--- title: "The Philadelphia Story" year: 1940 kind: "film" canonical: "https://film.one/film/the-philadelphia-story" fi1m_score: 84 critics_score: 87 critics_reviews: 12 published: "2026-09-16T11:54:28.306993+00:00" updated: "2026-09-16T11:54:28.716135+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Philadelphia Story (1940) Directed by George Cukor · 1h 53m · MPA NR · Comedy, Romance **Fi1m score: 84** · Critics 87 from 12 reviews *In a sentence:* Katharine Hepburn gets plenty of admirers and rather more advice than anyone should have to take > George Cukor’s society comedy is funny, romantic and worth an evening for Katharine Hepburn, Cary Grant and James Stewart alone. Its treatment of Tracy Lord is harder to embrace, especially when forgiveness starts sounding like a duty. ## Synopsis Tracy Lord (Katharine Hepburn) is a society heiress preparing to marry again, with relatives, reporters and suitors taking an interest in her private life. C.K. Dexter Haven (Cary Grant) and Macaulay ‘Mike’ Connor (James Stewart) are among the men around her, each with his own opinion of the woman she should be. Tracy wants to choose whom she loves, but her wealth and her standards give everyone something to argue about. The men disagree about class, the family has plenty to say, and the bride finds herself being examined as closely as any prospective husband. ## Review George Cukor’s *The Philadelphia Story* is a funny, persuasive romance with a substantial reservation: the men can be tiresome when they start explaining how its heroine ought to behave. Katharine Hepburn gives Tracy Lord enough spirit to keep those lectures from settling the matter. We recommend it for the wit and the attraction between people who can keep pace with one another. There are stretches when the conversation makes almost everything else seem unnecessary. As Tracy Lord, Katharine Hepburn makes an heiress’s self-assurance enjoyable even when it is unreasonable. There is pleasure in the precision of her speech, in the sense that Tracy has considered the other person’s case before they have finished making it. The gentleness matters just as much, because it lets us see why people persist in trying to get closer to her. She never becomes so agreeable that we lose interest in what she might say next. Cary Grant’s C.K. Dexter Haven provides an ease that gives Katharine Hepburn something firm to push against. James Stewart’s Macaulay ‘Mike’ Connor is less comfortable, particularly when his objections to wealth encounter his attraction to a wealthy woman. James Stewart makes that wobble funny without draining the flirtation of its seriousness. George Cukor gives these contrasting performances space to work, and the chemistry depends on the actors attending to each other: a reply can be as entertaining as the line that prompted it. Joseph Ruttenberg’s cinematography gives the faces enough clarity for small changes of expression to count. Adrian’s costumes help make the society setting convincing, giving the characters the appearance of people accustomed to being looked at. Franz Waxman’s music supports the romance without becoming its chief source of feeling. The attraction is clearest in the voices, especially when James Stewart and Katharine Hepburn let uncertainty enter an otherwise confident exchange. The screenplay by Donald Ogden Stewart and Waldo Salt is less assured when it pauses to discuss what these people ought to learn about themselves. Some of those conversations take longer to make their point than the point deserves. Frank Sullivan’s editing helps the replies land, but the mid-film discussions still slacken the pace. At 113 minutes, the film has room for both, though we occasionally wished it would get back to the people doing something. We winced at the opening domestic violence, which is offered as a joke. It makes the demands for tolerance harder to accept, especially when so much attention goes towards correcting Tracy’s faults. Her own desires remain important, and Katharine Hepburn gives her too much presence to be reduced to an example of how a difficult woman should improve. Even so, the romantic-comedy business of learning to accept imperfection becomes less appealing when the advice keeps coming from men with plenty to answer for themselves. Watch it for the pleasure of a romantic comedy whose actors make hesitation interesting. Give the dialogue your full attention; it is too dependent on the answering voice to reward distracted viewing. There is no obligation to take the suitors’ advice. *Fi1m score 84, published 16 September 2026.* ## What the critics say The reviews are unanimously positive, with praise centred on the chemistry between Katharine Hepburn, Cary Grant and James Stewart. Most critics find the dialogue sharp, the romantic complications engaging and the performances finely timed. Hepburn’s charm and authority receive particular attention, alongside Stewart’s cynicism and flirtation. Cukor’s direction is praised for handling the ensemble lightly, while several reviews find vulnerability and melancholy beneath the high-society comedy. The differences are chiefly in enthusiasm rather than verdict, and reservations are specific. Variety finds that abstract discussions slow the middle of an otherwise sophisticated adaptation. The Telegraph flags the opening domestic violence as dated while remaining strongly enthusiastic about the rest. There is also some nuance in how critics read Tracy’s treatment: Slant Magazine stresses her freedom to choose among complicated suitors, rather than seeing her simply as a woman who needs humbling. No review here amounts to a dissent. ### Reviews we read (12) - **Radio Times**, Andrew Collins (5/5): The critic deems it romantic comedy at its most sublime and recommends it over the musical remake. They single out the hand-picked cast, Hepburn buying the rights and Stewart’s class-war cynicism melting away. [Read](https://www.radiotimes.com/movie-guide/b-8jh79h/the-philadelphia-story/) - **The Times**, Kevin Maher (★★★★★): The critic highlights the flawless pedigree, snappy modern dialogue and the star power of Hepburn, Grant and Stewart in this tale of remarriage. The lines and sincerity are especially praised as the film receives a digital restoration release. [Read](https://www.thetimes.com/life-style/article/the-philadelphia-story-1940-8890k9tkc) - **Empire**, Jake Hamilton (90/100, inferred): This re-release of the 1940 romantic comedy proves it still outshines modern films with its zip and drive. The critic singles out the perfect cast, sharp script, and Cukor's peerless direction for praise, highlighting Hepburn's charm and Stewart's standout performance. [Read](https://www.empireonline.com/movies/reviews/philadelphia-story-review/) - **Slant Magazine**, Jeremiah Kipp (90/100, inferred): The critic praises the film's rich character dynamics and the chemistry between Hepburn, Grant, and Stewart, highlighting Cukor's subtle direction and the script's depth beneath its comedic surface. He singles out the way the story allows Hepburn's Tracy to choose among complex suitors rather than simply being humbled. [Read](https://www.slantmagazine.com/film/the-philadelphia-story/) - **The AV Club**, Caroline Siede (90/100, inferred): The piece celebrates the star chemistry and the film's exploration of vulnerability, pedestals placed on women, and remarriage themes, noting how it humanizes Hepburn's iconic Tracy. It praises the performances (especially Hepburn, Grant, and Stewart) and the blend of comedy with poignant melancholy. [Read](https://www.avclub.com/the-philadelphia-story-delivered-one-of-the-most-star-s-1838267237) - **The Guardian**, Peter Bradshaw (85/100, inferred): The critic finds the 1940 Cukor comedy utterly beguiling, funny and romantic on re-release. The sparkling performances and voices of Hepburn, Grant and Stewart, along with the witty writing, are singled out for praise. [Read](https://www.theguardian.com/film/2015/feb/12/the-philadelphia-story-review-rerelease) - **The New York Times**, Bosley Crowther (85/100, inferred): The critic praises the film as a sleek, witty high-society comedy with sparkling performances from its cast, especially Katharine Hepburn, James Stewart, and Cary Grant. The adaptation from the stage play is celebrated for its elegant dialogue and romantic complications. [Read](https://www.nytimes.com/1940/12/27/archives/the-screen-a-splendid-cast-adorns-the-screen-version-of-the.html) - **The New Yorker**, John C. Mosher (80/100, inferred): The review highlights Katharine Hepburn's triumphant return to the screen in the title role, noting how she brings charm and gentleness to the sophisticated heiress character. The screenplay adaptation is commended for its neat touches and for allowing the rich ensemble, including the child sister and reporters, to shine. [Read](https://www.newyorker.com/magazine/1940/12/28/1940-12-28-058-tny-cards-000006734) - **The Telegraph**, Marc Lee (80/100, inferred): The critic calls it one of the smartest, sassiest and sexiest movies ever, praising the sparkling script and the performances of Hepburn, Grant and Stewart. The opening scene of domestic violence is noted as dated but the rest holds up brilliantly. [Read](https://www.telegraph.co.uk/culture/film/filmreviews/3654092/Must-have-movies-The-Philadelphia-Story-1940.html) - **Time Out**, Geoff Andrew (4/5): The critic calls the film an evergreen delight with peak performances from the cast. They single out the superb direction, timing, sparkling wit and the flirty erotic tension between Stewart and Hepburn. [Read](https://www.timeout.com/movies/the-philadelphia-story) - **Variety**, Herb Golden (75/100, inferred): The critic finds the film a slick and sophisticated comedy that mostly succeeds in translating the stage hit to screen, with strong turns from Hepburn and the supporting cast. It notes some mid-film drag from abstract discussions but praises the overall witty dialogue, production values, and Hepburn's commanding presence. [Read](https://variety.com/1940/film/reviews/the-philadelphia-story-1200413300/) - **HeyUGuys**, Emily Breen (90/100, inferred): The critic praises this re-release of the classic screwball comedy as still biting and insightful after 74 years. The witty depiction of high society and the chemistry among Hepburn, Stewart and Grant are highlighted as standout elements. [Read](https://www.heyuguys.com/re-release-philadelphia-story-review/) ## Details - **Director:** George Cukor - **Director:** George Cukor - **Screenplay:** Donald Ogden Stewart, Waldo Salt - **Cinematography:** Joseph Ruttenberg - **Editor:** Frank Sullivan - **Music:** Franz Waxman - **Costume design:** Adrian - **Producer:** Joseph L. Mankiewicz - **Cast:** Cary Grant as C.K. Dexter Haven; Katharine Hepburn as Tracy Lord; James Stewart as Macaulay 'Mike' Connor; Ruth Hussey as Elizabeth 'Liz' Imbrie; John Howard as George Kittredge; Roland Young as Uncle Willie; John Halliday as Seth Lord; Mary Nash as Margaret Lord - **Runtime:** 1h 53m - **Certificate (MPA):** NR - **Release (the US):** 17 January 1941 - **Genres:** Comedy, Romance - **Budget:** $914,000 - **Box office:** $3 million - **Trailer:** https://www.youtube.com/watch?v=4f2jCffBrck ## Where to watch in the US - Tubi: free, hd - Amazon Prime Video: rent $3.99, hd - Amazon Prime Video: buy $9.99, hd *Checked 2026-09-16.* Also available in: AU, BG, BR, CL, CZ, DE, DK, FI, GB, HR, IN, PL, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1941: Best Actress (nominated); Best Director (nominated); Best Picture (nominated); Best Supporting Actress (nominated); Best Actor (won); Best Writing, Adapted Screenplay (won) ## If you liked this - *The Awful Truth* (1937): Another marriage under comic examination, with affection surviving a determined campaign of bad behaviour. - *The Earrings of Madame de...* (1953): High society and romantic misjudgement again, though these polished manners conceal a less forgiving story. - *A Room with a View* (1985): Another woman weighs love against good breeding, with considerably more sunlight and fewer wisecracks. - *Monsoon Wedding* (2001): Wedding preparations expose family tensions while the celebrations threaten to outrun their organisers. - *Enough Said* (2013): A warmer, quieter comedy about the difficulty of letting imperfect adults love one another. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-philadelphia-story