This is another film I don't think I spent nearly as much time as I would have liked. And not because I didn't like it because if anything I've walked away with a deeper appreciation for Bringing Up Baby. This is one of those films that I've heard people either hate it or love it. And it's not a screwball comedy like any of the others. But like most films, the one thing that makes this a classic is the people behind the making of it.
The opening of this film establishes the premise straightaway. Within the first four minutes we know that our hero, David, is in the midst of trying to achieve an important career milestone and that to get it he must impress a Mr. Peabody. David's to get married the next day, but his bride-to-be is a bore who wants nothing but work to be the emphasis of their married life. Next scene, enter Susan Vance. Because these two clash we know that they will end up together, but from the moment we see them, we know we will have one good laugh after another. It isn't so much the dialogue that's exchanged, but again, it's the performances, the way Katharine Hepburn and Cary Grant interpret their characters. Pace and tone is established, the story isn't terribly fast, but it's quick enough and filled with hijinks that should be entertaining for all.
Our two leads couldn't have been embodied by more able actors. Grant has the charm and sophistication any girl would want in a man, but here as the absentminded professor, there's more to it. David can't stand the spontaneity that Susan brings to his life, yet anytime he thinks she's in trouble or her feelings are hurt, he can't help himself but help her, soothe her. He drives her crazy but he can't pull himself away. Grant is able to show this in such a hilarious manner, able to say lines that aren't really funny, but somehow when he says it, they are. Then there's Hepburn who takes on the role of Susan with such seriousness, never exaggerating to extraordinary strengths, but personifying her as an actual kooky person who just wants to be near David. She's smart and schemes all in the name of love, and you can't help but find her endearing. It's completely believable when she breaks out in tears that David doesn't want her help that he would then feel bad and change his mind, because she's like a child you can't say no to; there's an innocence to her, but not entirely. And really, you can forgive the mischief, as David does in the end.
Howard Hawks also did a lot with bringing the script to life, in just trying to ground it in reality. This is a story that you can somehow see happening in one of those Weird Stories section in the news. And if anyone doesn't believe it, they should read up a Dave Barry or Carl Hiaasen article. Hawks, though, and this is obvious to me now after I listened to the DVD commentary, allowed his actors to act scenes without interrupting it directorial remarks. Scenes were done in long takes and it does in fact make it seem more natural. The rehearsal these actors must have gone through is believable in that the script itself evolved into a much funnier story, leaving behind bits that may have come across as too expository and not funny enough.
The supporting cast is also great, from Walter Catlett to Charlie Ruggles and May Robson. Everyone gives great performances and help further the story. In fact, when we aren't looking at the leads, it's entertaining to watch any of these characters blubber about their woes and then go on about the leopard. Catlett in particular is hilarious as the constable who's trying hard to do his job but somehow can't quite seem to get any story straight and always ends up believing the wrong thing.
While the dialogue and the pace isn't as sharp as others in the genre, really the film isn't any less of a screwball comedy. There is great bits of dialogue, but overall it's not as smart as other films. And that's not a bad thing. As I've mentioned before, I think where the film lacks in dialogue it makes up in physical comedy, which is somehow more universal and reachable to all audiences. Perhaps though, the one thing never really seen here is the differences between the classes. The working class here is just as crazy as the privileged, which is different but at the same time, for me, it's hilarious and dead on. At the end, everyone is a bit loony, just in different degrees.
Overall, Bringing Up Baby is one of those films that'll make you laugh again and again. Perhaps it's because it was done in a way that comes across so naturally, but mostly I think that it's due to Hawks and his direction of Hepburn and Grant. I don't think anyone else could quite pull off such a hilarious film the way these guys do. And this is because they play it straight, again it's obvious now. Whereas others would've exaggerated, here we see performances done seriously without any intent to be funny, which of course makes it all the more ridiculous and enjoyable. If this is a classic, it's because of Hawks, Hepburn, and Grant. I don't think anyone else could've or could do any better.
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