BRINGING UP BABY (1938)

Film of the Day #198

BRINGING UP BABY
1938 • Howard Hawks

Cast: Katharine Hepburn, Cary Grant, Charles Ruggles, Barry Fitzgerald, May Robson, Walter Catlett, Fritz Feld, Virginia Walker, George Irving, Leona Roberts
Screenplay: Dudley Nichols, Hagar Wilde
Cinematography: Russell Metty
Music: Roy Webb, Jimmy McHugh, Dorothy Fields
Producers: Cliff Reid, Howard Hawks

RKO Radio Pictures

Now it isn't that I don't like you, Susan, because, after all, in moments of quiet, I'm strangely drawn toward you, but - well, there haven't been any quiet moments.

Bringing Up Baby follows the misadventures of David Huxley (Cary Grant), a mild-mannered paleontologist engaged to his practical and no-nonsense fiancée, Alice Swallow (Virginia Walker). David's life takes an unexpected turn when he crosses paths with delightfully quirky Susan Vance (Katharine Hepburn), a free-spirited and eccentric heiress. David is desperate to secure funding from an investor for a museum project, and the comedy of errors ramps up every time Susan shows up. Susan takes a liking to David and decides to help him secure a vital donation for his museum project. However, her well-intentioned efforts lead to a series of hilarious misunderstandings, mistaken identities, and zany escapades. Also, there’s a leopard and a giant dinosaur skeleton. It’s the definition of a screwball comedy.

One of the standout features of Bringing Up Baby is its razor-sharp, rapid-fire dialogue. The screenplay, written by Dudley Nichols and Hagar Wilde, is filled with clever wordplay, double entendres, and witty repartee. The banter between the characters, especially David and Susan, is quick-witted and filled with delightful 1930s Hayes Code-friendly innuendos.

Cary Grant and Katharine Hepburn's on-screen chemistry in Bringing Up Baby is, as the kids say, fire, setting a standard for romantic comedy pairings that has rarely been matched. Their natural rapport shines through in every scene. Grant was often typecast as charming and debonair, but he could be outrageously funny as an exasperated doofus, as showcased here in Baby and also in Arsenic and Old Lace. The fact that he has the face of one of the most handsome movie stars of all time, combined with his awkward social ineptness makes him a perfect foil for the flighty and but well-meaning Hepburn. Grant was a great comedic actor, he could go from quick intellectual wit to broad slapstick without missing a beat. His often repeated line in the film “I’ll be with you in a minute Mr. Peabody!” never fails to crack me up.

Susan Vance is a force of nature, with boundless energy, infectious enthusiasm, and unwavering determination are brought to life with Hepburn's iconic style. Though Hepburn’s Susan is a bit of a doofus in her own way (that adorable laugh), she may be one of the first-ever “Manic Pixie Dream Girl” tropes. What each actor brings to their characters works individually, but when combined on-screen, it creates magic. The duo navigates the film's rapid-fire dialogue and chaotic situations with finesse, creating a magical comedic concoction. Whether they are engaged in a battle of words, chasing a leopard, or falling for each other, Grant and Hepburn complement each other flawlessly. Their chemistry isn't limited to verbal exchanges; it extends to their physical interactions as well. In one scene, the back of Hepburn’s dress rips open and an exasperated Grant tries to be chivalrous and cover up her backside. Initially, she doesn’t understand Grant’s actions, and the comedy stems from her trying to get him to back off, but once she realizes what’s happening, the laughs go to another level, with the two actors in complete synchronization to milk the laughs from the audience.

Howard Hawks doesn't just deliver a comedy; he orchestrates a symphony of chaos and ridiculousness. Hawks slams his foot on the comedy gas pedal from the beginning and maintains the frenetic pace for the entire 102-minute run-time. The film is a whirlwind of hilarity, with one absurd situation seamlessly flowing into another. Did this film, about a nerdy paleontologist and a quirky socialite, really need a leopard running around the film? No. But Hawks gives it to you. The presence of the leopard introduces an element of danger and unpredictability, juxtaposing the romantic comedy against the unpredictable nature of a wild animal, creating a cocktail of absurdity. And for good measure, Cary Grant spends a not-insignificant amount of time in ladies' lingerie. As ludicrous as these situations are, they’re somehow seamlessly blended into the narrative. Hawks goes full steam ahead into the screwball comedy, leaving the pieces of societal norms in his wake.

In the world of screwball comedies, where chaos reigns supreme, Howard Hawks stands out as a master craftsman who knows just how far to push the envelope without losing the audience. In less capable hands, a screwball comedy can easily spiral into madness, leaving viewers either frustrated with the characters' antics or cringing at their behavior. However, Hawks' genius lies in his ability to maintain a lightning-fast pace while preventing the mixups and misunderstandings from veering into the realm of parody. He strikes a delicate balance, allowing the characters to engage in zany escapades and witty banter, all while ensuring that the narrative remains grounded enough for the audience to stay invested.

Apart from Bringing Up Baby, Hepburn and Grant teamed up on-screen several times. Their other collaborations include Holiday (1938), The Philadelphia Story (1940), and Sylvia Scarlett (1935). In each of these films, Grant and Hepburn's on-screen chemistry is electric, providing both laughs and romance, however, amidst these wonderful collaborations, Bringing Up Baby stands apart with its unparalleled wackiness. And only one of them has a leopard.

- I've *lost* my clothes!
- But why are you wearing *these* clothes?
- Because I just went *GAY* all of a sudden!

Notable Awards & Accomplishments

• AFI's 100 Years...100 Laughs – #14

• AFI's 100 Years...100 Movies (10th Anniversary Edition) – #88

• National Film Registry: Inducted in 1990

Streaming: Not currently streaming
Digital Rental/Purchase: Available at most major digital retailers
Physical Media: Available on Blu-Ray and DVD. Part of the Criterion Collection