This film made in 1975 remains a memorable record of the sort of virtuoso acting (some might say over-acting) that one might have seen in the West End back at the time of Gerald du Maurier or on Broadway when Lunt and Fontane were the reigning stars. In this film, Laurence Olivier, perhaps the greatest technical actor ever on the English stage, uses every vocal trick and calculated gesture in the book to portray the love-struck barrister, formidable in court, putty in the hands of a great lady. His performance is all perfectly thought out and carefully rehearsed down to the slightest movement of his hands, the unexpected emphasis on certain words, and the perfectly timed pauses used for comic effect. Katherine Hepburn, a great diva in her own right, a force of nature, holds her own and is never over-shadowed by Olivier's bravura. We witness two great theatrical personalities at the height of the powers pull out all stops fearlessly in front of the camera. Of course, this sort of Acting-Acting, the direct opposite style of the then popular Method inside-out underplayed technique, is rarely seen anymore, was rarely seen even then, but given the farcical premise of the plot it somehow all works to the story's advantage . Anything less might have exposed the holes in the script.
Ironically, although shot at the Pinewood studios outside London with sets and costumes by some the UK's greatest artisans this is not an English film. It was made for American TV, written and staged by two Yanks: the playwright James Costigan and the director George Cukor.
Ironically, although shot at the Pinewood studios outside London with sets and costumes by some the UK's greatest artisans this is not an English film. It was made for American TV, written and staged by two Yanks: the playwright James Costigan and the director George Cukor.