User Reviews

I went to see it for the first time with my grandmother when I was 17. I loved it but it felt strange to me because my grandmother after 22 years of widowhood, had remarried to an African American man. He had become a blessing in my grandmother's life and in ours. How could Spencer Tracy of all people be against the union? After the movie we went to dinner and my grandmother answered all my questions with a single answer that's been with me always and that sometimes explains absurdities like Charlottesville 2017 - "Society, humanity doesn't evolve all at the same time" Of course Grandma', you were right. Watching Guess Who's Coming To Dinner in 2017 was an experience. Is not that Spencer Tracy is against their union, - Tracy was only worried to what his daughter was going to face 1967 - He was thinking like a father and not like a thinking, evolved liberal. On the other hand, Roy Glenn, Sidney Poitier's father objects to his son marrying a white girl. Sidney Poitier stops him by saying "Dad, you see yourself as a colored man, I see myself as a man" Was it as didactic as it sounds in 1967? Who cares? The message was delivered - I also was so moved to see Katharine Hepburn and Spencer Tracy together for the last time and they knew it was for the last time. Sidney Poitier is superb as the messenger who points at the absurdity of racism. Guess Who's Coming To Dinner is a delicious document of its day.

Matt and Christina Drayton (Spencer Tracy and Katharine Hepburn) are a couple whose attitudes are challenged when their daughter brings home a fiancé (Sidney Poitier) who is black.

I had never seen this movie until last night, primarily because I never saw the point. The story seemed so obvious and cliché to me, having grown up decades after the film was released. Of course a family would react poorly when they see the racial difference of their daughter's chosen husband. But, I underestimated the whole thing.

The film is more complex, because as it turns out, the family is not actually racist -- at least not in theory. And this film allows theory to meet practice, which may be harder to overcome than they thought. Luckily, they have the advantage of the black man being a world-renowned doctor. Had he just been any old schmuck, the family might not have been as welcoming. It is a whole different story.

The two things I found most interesting about the film were: one, that the two people most opposed to interracial marriage were both black. That seemed quite the opposite of what you might expect. And two, I found it odd that the biggest problem was supposed to be the racial difference. The 14-year age gap and the fact they wanted to get married after only 10 days of knowing each other was largely ignored. I find that to be the much bigger problem -- how do you commit to a lifetime after only 10 days?

Guess who's coming to dinner is a first class film. It focuses on the subject of interracial marriage and the challenges that can arise. Set in the 1960s, this was definitely topical.

We are treated to first class acting from Sidney Poitier who is arguable one of the greatest and most dignified actors to grace the screen. Great performances from Spencer Tracy and Katherine Hepburn who play shocked and concerned parents. This film also focused on the important issue of walking the talk, righteous people who preach certain ways of living but we see it put to the test when they themselves are in that situation. The parents who raised a unbiased and open minded daughter must deal with her choices.

Spencer Tracey's speech to his daughter and Sidney is one of the best in film. He passes on an important message of understanding and righteousness to not just his daughter and son in law to be but the rest of America watching. A showcase of brilliant acting and messages in a film that was ahead of its time.

Guess Who's Coming to Dinner takes place during the course of one day as two families struggle to overcome their concerns about the interracial marriage of their children. This film is a treat for the eyes with lovely sets and beautiful people. It also has a nice 1960's feel that is reinforced by sophisticated wardrobing and an "easy listening" soundtrack--featuring The Glory of Love as the signature tune. The film relies very heavily on the use of dialog and reflects the elegance of a time when people were entertained by stimulating conversation. The San Francisco backdrop also is the perfect setting for a movie that challenged racial convention.

But there are a few serious flaws. This is an introductory role for Katharine Houghton (Hepburn's niece) who plays Sidney Portier's fiancé--Johanna Drayton. Her inexperience is apparent, particularly in comparison to heavyweights Portier, Tracy and Hepburn and as a result, she is unconvincing in the part. Moreover, her character is not well-written or well-developed which makes it difficult to understand why Sidney Portier's character--John Prentice-would fall in love with a woman who appears to have so little to offer intellectually --given his significant professional achievements as a doctor. One also must ask why it was necessary for his character to be cast as a doctor in order to be seen as an acceptable partner for a young white woman who had not really accomplished anything accept being born into a privileged family. The answer is simple. Making Prentice a doctor-and not just any doctor-but a world renowned expert in tropical medicine, made the interracial relationship more acceptable to white audiences during the 1960s.

The other cast members are outstanding and the on-screen chemistry phenomenal. Katharine Hepburn (Christina Drayton) and Spencer Tracy (Newspaper Publisher Matt Drayton) deliver brilliant performances as Johanna's parents. John Prentice's modest working class parents are played with great dignity by Beah Richards and Roy E. Glen. Mrs. Prentice and Mrs. Drayton favor the marriage and both characters provide passionate, articulate arguments as to why their husbands should agree. But their husbands voice serious objections and the families spend the evening in intense discussions over the issue, accurately reflecting the racial fears that existed 40 years ago. Prentice's father reminds him that in many states interracial marriage is illegal and that he is "getting out of line." There are also a number of very memorable and funny lines. In the scene in which Matt Drayton wonders why "the colored kids dance better than the white kids", Portier's response is classic--"you dance the Watusi, but we are the Watusi!"(For readers under 40, the Watusi was a popular dance in the 1960s and also an African tribe). Cecil Kelloway, who plays friend of the family, Monsignor Ryan, deftly brings a sense of humor and moral guidance that is effective because it is not "preachy". He challenges Matt Drayton's liberal credentials and suggests that Drayton's misgivings about his daughter marrying a black man reveal his hypocrisy. Isabel Sanford ("Weezy from The Jeffersons TV program) plays the feisty maid of the Draytons.

It's been said that in the final scene Tracy--who was very ill at the time and who died shortly after the movie was completed--delivered one of the longest soliloquies in American film history, in only one take. Katherine Helpurn was clearly so moved by the scene that it's hard to believe that she is just acting as her eyes brim with tears.

Although the some of the sentiments are dated, this film is highly entertaining, and provides a rare opportunity to experience outstanding performances from six gifted actors who bring compassion and depth to Stanley Kramer's film. Its' angst relative to interracial marriage also reminds us of how far we have not come.

Continuing to review films featured with people of color in chronological order for Black History Month, we're once again in 1967 with Sidney Poitier's third film in release that year: Guess Who's Coming to Dinner. Here, he's Dr. John Prentice who, after spending vacation time in Hawaii for 10 days with one Joey Drayton (Katharine Houghton), is engaged to her and is meeting her parents for the first time in San Francisco. They're Christina (Katharine Hepburn) and Matt (Spencer Tracy) and they're both a little shocked when they meet John despite both being liberal people. Christina gets over hers while Matt takes a while. Their maid Tillie (Isabel Sanford) isn't thrilled at all while old friend Monsignor Ryan (Cecil Kellaway) approves and is bemused by all the reactions including those of John's parents (Beah Richards, Roy Glenn) when they arrive. I'll stop there and just say that while I'm sure the whole thing was made to provide such a mostly perfect representation of the black race for public consumption in presenting Poitier's characterization, he's still allowed to be a little human whether talking back a little to his father or saying he'll call off the marriage if his fiancé's parents have any reservations without consulting Joey first. Many of the funniest moments come from Ms. Sanford's Tillie during her outbursts about "black power"! There's also some nice moments concerning Tracy and Hepburn on screen together especially when one knows that this was Spencer's final movie before his death. Why, seeing Ms. Hepburn cry during her longtime loving partner's last speech on set is perhaps the most touching thing here. But let's not cut the lines of Ms. Richards and Mr. Glenn short here. Roy makes the then-pertinent point of how his son and fiancé would be considered criminals in at least 16 states (actually 14 during filming) if their relationship was known. But Beah herself is the one who gets through to Spencer about how both him and her husband seemed to have forgotten what it was like when they themselves were young and impulsive. It's that part that got her the worthy Oscar nomination. In fact, Cecil Kellaway, Ms. Hepburn, and Mr. Tracy all got worthy nods with Hepburn a worthy win (though I admit that with the exception of Audrey Hepburn in Wait Until Dark, I haven't seen the other nominees for Best Actress that year). I'm not so sure about the Best Picture nomination but it's not as embarrassing as that for Doctor Doolittle (though I'm basing that more on reputation since I've yet to see that one in its entirety). In summary, Guess Who's Coming to Dinner is still quite entertaining even with the obvious liberal point-of-view. P.S. Two other African-American players worth mentioning are Barbara Randolph (daughter of Lillian Randolph who's in my favorite movie, It's a Wonderful Life) as Dorothy who does a groovy dance with a white delivery guy and D'Urvile Martin who as Frankie gets his car accidentally hit by Spencer's automobile when the latter backs out of an ice cream parlor.

Let's not settle our 2016 values on this film. Interracial marriage is so commonplace these days. Not that it is accepted very well in many places. This film is one of the first to address the issue and it is not tame. When the young people go to the home of the white folks, there is a moment when a nuclear explosion may hit. Spencer Tracy always had a slow burn and he utilizes it well here. Still, it is too much for him at the beginning. One has to wonder if even the more liberal viewers of marriage knew that this was a road to a difficult life. Even today, it's a hard road to travel at times. One thing I appreciated was that we got the perspective from both sides, especially Sidney's father. Racial issues aren't always a one way street. This film needs to be seen even if one might think it dated.

A 23 year-old lady (Katharine Houghton) brings home a surprise house guest--her black fiancé (Sidney Poitier)! While today such a thing isn't all that unusual, her liberal-minded parents are thrown by their decision. Not surprisingly, his parents are equally stunned. Can these two manage to get their parents' consent and live happily ever after.

I think that much of what "Guess Who's Coming to Dinner" is as a picture is lost on younger audiences. Today, the idea of interracial marriages isn't what it was back in 1967. Back then, it was so novel and so controversial that I doubt younger viewers could comprehend it. After all, just before this movie was released, it was against the law in many US states for such a marriage! Crazy, but true. So, while the reactions of everyone to this marriage might seem quaint today--back then it was truly an explosive issue. But even if this makes the film seem a tad dated, it is a marvelous film from start to finish because it features some of the best acting I can recall having seen in a movie. While Spencer Tracy and Katharine Hepburn (who won the Oscar for this film) are the people we think of today in the film, Beah Richards and Roy Glenn (as Sidney Poitier's parents) were simply dynamite. Together, this cast represents one of the higher points of the 1960s--not just for its social message but for its amazing acting. And, of course, the great dialog and direction made this a possibility. Simply terrific...just make sure to keep some Kleenexes handy for this one.

By the way, as a father of two daughters who are old enough to marry, what stunned me today about this couple was NOT the interracial angle but that they had only known each other for 10 days!! Now THAT was the crazy part to me!

It's so easy to criticize this film. The soundtrack from DeVol is *awful*. The film is incredibly dated and there are some scenes, (the scene with the delivery boy and the ice cream shop), that are unbearable, like something out of a Gidget film.

Of course the other problem with this film, 33 years after its production, is who in the year 2000, would be upset about their daughter marrying a Yale educated Doctor?

However, despite all this, Guess Who's Coming to Dinner is a great film. The film is wonderful because it was the last film made by one of Hollywood's greatest duos, Katherine Hepburn and Spencer Tracy.

This film was made while Spencer Tracy was dying. Spencer had to put his entire salary in escrow in order for the film company to allow him to do the film.

So why did Katherine Hepburn and Spencer Tracy agree to do this film, without immediate payment? Because it's a film about forbidden love, it's a film about loving someone no matter what society thinks, or what the rules are. This is something Spencer Tracy and Katherine Hepburn knew a great deal about.

What makes this film outstanding is, by the end of the film you realize, Kate and Spencer are not even acting they are relaying their feelings about each other, through the film. Once you catch that, the drama of the final few scenes is just unparalleled and Spencer's final speech, about his love for Kate (Christina), can drive even the most twisted soul to tears.

A few things to catch in this film, watch Kate's face when Spencer recites the line, 'screw what the rest of the world thinks about your love'...those are real tears. Watch Spencer Tracey as he paces back and forth on the terrace near the end of the film. He realizes he is about to begin one of the last scenes he will ever film. He's line 'well I'll be a son of a bitch'...is more a realization he's about to make his last grandstand on the big screen, in his entire career.

Spencer Tracy is one of America's greatest actors. This is his last triumph. For that reason alone, it's a true cinematic treasure.

"Guess Who's Coming to Dinner" was a fantastic watch. Tackling the "issue" of interracial marriage at this time couldn't have been an easy feat. Hepburn and Tracy's performances were amazing, and truly convincing. The performance given by Sydney Poitier is nothing short of phenomenal, and it comes at no surprise. The social questions that this film raises during the time it was released in the United States were incredibly important, and while the film definitely has it's moments that don't hold up in our current social climate, the message of love being love no matter who it is between is something that can still be taught today. The editing of the film felt very well done as well, not a single scene felt out of place or poorly paced. Overall I really enjoyed this film, even if it does tend to show it's age at some points. I would recommend it even if only to see Hepburn and Tracy's acting performance!

Here's a great way to spend an afternoon: watching some of the greatest actors of all time in a film that still has relevance today. Such a cast! Hepburn is wonderful as always, very energetic, with no trace of the shakiness of her later years.

Tracy, gruff, the way most probably remember him - sort of a ratcheted up version of the roles he played with Hepburn in earlier years. His ill health is obvious though to the careful observer: voice a little weak at times, and Tracy's step missing the "spring" of his earlier films. The fact that this his last film was so memorable, and of such quality just adds to his legend.

Potier of course turns in a great performance, impeccable as always.

Watch for Isabel Sanford, ("The Jefferson's") particularly the one memorable scene where she explains to Potier's character just what "black power" really is.

Cecil Kellaway sparkles as Monsignor Ryan, and Beah Richards and Roy Glenn, as the parents to Potier's character, mirror Hepburn and Tracy.

Indeed, there is so much real honest-to-god acting talent concentrated in this movie, it seems almost unfair, what I'm about to say: Katharine Houghton, as 'Joey' is the only character with only 2 dimensions. She's the ever-smiling, but clueless daughter and object of Dr. Prentice' affection. She's such a Pollyanna, and remains oblivious to the drama going on all around her, and everyone else conspires to keep her in the dark throughout the entire film. (No wonder her father is concerned.) I think it's fair to say that Houghton's character is the one weak spot in this otherwise excellent film.

That said, this is a wonderful film that I will always watch when it comes on. It's such a treat to watch these legendary actors at work. I highly recommend it.

By the way, there's no glass in Spencer's eyeglasses during the ending monologue, is there – he's wearing only frames, right?

Hmmm. I'm torn about this movie but I guess overall I find it too out of balance to work as other than as an historical piece.

The things I like about it? The sound-stage version of an outrageous San Francisco home. (A bridge to bridge view from the patio, which is not to be confused with the separate garden. Filled with expensive art. If such a place existed what would it cost today? $10 million? $15 million - but when the parents go out for ice cream they drive what would be a sort of old looking small to mid-sized car. Ah, Hollywood!) Seeing Isobel Sanford in something that doesn't involve Sherman Helmsley. Katharine Hepburn going through four slightly-oddball costumes over about 9 hours of movie time. (And what is with her and her choice of hats?!?) The bizarro, off-kilter scene with the dancing delivery boy.

The things I don't like? Well first and foremost the fact that this movie is set up so as to eliminate any sense of the REAL complexities of life. Poitier's character is not just a great guy, he is a physician. Wait, no ... not just a physician but one who has been on the faculty of some of the best medical schools...AND who has devoted his career to public health AND who is internationally well-known. Gosh, you think, is there ANY white man that Joanna might ever meet who could be as well-credentialled as him? And Joanna, we are told, has always been HAPPY!!! as a baby, as a child, as a teen, in college. Why, she's just the most perfect thing. Her parents? Unabashed liberals. Generous and kind to the help (even giving a $5000 bonus to an employee being fired.) His parents? Sober and hard-working. Sacrificing for their son. Kind and loving.

Wouldn't it be nice to see at least one of the parents being SOMEWHAT unpleasant?

Kramer just sets things up in a way where there is no real tension in the movie. We know Tracy and Hepburn's characters are too good to turn into bigots and that they are such great parents that their daughter's happiness is all that will matter. They may be friends with a Catholic monseigneur (though a point is made to say at least twice that they aren't Roman Catholics, what's that about?) but he is the most liberal happy-go-lucky priest that existed in the 1960's and raises not a single objection to interracial marriage (uncharacteristic of the Irish priests I knew of from the 60s --- but maybe it's because he's so busy drinking Scotch -- if you'll excuse THAT offensive Irish stereotype in a movie about prejudice.)

The look and feel of the movie is a little odd, because of the juxtaposition of real locations (SFO, the ice cream store) with the very "faux" stage set style used in scenes like the driveway in front of the house. For a movie that is supposed to be exploring the gritty reality of racism in America, seeing someone drive a phony delivery truck past the fake plants outside the fake house seems particularly jarring and inappropriate.

And of course, everyone is rich or well-to-do. Even the retired postal worker and his wife can afford to fly up to SF on a last minute airfare (which were even less cheap back in the 1960s than they are today) and, we are assured, can afford to fly to Geneva for the wedding? So ultimately their "problems" about love and marriage seem less important, because we don't really worry that John or Joanna's lives will be seriously crippled if they don't marry --- they are both so VERY charming, successful, self-directed and fulfilled that we know that they would find someone else if it came to that.

(For that matter, no one seems too bothered by the more substantial problem, which is that people who fall in love "in 20 minutes" and plan to marry only weeks after meeting, are quite likely to find themselves unhappily stuck with a person they knew nothing about -- regardless of their color.)

And poor Sydney Poitier, who I think was probably a good actor but seemed to have to sacrifice his talent on the cross of being the first great cross-over black movie actor --- always playing someone who is whiter than the white folks around him, usually better spoken, always smarter, always having to deliver the over-written, didactic speech about how times are changing for the black man, and never allowed to use a contraction in a sentence, lest he sound too ethnic. I find his acting to be terribly mannered most of the time, but I think that is mostly because of the straight-jacket forced on him by the types of roles he played in the 1960s.

So the movie just feels very manufactured --- structured so that every point of view or objection will be raised but rationally batted aside and that -- less than 12 hours after they show up, the couple will head off to Switzerland with a family united behind them and the audience can all leave the theater feeling that love conquers all and dealing with racism is just a matter of having a good conversation over drinks.

After a period of vacation in Hawaii, Joanna "Joey" Drayton (Katharine Houghton) returns to her parents' home in San Francisco bringing her fiancé, the high-qualified Dr. John Prentice (Sidney Poitier), to introduce him to her mother Christina Drayton (Katharine Hepburn) that owns an art gallery and her father Matt Drayton (Spencer Tracy) that is the publisher editor of the newspaper The Guardian. Joey was raised with a liberal education and intends to get married with Dr. John Prentice that is a black widower and needs to fly on that night to Geneva to work with the World Health Organization.

Joey invites John's parents Mr. Prentice (Roy E. Glenn Sr.) and Mrs. Prentice (Beah Richards) to have dinner with her family and the couple flies from Los Angeles to San Francisco without knowing that Joey is white. Christina invites also the liberal Monsignor Ryan (Cecil Kellaway), who is friend of her family. Along the day and night, the families discuss the problems of their son and daughter.

"Guess Who's Coming to Dinner" is a witty dramatic comedy about interracial marriage in the racist USA in the 60's. The theatrical story has magnificent performances and dialogs and has not aged after all these years. This is the last movie of Spencer Tracy and Katherine Hepburn, who is the aunt of Katharine Houghton, has never seen this movie because of the loss of her friend. My vote is nine.

Title (Brazil): "Adivinhe Quem Vem Para Jantar" ("Guess Who's Coming to Dinner")

I feel like the premise of this is good, but the execution is not. Just about the whole movie is about everyone meeting everyone, with a much bigger focus on her parents than his.

Even though most of the running time is spent in conversations or debates between characters, they don't raise up many points. They repeat the same kinds of ideas constantly to each other. I really think the running time could be cut in half without missing anything important.

I also don't like how the characters have to announce every time they leave the scene, it's not necessary to proclaim, "I'm going to go upstairs now!"

Lastly, we know almost no back story about the character's, odd for a movie that should be driven by that. I'd like to see how their past colors their opinion of the matter at hand.

Seeing this film for the first time more than thirty years after it was made, I was struck by the theme's endurance in time. It remains relevant today, even if not to the same degree. And even though I'm almost thirty years old, I can say with mixed emotions of embarrassment and vindication, that Spencer Tracy taught me a better way to tie a tie. Who's says movies don't teach you anything?

The film is dated, to be sure, by many things, from clothing to music, cars and expressions. At times the dialogue seemed a bit hokey, and others, simply brilliant. I swear, I half expected an entourage of go-go dancers to spontaneously burst through the streets of San Francisco. And if I never hear the "Story Of Love" ever again in my life, it would be too soon.

But I can't help but think that the more things change in thirty years, sometimes they remain the same. Certainly there's more examples of interracial couples today than thirty years ago, and therefore a greater degree of tolerance, but for a lot of narrow-minded individuals, it's still as controversial or "appalling" as it was thirty years ago.

Some of the lines actually had me laughing out loud, enjoying the moment as it follows into another well complimented scene. I'm speaking in particular of the scene where Katharine Hepburn fires her employee for her prejudicial views, and basically everything that follows that scene for the next five minutes.

I try my best to imagine what it would be like to be in the shoes of any character in the film, to appreciate what it might've been like for them, in that time, and while I think I can muster an inkling, I don't think my creativity is up to a challenge of that nature. And I think that ultimately, that's a good thing, and I'm grateful to those who came before.

Marriage is all about the one you love, it does not matter the race. Guess Who's Coming to Dinner, according to Stanley Kramer, he portray the interracial marriage and show the idealism of two couple difference racial. Therefore, the movie itself does not give a chance for the couple to know their love, for-example there is only one shot that shows lips of Dr. Prentice and Joanna meet together. However, in 1960s it was a period political movements of racial segregation, though it was lawful for interracial marriage. Eventually, Guess Who's Coming to Dinner, came on the prep time and when the couple plan to meet there future in-laws they believe it might be difficult for the family to accept there relationship. Nevertheless, Acting was very amazing accompany by Katherine Hepburn, Tracy Spencer, Katherine Houghton and Sidney Poitier. Moreover, the movie was very successful on cultural influence and as a results of today's interracial marriage.

I feel sorry for John Seal, the reviewer above, for his views on this movie, as well as his views on interracial marriage. I think this movie is excellent, I enjoyed the performances of all the actors and the message is important. Racial prejudice was common in 1967, and the very first interracial kiss on TV was still to come (it happened in 1969 on Star Trek). People needed to hear the message this movie contains, that color and race are not something that should prevent two people who love each other from marrying. I am a white American married to a Japanese female and I am proud that our children will grow up to live in a world where people have tolerance for different cultures and beliefs. It is sad to watch Spencer Tracy in this movie, knowing he died weeks after it was made. But it was nice that he could act with Katherine Hepburn, the love of his life, so close to his death. That must have made him happy.

Risky film that could only sport the biggest and most respected names in Hollywood at the time. Sidney Poitier and Katharine Houghton have fallen in love and are all set to get married, but Poitier is African-American and Houghton is white. Get the picture? The couple's parents (Roy Glenn and Oscar-nominee Beah Richards as Poitier's parents and Oscar-winner Katharine Hepburn and Oscar-nominee Spencer Tracy as Houghton's) try to cope with the situation as the two seem determined to be together. Poitier knows the complications while Houghton seems really naive and innocent about the whole situation. Catholic priest Cecil Kellaway (also Oscar-nominated) tries to get the parents to understand what their children are feeling. A film that spawned controversy and more controversy in 1967 and still a film that strikes a nerve in many circles even today. The film just added to the excellence of Hepburn and Poitier while Houghton became more of an outcast in Hollywood. Many say that the movie drove Tracy to an early grave as he died shortly after production and did not even get to hear that he had received an Oscar nod. Stanley Kramer's striking direction and the Oscar-winning screenplay are both right on target. "Guess Who's Coming to Dinner" is a production that tackles interracial relationships in a frank and intriguing manner. The film is not kind to the older generations and it is also not kind to religious figures getting caught up in non-religious affairs. A strong film that stands strong with the other great films of 1967 ("In the Heat of the Night", "Bonnie and Clyde", "The Graduate", "In Cold Blood"). 4.5 out of 5 stars.

It has been said that Spencer Tracy treated Katherine Hepburn harshly. If that was the case, it certainly doesn't show. The pair are perfect together in their last film, their acting is so good and convincing as is everybody else's(especially Sidney Poitier as John Prentice) that the whole film is well worth watching for the acting alone. The ending may hold no surprises as such, but overall, Guess Who's Coming to Dinner is a smart, intelligent and touching film. It has a well-constructed story about a married rich couple whose liberal principles are tested by the proposed marriage of their daughter to a black doctor, and the writing is intelligent and smart. Some touching moments don't go amiss either, while the cinematography is crisp, the score is nicely done and the direction from Stanley Krammer is efficient. Overall, if you love Tracy and Hepburn, I think you'll be in for a treat! 9/10 Bethany Cox

Guess Who's Coming to Dinner was another comedic film, that represented what the 60's were about. The film expanded the limits of script content. Guess Who's Coming to Dinner shows the relationship between different ethnicity's, similar to the movie Do The Right Thing; another great film of the 60's. Guess Who's Coming to Dinner feels a little fake at times, and often like it's filmed on a stage. The mother and father take on typical roles, the father is stubborn and careful with who his daughter marries, but her mother is more able to understand that her daughter is in love. The substance of the film shows that it is okay to be in an interracial couple. This was very controversial at the time, but films with this kind of controversy often become classic films, as this one did, and retain their popularity for decades.

Spencer Tracy in my estimation the finest actor ever to appear on the American screen should've won the Oscar posthumously.

Mr. Tracy's performance and guess who's coming to dinner is magnificent. His final speech is with 4 years of tuition in Acting school. The speech took 5 separate days to complete: Tracy was weak and could only work.q few hours a day. Tracy looks great in this film, and having Kramer and Kate Hepburn nearby was a tonic for this great actor.

His costar and great love Katherine Hepburn justly won the Oscar for her splendid performance. Kate Hepburn says more with her eyes than some actresses can do giving long speeches. Stanley Kramer directed this film and along with Tracy and Hepburn put his salary in escrow as Columbia Pictures was taking a big risk with Tracy's health. It is very emotional to look at the screen and to realize that Tracy died a few weeks after filming was completed on this magnificent film. This film is a textbook case and acting.

Ms. Hepburn to her death maintained she couldn't look at this film. Too emotional. Tracy was the great love of her Life. Ms Hepburn I attired by he famed Columbia designer Jean Louis.

This film was a gargantuan box office hit costing $2 Million and grossing $60 million! With Tracy, Hepburn and Sidney Poitier giving magnificent performances.

When Sidney Poitier announced Kate Hepburn the Best Actress winner the audience exploded in applause. Ron Russell was seen wildly applauding.

. Kate Hepburn Empess of the American Screen was a guardian angel ti Susan Hayward in the final months of Susan's life visiting Susan at her mountaintop home. Hepburn was in Susan's dressing room giving encouragement when Susan made her legendary last appearance awarding the 1974 best actress Oscars Oscar to Glenda Jackson. I feel that Hollywood doesn't have stars like Tracy, Hepburn, Hayward, Roz Russell.

"Guess Who's Coming to Dinner" is a wonderfully acted period piece that probably had more impact 50 years ago than it does today. Upon watching it, it was no surprise to learn that it was nominated for all 4 acting categories at the Oscars.

My favorite part of the movie was easily in the beginning. Watching the young couple, John and Joey, spring the major news on her parents. Their initial reactions were downright hilarious. Then again watching them spring the news on his parents. Then again springing the news that the two families will be having dinner together that night. I doubt I was supposed to find it as funny as I did, but I couldn't help but laugh out loud a good 5 or 6 times during those exchanges. Katherine Hepburn's blank stare and Spencer Tracy's double take were great. Some of the best moments I've seen in cinema in a long while.

As for the discussion on racism, some of it is as relevant now as it was at the time. Interracial couples still get looked at strangely. If that couple were real and did get married in 1967, they'd be very old now and would have been dealing with that type of racism their entire time together. In that way many of Spencer Tracy's character's worries were totally correct.

There's a bit of a lack of suspense to the drama part of the movie though. It seemed obvious that the characters were too smart for their initial doubts to also be their final decisions. And given enough time that they would all come around to, at the very least, tolerance.

If you enjoy fine acting, or need a bit of a history lesson on social norms of the time period, then Guess Who's Coming to Dinner is probably the best movie you can watch. It may not be action packed, but I enjoy anything with Spencer Tracy and Katherine Hepburn acting as well as they did in this film.

A movie rigged from the start to be a preachy, predictable bore. Would have been far more interesting if there were cultural differences between the white daughter and the black suitor. Instead, there is just basically two people from highly-educated, successful, good families that are not very different after all. Would have been far more interesting if there was a clash of cultures. This movie begs to be re-made today.

The Bad:

1. Katherine Hepburn looking 'dewy-eyed' scene after scene, enough!. Was here whole career success due to the ability to well-up tears in her eyes on cue?. 2. The actor playing the half-witted daughter was just awful, not only annoying, but who could believe that the Poitier character would find her interesting or that they could really be in love?. 3. Is this the worst set design ever in a movie?. 4. Tracy can act, but this is just a one-note narrow performance. Good actor wasted with a stupid script. 5. I deeply resent the male-bashing undercurrent of the movie. Women are just vessels of virtue and wisdom, while the men plod around dragging their knuckles and acting on prejudice.

The Good:

1. Hollywood's out of touch depiction of the 60s culture is always great for unintentional laughs, and this movie is full of them. That delivery boy should have gotten an academy award, not Hepburn. 2. Poitier is good, but looks pained throughout the movie, like he knows he is making a bad movie. Good scene where he confronts his father, the movie needed a lot more truth like that.