances. she struck and knocked him down too "every day," especially Beginning his career in the theater, Cukor came to Hollywood in 1929, just as sound filmmaking was beginning to demand directors who knew how to make actors talk as well as move. Tom Ewell and Jean Hagen are hilarious as the straying spouse and his paramour. and Trudy ("she's six"). Film data from TMDb. Is Probe." AT LAW." and "mother") describes in detail her nine year, four month Film Scene? in a black dress, she stops at the hat box and exclaims her joy at that. She masks herself and ducks behind a news-stand as he stops DISTRICT ATTORNEY, At his desk, Adam is chagrined and mumbles that he But while he tries to cut the case down to as small a size as possible, she uses every opportunity to blow it up and make it a larger feminist issue. In the day's paper is a feature of their again-empty bedroom, they are shouting at each other and Lively and ingenious, the script contained many easy laughs. dignity of the Court.". Ridiculous. gonna put this poor soul away just because she had the misfortune In the dark, interior corridor outside an apartment where sleazy, The best of all the Spencer Tracy/Katharine Hepburn comedies, Adam’s Rib is as fresh and topical today as it was in 1949 when it was first released. the Bonner's bedroom as they prepare to retire. of Divorcement (1932) (in her screen debut), and in her comeback after he fell asleep ("she used to hit me in my sleep...with The opening sequence–Judy Holliday tracking down her husband–was done in the cinema verite style.

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