Katharine Hepburn
Page 46
“I’m not in a class with my parents,” she countered when cited for her moral strength. “They were real reformers and noble people who set out to improve the state of man and woman—black, white, diseased, whatever. Why, I’m just ordinarily polite. They fought all the diseases of the day. I’ve fought for Planned Parenthood, abortion and how to laugh at life if I can.”
Her work for Planned Parenthood had, in fact, been taking up a great deal of her time. Mailings carrying her name and soliciting funds had been sent out by the hundreds of thousands, and they had brought her a rush of unpleasant letters and numerous threats. “Things are getting worse,” she told one interviewer. “Now they’ve even changed the rules about when a fetus is alive—although I’ve never seen a religious service for a miscarriage, have you?” To another writer, she confessed: “I was always a bit on the outside because I belonged to a small element of society who thought they were better than others because of their beliefs—they were out to help people who were victims of idiotic attitudes. When some local girl got pregnant, she would have the baby in our house if she had no place to go.
“I loved it at Bryn Mawr without any boys,” she admitted, “and I cannot understand our current co-educational system! What do you expect young people to do when they’re sleeping in the same corridor?”
With work completed on The Ultimate Solution of Grace Quigley, Kate returned to Hartford Hospital and submitted to surgery to fuse her anklebone. Afterward, she had to wear a knee-high plaster cast for months, a fact she accepted with more patience than anyone thought she could muster. The Ultimate Solution of Grace Quigley was shown in May, 1984, at the Cannes Film Festival and was poorly received. The American critics found that “The two actors [Hepburn and Nolte] exude endearing, though swarmy [sic] personas that impart a light-hearted and whimsical tone to otherwise unpleasant subject matter.”
The critical and commercial failure of the film was a great disappointment. Kate thought the film was about “the abominable way we treat our elderly,” not about euthanasia. “But,” she said, “if my own mother had been desperately ill and attached to a lot of humiliating machines, I think I would have shot her.”
In 1984, a national survey elicited answers from forty-five hundred teenagers as to whom they would name as their ten contemporary heroes. The survey-takers were stunned when Katharine Hepburn’s name appeared in the number-seven slot, the only woman on a list that included such names as Michael Jackson, Clint Eastwood and the Pope. In fact, Kate was a notch above the Pope. Somehow she had broken down the barriers of age and sex. The Woman of the Year had become a kind of a guru. She had demystified old age, something the young feared and did not like to be reminded might some day befall them. Not only were they the me-me-me generation, they were the exponents of the now-now-now syndrome. Many teenagers had gone to see Jane Fonda in On Golden Pond and come away with unforgettable images of Katharine Hepburn, as unafraid of age as of the icy waters of Squam Lake, her eyes brimming yet refusing to give into her deeply felt emotions when she knows her husband-lover-friend is about to die. In the past two years, they had seen her on television-interview programs (to which she had taken quite a fancy)—Barbara Walters, 60 Minutes, Good Morning America—outspoken, radiating a tensile strength in her sure smile, the unique commanding voice, the comfortable trouser-clad body, the steady look in her eyes, the proud carriage of her head—a lioness who had marked off an entire jungle as her domain. Although she was seventy-seven, her face on the cover of a magazine could sell as many copies as those with photographs of Princess Di or Elizabeth Taylor.
To those past fifty she remained one of the last international figures who had been where they had been and survived it with them—the Depression, the golden days of cinema, World War II, McCarthyism, the civil-rights movement, the assassinations of Kennedy and Kennedy and King, Vietnam, Women’s Lib, Nixon, the Iranian hostages, and the cutback of the Reagan administration’s programs to the elderly, the poor, the minorities, and women. She had seen it all. She could have sung neighbor Stephen Sondheim’s great song from Follies—“And I’m Still Here.” Kate represented continuum. She had come to symbolize qualities that they had been taught as children to recognize as heroic—integrity, strength, fearlessness, dedication to friends and family and to ideals; not an easy mark for cheats or deceivers.
A truly remarkable woman.
Footnotes
* Jane Fonda (1937– ) had just won an Oscar for Best Actress in Coming Home (1978). In 1971, she won the same award for Klute.
† Mark Rydell (1934– ) made an auspicious debut as a director with The Fox (1968), following it the next year with The Reivers. He became a producer shortly afterward but returned to directing with Harry and Walter Go to New York (1976) and The Rose (1978).
* Doug McKeon (1966– ). Best Juvenile Actor in Daytime Drama Award in 1976.
* Dorothy Loudon (1933– ) was the original Miss Hannigan in Annie on Broad way.
† Maureen Stapleton had originated this role in an Emmy-winning performance on television. The play was then called Stardust Ballroom.
* Fonda had previously been nominated just once, for his portrayal of Tom Joad in The Grapes of Wrath. In 1981, he had been presented an Oscar as a Life Achievement Award.
* Nick Nolte (1941– ) had made an auspicious debut in the television adaptationof Irwin Shaw’s Rich Man, Poor Man and had given a stunning performance in 1977 in Who’ll Stop the Rain? He has since become one of Hollywood’s most popular leading men.
FILM CHRONOLOGY
A BILL OF DIVORCEMENT, R.K.O, 1932
Based on the play by Clemence Dane
Executive Producer, David O. Selznick; Directed by George Cukor; Assistant Director, Dewey Starkey; Technical Director, Marion Balderstone; Screenplay by Howard Estabrook and Harry Wagstaff Gribble; Photography by Sid Hickox; Art Direction by Carroll Clark; Music by Max Steiner; Piano Concerto by W. Franke Harling; Film Editor, Arthur Roberts; Costumes by Josette De Lima; Makeup by Mel Burns.
CHRISTOPHER STRONG, R.K.O., 1933
Based on the novel by Gilbert Frankau
Produced by David O. Selznick; Associate Producer, Pandro S. Berman; Directed by Dorothy Arzner; Assistant Directors, Edward Killy, Tommy Atkins; Screenplay by Zoë Akins; Photography by Bert Glennon; Special Effects by Vernon Walker; Transitions by Slavko Vorkapich; Art Director, Van Nest Polglase; Associate Art Direction by Charles Kirk; Music by Max Steiner; Sound Recorder, Hugh McDowell; Film Editor, Arthur Roberts; Costumes by Howard Greer; Makeup by Mel Burns.
MORNING GLORY, R.K.O., 1933
Based on the play by Zoë Akins
Produced by Pandro S. Berman; Executive Producer, Merian C. Cooper; Directed by Lowell Sherman; Assistant Director, Tommy Atkins; Screenplay by Howard J. Green; Photography by Bert Glennon; Art Direction by Van Nest Polglase; Associate Art Director, Charles Kirk; Music by Max Steiner; Sound Recorder, Hugh McDowell; Film Editor, George Nicholls, Jr.; Costumes by Walter Plunkett; Makeup by Mel Burns.
LITTLE WOMEN, R.K.O., 1933
Based on the novel by Louisa May Alcott
Executive Producer, Merian C. Cooper; Associate Producer, Kenneth MacGowan; Directed by George Cukor; Assistant Director, Edward Killy; Screenplay by Sarah Y. Mason and Victor Heerman; Photography by Henry Gerrard; Special Effects by Harry Redmond; Art Direction by Van Nest Polglase; Set Direction by Hobe Erwin; Music by Max Steiner; Sound Recorder, Frank H. Harris; Film Editor, Jack Kitchin; Costumes by Walter Plunkett; Makeup by Mel Burns; Production Associate, Del Andrews.
SPITFIRE, R.K.O., 1934
Based on the play Trigger by Lula Vollmer
Executive Producer, Meriań C. Cooper; Associate Producer, Pandro S. Berman; Directed by John Cromwell; Assistant Director, Dewey Starkey; Screenplay by Jane Murfin and Lula Vollmer; Photography by Edward Cronjager; Art Direction by Van Nest Polglase; Associate Art Director, Carroll Clark; Music by Max Steiner; Sound Recorder, Clem Portman; Film Editor, William H. Morgan; Costumes by Walter Pl
unkett; Makeup by Mel Burns.
THE LITTLE MINISTER, R.K.O., 1934
Based on the novel and play by J. M. Barrie
Produced by Pandro S. Berman; Directed by Richard Wallace; Assistant Director, Edward Killy; Screenplay by Jane Murfin, Sarah Y. Mason, Victor Heerman; Additional Scenes by Mortimer Offner, Jack Wagner; Photography by Henry Gerrard; Special Effects by Vernon Walker; Technical Adviser, Robert Watson, F.R.G.S.; Set Direction by Hobe Erwin; Art Direction by Van Nest Polglase; Associate Art Director, Carroll Clark; Music by Max Steiner; Sound Recorder, Clem Portman, Film Editor, William Hamilton; Costumes by Walter Plunkett; Makeup by Mel Burns.
BREAK OF HEARTS, R.K.O., 1935
Based on a story by Lester Cohen
Produced by Pandro S. Berman; Directed by Philip Moeller; Assistant Director, Edward Killy; Screenplay by Sarah Y. Mason, Victor Heerman, Anthony Veiller; Photography by Robert De Grasse; Art Direction by Van Nest Polglase; Associate Art Director, Carroll Clark; Music by Max Steiner; Sound Recorder, John Tribby; Film Editor, William Hamilton; Associate Editor, Jane Loring; Costumes by Bernard Newman; Makeup by Mel Burns.
ALICE ADAMS, R.K.O., 1935
Based on the novel by Booth Tarkington; adaptation by Jane Murfin
Produced by Pandro S. Berman; Directed by George Stevens; Assistant Director, Edward Killy; Screenplay by Dorothy Yost, Mortimer Offner; Photography by Robert De Grasse; Art Direction by Van Nest Polglase; Music by Max Steiner; Sound Recorder, Denzil A. Cutler; Film Editor, Jane Loring; Costumes by Walter Plunkett; Makeup by Mel Burns. Song “I Can’t Waltz Alone”’ by Max Steiner and Dorothy Fields.
SYLVIA SCARLETT, R.K.O., 1936
Based on the novel The Early Life and Adventures of Sylvia Scarlett by Compton Mackenzie
Produced by Pandro S. Berman; Directed by George Cukor; Assistant Director, Argyle Nelson; Screenplay by Gladys Unger, John Collier, Mortimer Offner; Photography by Joseph August; Art Direction by Van Nest Polglase; Associate Art Director, Sturges Carne; Music by Roy Webb; Sound Recorder, George D. Ellis; Music Recorded by P. J. Faulkner, Jr.; Film Editor, Jane Loring; Costumes by Muriel King (for Miss Hepburn) and Bernard Newman (for Miss Paley); Makeup by Mel Burns.
MARY OF SCOTLAND, R.K.O., 1936
Based on the play by Maxwell Anderson
Produced by Pandro S. Berman; Directed by John Ford; Assistant Director, Edward Donahue; Screenplay by Dudley Nichols; Photography by Joseph H. August; Special Effects by Vernon L. Walker; Art Direction by Van Nest Polglase; Associate Art Director, Carroll Clark; Music by Nathaniel Shilkret; Orchestrator, Maurice De Packh; Sound Recorder, Hugh McDowell, Jr.; Film Editor, Jane Loring; Costumes by Walter Plunkett; Makeup by Mel Burns; Miss Hepburn’s Hairdresser, Louise Sloan.
A WOMAN REBELS, R.K.O., 1936
Based on the novel Portrait of a Rebel by Netta Syrett
Produced by Pandro S. Berman; Directed by Mark Sandrich; Assistant Director, Dewey Starkey; Screenplay by Anthony Veiller and Ernest Vajda; Photography by Robert De Grasse; Art Direction by Van Nest Polglase; Associate Art Director, Perry Ferguson; Set Decorator, Darrell Silvera; Music by Roy Webb; Music Recorded by Clem Portman; Orchestrator, Maurice De Packh; Musical Director, Nathaniel Shilkret; Sound Recorder, George D. Ellis; Film Editor, Jane Loring; Costumes by Walter Plunkett; Makeup by Mel Burns; Ballroom Dances by Hermes Pan.
QUALITY STREET, R.K.O., 1937
Based on the play by Sir James M. Barrie
Produced by Pandro S. Berman; Directed by George Stevens; Assistant Director, Argyle Nelson; Screenplay by Mortimer Offner and Allan Scott; Photography by Robert De Grasse; Art Direction by Van Nest Polglase; Set Decorator, Darrell Silvera; Music by Roy Webb; Sound Recorder, Clem Port-man; Orchestrator, Maurice De Packh; Film Editor, Henry Berman; Costumes by Walter Plunkett; Makeup by Mel Burns.
STAGE DOOR, R.K.O., 1937
Based on the play by Edna Ferber and George S. Kaufman
Produced by Pandro S. Berman; Directed by Gregory La Cava; Assistant Director, James Anderson; Screenplay by Morrie Ryskind and Anthony Veiller; Photography by Robert De Grasse; Art Direction by Van Nest Polglase; Associate Art Director, Carroll Clark; Set Decorator, Darrell Silvera; Music by Roy Webb; Sound Recorder, John L. Cass; Film Editor, William Hamilton; Costumes by Muriel King; Makeup by Mel Burns.
BRINGING UP BABY, R.K.O., 1938
Based on a story by Hagar Wilde
Produced by Howard Hawks; Associate Producer, Cliff Reid; Directed by Howard Hawks; Assistant Director, Edward Donahue; Screenplay by Dudley Nichols and Hager Wilde; Photography by Russell Metty; Special Effects by Vernon L. Walker; Art Direction by Van Nest Polglase; Associate Art Director, Perry Ferguson; Set Decorator, Darrell Silvera; Music by Roy Webb; Sound Recorder, John L. Cass; Film Editor, George Hively; Costumes by Howard Greer; Makeup by Mel Burns.
HOLIDAY,* Columbia, 1938
Based on the play by Philip Barry
Associate Producer, Everett Riskin; Directed by George Cukor; Assistant Director, Clifford Broughton; Screenplay by Donald Ogden Stewart and Sidney Buchman; Photography by Franz Planer; Art Direction by Stephen Goosson; Associate Art Director, Lionel Banks; Set Decorator, Babs Johnstone; Music by Sidney Cutner; Musical Director, Morris Stoloff; Sound Recorder, Lodge Cunningham; Film Editors, Otto Meyer and A1 Clark; Costumes by Kalloch; Jewelry by Paul Flato.
THE PHILADELPHIA STORY, Metro-Goldwyn-Mayer, 1940
Based on the play by Philip Barry; as produced on the stage by The Theatre Guild, Inc.
Produced by Joseph L. Mankiewicz; Directed by George Gukor; Assistant Director, Edward Woehler; Screenplay by Donald Ogden Stewart; Photography by Joseph Ruttenberg; Art Direction by Cedric Gibbons; Associate Art Director, Wade B. Rubottom; Set Decorator, Edwin B. Willis; Music by Franz Waxman; Sound Recorder, Douglas Shearer; Film Editor, Frank Sullivan; Costumes by Adrian; Makeup by Jack Dawn; Hairstyles by Sydney Guilaroff.
WOMAN OF THE YEAR, Metro-Goldwyn-Mayer, 1942
Produced by Joseph L. Mankiewicz; Directed by George Stevens; Assistant Director, Robert Golden; Original Screenplay by Ring Lardner, Jr., and Michael Kanin; Photography by Joseph Ruttenberg; Art Direction by Cedric Gibbons; Associate Art Director, Randall Duell; Set Decorator, Edwin B. Willis; Music by Franz Waxman; Sound Recorder, Douglas Shearer; Film Editor, Frank Sullivan; Costumes by Adrian; Makeup by Jack Dawn; Hairstyles by Sydney Guilaroff.
KEEPER OF THE FLAME, Metro-Goldwyn-Mayer, 1942
Based on the novel by I. A. R. Wylie
Produced by Victor Saville; Associate Producer, Leon Gordon; Directed by George Cukor; Assistant Director, Edward Woehler; Screenplay by Donald Ogden Stewart; Photography by William Daniels; Special Effects by Warren Newcombe; Art Direction by Cedric Gibbons; Associate Art Director, Lyle Wheeler; Set Decorator, Edwin B. Willis; Associate Set Decorator, Jack Moore; Music by Bronislau Kaper; Sound Recorder, Douglas Shearer; Film Editor, James E. Neweom; Costumes by Adrian; Makeup by Jack Dawn.
STAGE DOOR CANTEEN, United Artists, 1943
Judith Anderson, Henry Armetta, Benny Baker, Kenny Baker, Tallulah Bankhead, Ralph Bellamy, Edgar Bergen and Charlie McCarthy, Ray Bolger, Helen Broderick, Ina Claire, Katharine Cornell, Lloyd Corrigan, Jane Cowl, Jane Darwell, William Demarest, Virginia Field, Dorothy Fields, Gracie Fields, Lynn Fontanne, Arlene Francis, Vinton Freedley, Billy Gilbert, Lucile Gleason, Vera Gordon, Virginia Grey, Helen Hayes, Hugh Herbert, Jean Hersholt, Sam JaJfo, A llen Jenkins, George Jessel, Roscoe Karns, Virginia Kaye, Tom Kennedy, Otto Kruger, June Lang, Betty Lawford, Gertrude Lawrence, Gypsy Rose Lee, A lfred Lunt, Bert Lytell, Harpo Marx, Aline MacMahon, Elsa Maxwell, Helen Menken, Yehudi Menuhin, Ethel Merman, Ralph Morgan, Alan Mowbray, Paul Muni, Elliott Nugent, Merle Oberon, Franklin Pangborn, Helen Parrish, Brock Pemberton, George Raft, Lanny Ross, Selena Royle, Martha Scott, Cornelia Otis Skinner, Ned Sparks, Bill Stern, Ethel Waters, Johnny Weissmuller, Arleen Whelan, Dame May Whitty, Ed Wynn
With: Count Basie and His Band; Xavier Cugat and His Orchestra, with Lina Romay; Benny Goodman and Hi
s Orchestra, with Peggy Lee; Kay Kyser and His Band; Freddy Martin and His Orchestra; Guy Lombardo and His Orchestra.
SONGS: “She’s a Bombshell from Brooklyn,” Sol Lesser, A1 Dubin, Jimmy Monaco; “The Girl I Love to Leave Behind,” Lorenz Hart, Richard Rodgers; “We Mustn’t Say Goodbye,” “The Machine Gun Song,” “American Boy,” “Don’t Worry Island,” “Quick Sands,” “A Rookie and His Rhythm,” “Sleep Baby Sleep in Your Jeep,” “We Meet in the Funniest Places,” “You’re Pretty Terrific Yourself,” A1 Dubin, Jimmy Monaco; “Why Don’t You Do Right?,” Joe McCoy; “Bugle Call Rag,” Elmer Schoebel, Billy Meyers, Jack Pittis; “Ave Maria,” Franz Schubert; “Flight of the Bumble Bee,” Rimsky-Korsakov.
Produced by Sol Lesser; Associate Producer, Barnett Briskin; Directed by Frank Borzage; Assistant Directors, Lew Borzage and Virgil Hart; Original Screenplay by Delmer Daves; Photography by Harry Wild; Art Direction by Hans Peters; Set Decorator, Victor Gangelin; Production Designer, Harry Horner; Assistant Production Designer, Clem Beauchamp; Talent Coordinator, Radie Harris; Film Editor, Hal Kern; Music by Freddie Rich; Sound Recorder, Hugh McDowell; Musical Director, C. Bakaleinikoff; Costumes by Albert Deano.