Katharine Hepburn: The TCM Spotlight Collection to be released on May 29th

It's about damn time!

Kate the Great, one of the finest actresses in the whole history of celluloid, is finally getting her due with her very own DVD collection, to be released 17 days after her 100th birthday (and *ahem* 25 days before my 31st birthday). This is not to begrude the Powers That Be (those who own rights to her films) on the number of her films that are available on DVD. We already have a Tracy-Hepburn collection (which was comprised of three films that had already been available for four years and a fourth that you could only get with the collection), three of her films were included in the Classic Comedies Collection, and numerous titles are available individually, including three stage performances. Compare this with the TWO Norma Shearer film currently available, and neither of them are from her richest years, before Irving died... but I digress.

But why quibble...more? Warner Home Video is bringing us six Katharine Hepburn films, all previously unavailable on DVD and all worth owning for the low low price of $59.95. At least, that's the suggested retail price. The cheapest I've found is DVDPlanet for $41.96, plus shipping. DeepDiscount has it for $43.52 and the shipping is free. The bastards at Best Buy have priced it above the SRP at $69.99, which apparently is how they make up for selling so many individual movies so cheaply. I'm really getting off track here. On to the movies:

Katharine Hepburn: The TCM Spotlight Collection:

The Corn Is Green (1979, George Cukor) is a made-for-TV remake of the 1945 Irving Rapper classic (currently unavailable, but it shows up on TCM from time to time), which featured Bette Davis as Miss Moffat, a spinster schoolteacher in a Welsh mining town. This is the only film in the collection that I haven't seen and I can only imagine that a 72-year-old Kate offers a much different interpretation of the role than did the 37-year-old Davis. Hepburn was nominated for an Emmy, and this was the last of ten films she made with Cukor, 47 years after the first. The Corn Is Green also offers the best tangential side note of the bunch: In 1974, Miss D agreed to reprise her role in a Broadway musical, entitled Miss Moffat. The show tried out in Philadelphia, where it closed. It seems the lading lady "hurt her back" and was unable to bring a ghastly show into New York. Stranger still is the fact that this would have been Davis's second Broadway musical. The first was 1952's Two's Company, which ran three months but was mercifully recorded and is now available on CD.

Dragon Seed (1944, Jack Conway & Harold S. Bucquet) is based on the novel by Pearl S. Buck. It's the story of a Chinese village and the most prominent Asian is the cast is the 14th-billed Clarence Lung, who may not even be Chinese (imdb didn't have any bio info). But this is Hollywood in the 1940s, so what can you expect? Caucasians aside, the acting is terrific and much less condescending than you'd think. At least as far as I can remember. I don't think I've watched Dragon Seed this century. The film received two Oscar nominations: Aline MacMahon (Supporting Actress) and Sidney Wagner (B/W Cinematography).

Morning Glory (1933, Lowell Sherman) features Kate's first Oscar-winning performance. She plays an actress trying to make it on Broadway. So she makes it with producer Adolphe Menjou. Luckily, this was made in the pre-code era, so everyone is very sophisticated about sex. Hepburn forgives Menjou for tossing her aside since she's much more interested in her career. The 1958 remake, Stage Struck, stars Susan Strasberg and Henry Fonda and is a prime example of the difference between the pre-code and enforced-code years. And that's really the only reason to ever watch Stage Struck.

Sylvia Scarlett (1935, Cukor) is the first of four movies Kate made with Cary Grant. Sylvia and her father (Edmund Gwenn) are on the lam from the law, so she cuts her hair short and poses as a boy. Every time you come across an article on Katharine Hepburn's sexuality, a still from Sylvia Scarlett will accompany the text (see top of this post). A very young, kind of goofy and very cockney Cary Grant plays an amiable con man who hooks up with the Scarletts for a time. You might say that the film captures Cary Grant at his most Arch.

Undercurrent (Vincente Minnelli, 1946) is the only time Kate worked with Vincente and the only film noir either of them made. Which isn't all that surprising considering the rest of their careers. Her co-stars are Robert Taylor and Robert Mitchum, with Edmund Gwenn once again playing Kate's father (one year later, he won an Oscar for playing Kris Kringle in Miracle on 34th Street, in case you were wondering Who That Was.) Honestly, all I remember about this film is that I think I liked it. I didn't even know Robert Mitchum was in it until I looked at the cast list, and I love me some Mitch.

Without Love (1945, Bucquet) is the lone film in the set that pairs Kate with Spencer Tracy. They're scientists who marry out of convenience instead of love (hence the title), but guess what happens? My memory on this one is a little foggy, too, but the supporting cast is pretty impressive with two of my favorite ladies, Lucille Ball and Gloria Grahame, as well as Keenan Wynn and Felix Bressart, who, even if you didn't know his name, you would likely recognize from his work in three Lubitch classics: Ninothcka, The Shop Around the Corner and To Be or Not To Be.