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Spencer Tracy's last performance was in this well-meaning, handsome film by Stanley Kramer about a pair of white parents (Tracy and Katharine Hepburn) trying to make sense of their daughter's impending marriage to an African American doctor (Sidney Poitier). The film has been knocked over the years for padding conflict and stoking easy liberalism by making Poitier's character in every socio-economic sense a good catch: But what if Kramer had made this stranger a factory worker? Would the audience still find it as easy to accept a mixed-race relationship? But there's no denying the drawing power of this movie, which gets most of its integrity from the stirring performances of Tracy and Hepburn. When the former (who had been so ill that the production could not get completion insurance) gives a speech toward the end about race, love, and much else, it's impossible not to be affected by the last great moment in a great actor's life and career. --Tom Keogh
But to me the best of the film is the chemistry between the actors. This is really the best of the film, and to me perhaps the reason why I enjoyed it so much. The supporting characters are great (the maid, the monsignor and the gallery manager, Sidney Poitier's father). Sidney Poitier and the girl (can't remember her name) are perfectly convincing as a young couple in love, afraid of what the parents might thing but strong enough to fight for it. But the best is really Katharine Hepburn and Spencer Tracy. She won an Oscar (number 2 out of 4), he missed it, but both of them are simply marvellous. At moments, you get insights to their own lives, like in no other film they did together: the way they look at each other at certain points in the film is not just acting to them, I'm sure it was real. Watch it and wonder why films aren't this good any more.
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