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Post by Lebowskidoo 🎄😷🎄 on Jan 24, 2018 20:48:16 GMT
Watching several of their movies together this week, was a bit shocked to discover they made NINE movies with each other. I'd seen them in Guess Who's Coming to Dinner many years ago, but nothing else until now. So far, I've really liked Desk Set and Adam's Rib. Woman of the Year was their first and it feels like you're watching two people falling in love for real...I think they were. They stayed together but separate for many years, such a unique coupling. Hepburn must have been very independent or patient, or both! Tracy drank a lot too.
I saw State of the Union also, American politics , yada yada yada, not bad but I liked some of the others better.
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Post by wmcclain on Jan 25, 2018 0:34:00 GMT
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Post by wmcclain on Jan 25, 2018 0:35:08 GMT
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Post by teleadm on Jan 25, 2018 18:11:57 GMT
In a documentary Katharine Hepburn said she could never watch any of the movies she made with Spencer Tracy after he died. She was afraid it would arouse too many feelings.   The documentary I was referring to was Katharine Hepburn: All About Me 1993, that was among the extra material on my The Philadelphia Story double-DVD.
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Post by Doghouse6 on Jan 25, 2018 19:49:47 GMT
In a documentary Katharine Hepburn said she could never watch any of the movies she made with Spencer Tracy after he died. She was afraid it would arouse too many feelings. The documentary I was referring to was Katharine Hepburn: All About Me 1993, that was among the extra material on my The Philadelphia Story double-DVD. It was surprising how personal Hepburn became in expressing her recollections about Tracy in that documentary. For some years after his death she'd kept her feelings private, and Garson Kanin's 1971 book, "Tracy and Hepburn: An Intimate Memoir," is said to have caused a temporary rift between her and the author; she felt her old friend had violated that privacy. S haring their relationship with the public was apparently something she wanted to do only in her own time and on her own terms, and she eventually became ready to do so, beginning with The Spencer Tracy Legacy, which aired on PBS in 1986. Got time for my own personal recollection? I was still working on the MGM lot the day she came to shoot wraparound segments for The Spencer Tracy Legacy; someone came into our office in the Garland Building and said, "Katharine Hepburn's outside," so my coworker Beth and I stepped out to gaze at the great lady. There she was, just across the studio street in front of Stage 21, in slacks and an outdoorsy jacket with a red sweater tied around her shoulders, accompanied by a minimal crew of cameraman, soundman and no more than two or three others. We intended to watch for only a minute or two, but when she completed the shot, hoisted the strap of her bag over her shoulder and trudged off, her crew hastily gathered themselves up to follow, and so did we, like curious but shy puppies, maintaining a respectful distance. At each place they stopped, it was the same thing: all-business Hepburn would plant herself on her spot, a couple more onlookers would emerge from offices, and as soon as camera and sound were ready, she would do precisely one (perfect) take and briskly stride off for the next setup as her crew scrambled to keep up...followed by a few more onlookers. By the time she reached the west entrance of the Thalberg Building to tell the story of her first meeting with Tracy on the spot where it happened (frame grab below), she'd amassed an itinerant audience of at least two dozen studio workers, all equally magnetized and mesmerized, following in her footsteps as though she was the Pied Piper of Hamelin, and remaining reverently quiet all the way as though to go unnoticed...which, as far as anyone could tell from her efficient attitude, we were. Our little mobile audience stood about fifteen feet left of camera as she made that shot, after which she and her crew took a break and the rest of us, A.W.O.L. for over an hour, returned to our offices. Fortunately for Beth and me, the V.P. for whom we worked was out of the office that day, but it would still have been worth it to have endured a bellowing, "Where the HELL have you two been?" We could hear him yell any old day, but it wasn't every day that the great Kate was in our midst.
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Post by Lebowskidoo 🎄😷🎄 on Jan 25, 2018 22:43:21 GMT
In a documentary Katharine Hepburn said she could never watch any of the movies she made with Spencer Tracy after he died. She was afraid it would arouse too many feelings. The documentary I was referring to was Katharine Hepburn: All About Me 1993, that was among the extra material on my The Philadelphia Story double-DVD. It was surprising how personal Hepburn became in expressing her recollections about Tracy in that documentary. For some years after his death she'd kept her feelings private, and Garson Kanin's 1971 book, "Tracy and Hepburn: An Intimate Memoir," is said to have caused a temporary rift between her and the author; she felt her old friend had violated that privacy. S haring their relationship with the public was apparently something she wanted to do only in her own time and on her own terms, and she eventually became ready to do so, beginning with The Spencer Tracy Legacy, which aired on PBS in 1986. Got time for my own personal recollection? I was still working on the MGM lot the day she came to shoot wraparound segments for The Spencer Tracy Legacy; someone came into our office in the Garland Building and said, "Katharine Hepburn's outside," so my coworker Beth and I stepped out to gaze at the great lady. There she was, just across the studio street in front of Stage 21, in slacks and an outdoorsy jacket with a red sweater tied around her shoulders, accompanied by a minimal crew of cameraman, soundman and no more than two or three others. We intended to watch for only a minute or two, but when she completed the shot, hoisted the strap of her bag over her shoulder and trudged off, her crew hastily gathered themselves up to follow, and so did we, like curious but shy puppies, maintaining a respectful distance. At each place they stopped, it was the same thing: all-business Hepburn would plant herself on her spot, a couple more onlookers would emerge from offices, and as soon as camera and sound were ready, she would do precisely one (perfect) take and briskly stride off for the next setup as her crew scrambled to keep up...followed by a few more onlookers. By the time she reached the west entrance of the Thalberg Building to tell the story of her first meeting with Tracy on the spot where it happened (frame grab below), she'd amassed an itinerant audience of at least two dozen studio workers, all equally magnetized and mesmerized, following in her footsteps as though she was the Pied Piper of Hamelin, and remaining reverently quiet all the way as though to go unnoticed...which, as far as anyone could tell from her efficient attitude, we were. Our little mobile audience stood about fifteen feet left of camera as she made that shot, after which she and her crew took a break and the rest of us, A.W.O.L. for over an hour, returned to our offices. Fortunately for Beth and me, the V.P. for whom we worked was out of the office that day, but it would still have been worth it to have endured a bellowing, "Where the HELL have you two been?" We could hear him yell any old day, but it wasn't every day that the great Kate was in our midst. Love your story Doghouse6, so great that you had that experience! 
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Post by Doghouse6 on Jan 25, 2018 23:27:03 GMT
Love your story Doghouse6 , so great that you had that experience!  Nice of you to take the trouble to say so, Lebowskidoo 🎄😷🎄. Thanks, and 
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Post by divtal on Jan 26, 2018 4:10:32 GMT
In a documentary Katharine Hepburn said she could never watch any of the movies she made with Spencer Tracy after he died. She was afraid it would arouse too many feelings. The documentary I was referring to was Katharine Hepburn: All About Me 1993, that was among the extra material on my The Philadelphia Story double-DVD. It was surprising how personal Hepburn became in expressing her recollections about Tracy in that documentary. For some years after his death she'd kept her feelings private, and Garson Kanin's 1971 book, "Tracy and Hepburn: An Intimate Memoir," is said to have caused a temporary rift between her and the author; she felt her old friend had violated that privacy. S haring their relationship with the public was apparently something she wanted to do only in her own time and on her own terms, and she eventually became ready to do so, beginning with The Spencer Tracy Legacy, which aired on PBS in 1986. Got time for my own personal recollection? I was still working on the MGM lot the day she came to shoot wraparound segments for The Spencer Tracy Legacy; someone came into our office in the Garland Building and said, "Katharine Hepburn's outside," so my coworker Beth and I stepped out to gaze at the great lady. There she was, just across the studio street in front of Stage 21, in slacks and an outdoorsy jacket with a red sweater tied around her shoulders, accompanied by a minimal crew of cameraman, soundman and no more than two or three others. We intended to watch for only a minute or two, but when she completed the shot, hoisted the strap of her bag over her shoulder and trudged off, her crew hastily gathered themselves up to follow, and so did we, like curious but shy puppies, maintaining a respectful distance. At each place they stopped, it was the same thing: all-business Hepburn would plant herself on her spot, a couple more onlookers would emerge from offices, and as soon as camera and sound were ready, she would do precisely one (perfect) take and briskly stride off for the next setup as her crew scrambled to keep up...followed by a few more onlookers. By the time she reached the west entrance of the Thalberg Building to tell the story of her first meeting with Tracy on the spot where it happened (frame grab below), she'd amassed an itinerant audience of at least two dozen studio workers, all equally magnetized and mesmerized, following in her footsteps as though she was the Pied Piper of Hamelin, and remaining reverently quiet all the way as though to go unnoticed...which, as far as anyone could tell from her efficient attitude, we were. Our little mobile audience stood about fifteen feet left of camera as she made that shot, after which she and her crew took a break and the rest of us, A.W.O.L. for over an hour, returned to our offices. Fortunately for Beth and me, the V.P. for whom we worked was out of the office that day, but it would still have been worth it to have endured a bellowing, "Where the HELL have you two been?" We could hear him yell any old day, but it wasn't every day that the great Kate was in our midst. Oh, Doghouse6, what a day that must have been. Thank you for sharing!
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Post by Doghouse6 on Jan 26, 2018 5:22:22 GMT
Oh, Doghouse6, what a day that must have been. Thank you for sharing! Thanks for reading. I was always willing to play hooky for a worthy cause (and I don't remember anything else I did on that otherwise ordinary day, so it must've been worthy).
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Post by teleadm on Jan 26, 2018 16:39:41 GMT
In a documentary Katharine Hepburn said she could never watch any of the movies she made with Spencer Tracy after he died. She was afraid it would arouse too many feelings. The documentary I was referring to was Katharine Hepburn: All About Me 1993, that was among the extra material on my The Philadelphia Story double-DVD. S haring their relationship with the public was apparently something she wanted to do only in her own time and on her own terms, and she eventually became ready to do so, beginning with The Spencer Tracy Legacy, which aired on PBS in 1986. Got time for my own personal recollection? I was still working on the MGM lot the day she came to shoot wraparound segments for The Spencer Tracy Legacy; someone came into our office in the Garland Building and said, "Katharine Hepburn's outside," so my coworker Beth and I stepped out to gaze at the great lady. There she was, just across the studio street in front of Stage 21, in slacks and an outdoorsy jacket with a red sweater tied around her shoulders, accompanied by a minimal crew of cameraman, soundman and no more than two or three others. Thanks for sharing your personal recollections! I guess they used a clip from The Spencer Tracy Legacy 1986, in the documentary that I mentioned, Katharine Hepburn: All About Me 1993, since I doubt if she would do that twice.
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Post by Doghouse6 on Jan 26, 2018 17:51:37 GMT
Thanks for sharing your personal recollections! I guess they used a clip from The Spencer Tracy Legacy 1986, in the documentary that I mentioned, Katharine Hepburn: All About Me 1993, since I doubt if she would do that twice. They may very well have; my recollection isn't sharp enough to say for sure. I hope to see it again sometime.
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Post by bess1971s on Jan 26, 2018 18:59:41 GMT
I enjoyed all of their movies except The Sea Of Grass and Guess Who's Coming To Dinner.
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jrdmln
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@jrdmln
Posts: 47

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Post by jrdmln on Jul 29, 2018 0:23:23 GMT
I still haven't seen Desk Set. I will make a point to see that soon. Besides that, I think I have seen all of the movies they made together. Woman of the Year and Adam's Rib are my favorite movies that they made together.
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Post by louise on Jul 29, 2018 17:01:33 GMT
DEsk Set is my favourite, lovely film. Adam's Rib, Woman of the Year, and Pat and Mike are all quite enjoyable. GUess Who's Coming To Dinner I find slightly embarrasing and condescending. KEeper of the Flame is a surprising melodrama, but quite good. state of the Union I didn't care four much. the one I really disliked is called Without Love, one of the few films I have been unable to finish watching. THe only one I haven't seen is Sea of Grass, which looks terrible, even worse than Witnout Love.
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Post by marshamae on Jul 29, 2018 17:17:00 GMT
I love Adam’s Rib, Desk set , and Woman of the year. Like the others including State of the Union and GWCTD. Keeper of the Flame has interest for me because of its theme of protecting the legacy of a strong man.
I think the problem with Garson Kanin’s mémoire was that Tracy’s wife was still alive. Tracy was a Catholic, and they had a hearing impaired son. Tracy would not divorce her, and Kate accepted that as part of the ground rules. She tried to keep their relationship out of the press, and largely succeeded. When Tracy died, she did not attend the funeral out of respect for his wife and children. Years later she developed a friendly relationship with Tracy’s daughter. But I believe her own public remarks and articles about Tracy, and their relationship only came after Mrs Tracy’s death.
It seems odd to devote so much energy to “respecting” a woman whose husband you are having an affair with. But life is often more complicated than the algorhythms.
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Post by Deleted on Jul 29, 2018 18:44:17 GMT
I like them together, but isn't nine movies pushing it? Did they all do well or were audiences tiring of them?
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Post by mattgarth on Jul 29, 2018 19:13:09 GMT
I like them together, but isn't nine movies pushing it? Did they all do well or were audiences tiring of them? Not really, as all of them did well -- with their final one in 1967 being their biggest hit of them all.
Their films were reasonably spread out -- 9 movies in 25 years (1942 to 1967).
6 in the 1940s 2 in the 1950s 1 in the 1960sAudiences enjoyed seeing them together, with most of the films (KEEPER OF THE FLAME and SEA OF GRASS being the exceptions) being fairly light-hearted romantic comedies.
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Post by Doghouse6 on Jul 29, 2018 19:31:20 GMT
I like them together, but isn't nine movies pushing it? Did they all do well or were audiences tiring of them? I don't know about "pushing it," necessarily. William Powell and Myrna Loy costarred in 13 films (and Loy made a cameo appearance in a 14th) over 13 years; Fred Astaire and Ginger Rogers made 10 between 1933-49; Mickey Rooney and Judy Garland also made 10 together in 11 years; Jeanette MacDonald and Nelson Eddy did 8 between 1935-42. Audiences of the era liked the pairings of certain performers, and appreciated seeing them again and again.
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Post by mattgarth on Jul 29, 2018 19:42:35 GMT
Good point, Doghouse --- and adding Greer Garson with Walter Pidgeon (7 films between 1942 and 1953)
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Post by louise on Jul 29, 2018 19:46:47 GMT
CLark Gable and Joan Crawford made eight films together
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