May Flowers: Stage Door

The Calla Lilies Are in Bloom Again... 

Such a strange flower. Suitable to any occasion. I carried them on my wedding day and now I place them here in memory of something that has died.

That line, uttered by Katharine Hepburn in 1937's Stage Door, quickly became synonymous with the actress. One need only adapt that clipped, upper crust voice and mention the bloomin' of those calla lilies for people to know exactly who you're impersonating. No other line is as popular in conveying what a unique star she was. (Well, a strong case could be made for some from On Golden Pond, you old poop. But by then even she seemed to be doing a Katharine Hepburn impression. And none of those have the history of this one.)

The line was used in the film for the play that Hepburn's character makes her theatrical debut in. It came from an actual Broadway flop that Hepburn starred in called The Lake. Just how bad was the show? In Dorothy Parker's review of it, she said, "Miss Hepburn runs the gamut of emotions from A to B." The play was so wildly atrocious that Kate herself paid the director to halt production. But, it was a learning experience for Hepburn.

When they decided to use it in the film, Hepburn proved that despite the seeming haughtiness and snobbishness people perceived in her, she was still able to laugh at herself and poke fun at her previous failings --–especially in the rehearsal scenes where she mechanically goes though the motions. Later in the film, when she says the line on opening night, she surprises everyone with how great an actress she actually is. The public, like her fellow actresses in the film, had underestimated her. (By the way, if you haven't seen Stage Door–you must! You owe it to yourself as an Actressexual. It's all about a theatrical boarding house and co-stars Ginger Rogers, Eve Arden, Lucille Ball, and Ann Miller!)

So, the next time you're doing your Katharine Hepburn impersonations for your movie-loving friends (and, really, who doesn't love a good Kate impression. Hell, Cate Blanchett won an Oscar for it...), remember those calla lilies and make Kate proud.

Visual Index ~ Summertime (1955)

When I scheduled Summertime for the "Hit Me..." series I admit I expect a huge drop off in participation due to its lack of any significant or least still-discussed reputation in the careers of David Lean and Katharine Hepburn. So I was pleasantly surprised to see such a crowd hopping on the water buses in Venice with Kate as Jane Hudson (hee. no, not that Jane Hudson).

What a difference a year has made in this series. Last year, I couldn't get a crowd for Bonnie & F'in Clyde. I almost retired the series. So thank you to the many new participants and the very reliably regulars who have stuck with this series through its popular and fallow episodes. There are only three episodes left before a June hiatus and I hope you'll stick around and get reenergize from a month of No Viewing Assignments. I am a taskmaster I know... but a benevolent one! I bring you good movies.

5/15 The Talented Mr Ripley (1999) 
5/22 Fantasia (1941... special instructions)
5/29 Hud (1963) 50th Anniversary!

But for now, let's look at the selected Best Shots from Summertime in narrative order (though I fear my order is off here since the film isn't very plotty). It's like watching a slide show of your neighborhood spinster's summer vacation!

Y'all packed? Let's go...

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Hit Me With Your Best Shot: "Summertime"

For this week's episode of Best Shot, the collective series in which bloggers are invited to choose their favorite image from a pre-selected movie, we went to Italy for David Lean's Summertime (1955) starring Katharine Hepburn. The film won both of them Oscar nominations, for Direction and Acting respectively, and since I'd never seen it it fills in two Oscar gaps in my 1950s cinema.

It's a relatively modest picture all told, concerned not with big sweeping travelogue beauty (though the travelogue beauty is accounted for) but with an internal flowering. Spinster Katharine Hepburn goes to Italy, goes a little wild (well, wild for an American spinster from Akron Ohio), and then -- spoiler alert -- leaves Italy again. It's all very E.M. Forster really! (See A Room With a View and Where Angels Fear to Tread).

She was coming to Europe to find something. It was way back in the back of her mind was something she was looking for, a wonderful mystical magical miracle. I guess to find what she'd been missing all her life."

My runner up shot comes early in the picture and I include it because I love the way it dialogues with my favorite image at the movie's end. Jane Hudson has just arrived at her summer home, and she has a conversation with her landlady about a girl she met on the way to Italy. She describes in detail the reasons the girl is travelling abroad. Jane is too guileless to be talking about herself in the third person but she is, in essence, talking about herself, whether or not she knows it. She's also prophesying her own journey including an amusing a "let loose a bit" comment that Katharine waves off with prudish modesty.

I find the light in this sequence quite astute. The women are not in silhouette exactly -- the scene is about Jane, after all, rather than Italy -- but Italy is bright and beckoning anyway. She's not really looking at Italy... not yet at least... wrapped up as she is in connecting with other people (she hopes to make friends) and her own internal possibilities. 

I often find Hepburn a little too fussy as an actress -- particularly in her later work -- but I think she's marvelous in key scenes here really capturing Jane's internal battle between her desire to connect and her own internal nature. Even in the scenes which are very much about her attraction to Renalto (Rosanno Brazzi) she's often just looking off into space and, one assumes, her own thoughts. Jane's just not very good at connecting for as much as she'd like to. She has too many fussy walls up.

I think that's why I found the final scene so moving, despite not particularly caring for the movie. My choice for best shot comes with the film's ending. Jane has opted to leave Italy and Romantic Love behind. She likens it to leaving a party before she's worn out her welcome. It's common sense really given the circumstances of the affair but you hurt for her for giving up the thing she's always wanted and you have to wonder if it isn't partially fear and retreat to a safer lonelier home. Whether or not Jane will be more open to love after the movie is up for debate. Yet in that sudden alarming lurch outward to wave goodbye one last time to Renato (but really, to Italy and Love) I think Hepburn's gestural performance provides a marvelous clue. If returning to Ohio is, in fact, a comfort zone retreat why does her body move with such spirited abandon? 

Next Week
We're staying in Italy for The Talented Mr Ripley (1999). You know you want to sound off on that one. So join us, will ya?

14 More People Summering in Italy with Hepburn
Amiresque is overwhelmed by architecture
Encore's World on the quintessential 'spinster' performance from Hepburn 
Antagony & Ecstasy wants to talk about Aspect Ratios... and perceptions of "low points"
The Film's The Thing a Cinderella of a certain age 
Cinema Enthusiast goes to a real ball with gardenias
We Recycle Movies on David Lean's undeniable obsession with trains 
Pussy Goes Grrr this is how you stage a breakup 
Cinesnatch really goes all out with shot commentary, contrasts and travelogue beauty 
Film Actually has coffee -- or doesn't rather -- with Hepburn 
She Blogged By Night picks the first shot I think we've ever seen in this series devoted to an extra. It's beautiful! 
Los Mejores Planos gives out gold, silver and bronze medals for his favorite shots 
Cal Roth sees Jane's secret sensuality
Dancin' Dan on the scene that makes the movie 
My New Plaid Pants memories of Italy come flooding back 

Curio: Kate Curiosities

Alexa here kicking off a theme week at TFE, featuring a very special actress. This Sunday I will not only celebrate Mother's Day but also the birthday of the inimitable (well, except by Catherine O'Hara) Katharine Hepburn with a viewing of Bringing Up Baby, Manic Pixieness be damned. 

Hepburn quote art, available here and here.

It's always been a goal of mine to follow her lead, except for the playing golf part, which I will never, ever do. She supplies all the wisdom any woman needs to get through life on quotes alone. After the jump, some Kate art, collectibles and curiosities... including a life mask?

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Monday Monologue: Musings from Queen Eleanor

Andrew here to kick off a theme week dedicated to my favourite movie related person of all time – Katharine Hepburn. Next Sunday is the 106th birthday of Oscar’s most fêted Actress and this week The Film Experience is devoting time to her with the centrepiece being Wednesday’s “Hit Me With Your Best Shot” devoted to Summertime, her lone David Lean collaboration. (Join us, please.)

I’m starting things off this evening with a monologue from Hepburn’s record making turn in The Lion in Winter. She became the first woman to win a third Best Actress Oscar, and then subsequently broke her own record made it a fourth with On Golden Pond in 1981.

Eponymous lion in winter, Henry, is pondering – which of his remaining three sons deserves to succeed him? Meanwhile, young new King Philip of France is visiting and wants a successor chosen, or he wants his sister, Alais, back along with her dowry. Alas, Alais is currently King Henry's mistress. Adding to the tension, it’s Christmastime and Queen Eleanor is being allowed her sojourn from her prison cell in Windsor for some holiday festivities. So, three princes, a King unwilling to abdicate, a scorned wife, a rival King and a mistress. Let the plotting begin.

This “monologue” is more a series of three (varying in length) with interspersed conversation and it begins somewhere at the one hour mark...

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