Celebrating Katharine Hepburn!
On what would be her 118th birthday, I’ve compiled a breakdown of my favourite Hepburn performances, which showcase her talent, range, and just some of the many reasons why I love her.
Born on May 12, 1907, in Hartford, Connecticut, Katharine Hepburn is one of cinema’s most iconic and decorated figures. But beyond all the records and (well-deserved) accolades, she’s a fascinating woman who, for all her 96 years, maintained a strong will and a wicked sense of humour. On what would be her 118th birthday, I’ve compiled a breakdown of my favourite Hepburn performances, which showcase her talent, range, and just some of the many reasons why I love her.
The very first Kate Hepburn film I ever watched was the classic screwball comedy Bringing Up Baby (1938), and to this day it’s one of my all-time favourites. Starring opposite Cary Grant, Hepburn plays the fast-talking (and somewhat scattered) heiress Susan Vance, who has been tasked with delivering a tame leopard named Baby to a family farm. Grant, as high-strung paleontologist David Huxley, finds himself along for the ride. The two play perfectly off one another, both unafraid to fall down or do any number of ridiculous things that the plot requires. (The chaos transcends the screen, too: Hepburn writes in her memoir about throwing a stuffed leopard into a terrified Grant’s dressing room). And it is here that Hepburn proves herself to be a comedic force—argumentative, clever yet ridiculous, and bearing that iconic laugh, Bringing Up Baby establishes one of the most iconic "types" of Hepburn performance.
Another of her most famous comedic performances came two years later with The Philadelphia Story (1940). Having starred in the stage play of the same name, Hepburn bought the rights to the film adaptation, looking to use it as a means to overcome the “box office poison” label she’d been given. When selling the rights to MGM, she made a deal to have final approval on the producer, director, screenwriter, and cast. In the end, this vision came together perfectly, with Hepburn, Grant, and Jimmy Stewart in the lead roles. It’s no surprise that the original play was written specifically for Hepburn—in many ways, the role reflects her own public image of a wealthy, somewhat arrogant New Englander. But her performance as Tracy Lord also shows a great deal of subtlety: “I don't want to be worshipped,” she says in one scene, “I want to be loved.”
Summertime (1955) has one of my favourite Hepburn performances, in part because it’s so different from the roles she’s typically associated with. Set (and shot on location) in a sun-drenched Venice, Hepburn plays American secretary Jane, a single woman who’s saved up for the vacation she’s been dreaming of. While on holiday, she meets an Italian shopkeeper, and before long, they’ve entered into an affair. As Jane learns more about the man’s own life, however, she must confront whether their relationship is too good to last. It’s a beautiful film for many reasons—being shot in Technicolor, the visuals are bright and instantly transport you to Italy in the summertime. But the lasting beauty lies in Hepburn’s performance, which is free of all the confidence found in so many of her earlier roles. As Jane, she’s nervous, insecure, and all-too-aware of her own rather lonely place in the world. It’s a bittersweet watch, and a worthy one for anyone looking to appreciate Hepburn’s range as an actress.
While I could continue to discuss more of Hepburn’s classic projects (there are many), I thought I’d end off with a couple of lesser-known recommendations. During the later stages of her career, Hepburn began making tv-movies, and while these aren’t as canonized as her films, they showcase just how amazing she was even after 50+ years in the business. The first is 1973’s The Glass Menagerie, in which she plays the iconic role of Amanda. She embodies Tennessee Williams’ script in a way that is completely unique to her, yet which also rings absolutely true to the character. The next film is Laura Lansing Slept Here (1988), which is a real deep-cut but one I’d recommend any day. Hepburn plays the titular Laura Lansing, a famous novelist facing an identity crisis. In a bet to prove she hasn’t lost touch with her readership, she vows to spend seven days with a middle-class suburban family or else give up writing for good. It’s as charming and humorous as you’d imagine, with some ridiculous plot points that you almost can’t believe Hepburn is involved in. But it’s silly in all the best ways, and it’s a real treat to watch Hepburn in a 1980s sitcom-esque production.
And while all of those film roles are wonderful and interesting, no character could match the iconicity of Hepburn herself. I’d urge anyone to dig up interview clips or find themselves a copy of her memoir (the simply and very aptly-titled Me, Stories of my Life, which is only made better by the audiobook recordings done by Hepburn herself, which have fantastic little asides and interjections throughout), because her own words capture her best of all. It’s no wonder she’s one of the most famous actresses in cinematic history, and nothing would make me happier than knowing that her talent and spirit are continuing to find and touch people all these years later.
Love ❤️
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