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“Alice Adams” is directed by George Stevens from Booth Tarkington’s 1921 Pulitzer Prize winner recent. Katharine Hepburn plays the title character, a lovesick young girl who vainly attempts to do the same level as her socially trustworthy acquaintances and to imprint the young man, played by Fred MacMurray, she meets at a dance. There is also a rather hackneyed sub-plot curious her father’s business ventures that distracts from the human drama.
Of course all of Alice’s attempts to better her location in the world meet with a continuous string of disasters. Alice is embarrased to be escorted by her brother to the dance, prattles on about her family’s nonexistent wealth, and will not let MacMurray into her house until she is finally and fatefully obliged to invite him to dinner. The comical highpoint of the film is the dinner party, where the family has hired a maid (Hattie McDaniel) to aid with what becomes a total trouble.
Hepburn carries the emotional heart of the movie, and her strength as a maturing actress is captured in two scenes where she carries the moment with tears rather than words. After the dinner scene she runs to her bedroom and breaks down weeping at the window, finally crushed by all that has happens. When her father (Fred Stone), who has no clue the dinner has been a effort, comments on how nice her date was, a wobble roles down Hepburn’s cheek. These two scenes created Hepburn’s reputation as the screen’s greatest “on cue” weeper.
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Hepburn received her second Oscar nomination for this film. Her performance is vastly edifying to when she won for “Morning Glory” (but more in keeping with her Jo March in “Miniature Women” that same year) primarily because this is the first successful film in which she acts against type (as opposed to her unsuccessful grief as a hillbillie gal in “Spitfire”) . The Hepburn persona that becomes solidified in “The Philadelphia Account” and “Woman of the Year” is beautiful distinguished the opposite of Alice Adams. Instead of the goddess brought off her pedastal, here we have the girl from the detestable side of the tracks trying to accumulate ahead in the world. This is one of the better opportunities to explore Hepburn NOT play Hepburn (the other mountainous example is “Long Day’s Shuffle Into Night”) .
Of course, Hollywood tacked on a blissful ending to the film version, and while it is not as jarring as what they did to “The Sparkling Ambersons,” it does not produce for a calm conclusion. More importantly, it undoes the poignancy of Hepburn’s farewell to MacMurray when she tells him: “You know, I have a odd feeling. I feel as though I’m only going to search for you for five minutes more in my whole life.”
Overall, Hepburn’s performance overcomes the limitations of the script. The role was never going to become a Hepburn staple, but she plays it surprisingly well here. “Alice Adams” holds up better than most of her early RKO films.
In this superbly done George Stevens film, Katharine Hepburn creates one of the greatest American heroines–headstrong yet deeply vulnerable Alice Adams, a fiendishly anxious impoverished young woman fair as fiendishly positive to rise into the white, light, airy world of the upper middle class…as exemplified by the titanic party scene early on in the film…This scene and the very celebrated dinner party plot portion are sparkling, but so are all of the scenes btwn Hepburn and MacMurray, who’s astronomical, charming, and finely modulated in a very subtle procedure…Even the tacked-on overjoyed ending doesnt grasp the sting of ample pathos from Hepburn and MacMurray’s second to last scene…Hattie McDaniel almost transcends her schlocky-racist role with her laughable aside and expressions. This is one of the colossal films of the 30s.
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