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Adam's Rib
(La costilla de Adán / Madame porte la culotte)
(USA, 1949) [B/N, 101 m.].
Género: Comedia sofisticada, Sátira, Drama judicial / Guerra de sexos.
IMDb

Ficha técnica.
Dirección: George Cukor.
Guión: Ruth Gordon, Garson Kanin.
Fotografía: George J. Folsey (B&W).
Música: Miklós Rózsa.
Producción: Lawrence Weingarten.
Productora: Loew's (Loew's Incorporated).

Bonner contra Bonner.

Adam Bonner (Spencer Tracy) y Amanda Bonner (Katharine Hepburn) son un matrimonio ideal muy relacionado con la justicia. El es fiscal y ella abogada. Ambos se aman y son cariñosos hasta la cursilería: él le llama a ella pocholita, y ella a él pocholito. El está obsesionado con la defensa purista de la ley, mientras que a ella le preocupan más los motivos del comportamiento humano y, sobre todo, los derechos de la mujer. Su relación se tambalea cuando Adam acepta el caso de los Attinger y poco después se entera de que tendrá que enfrentarse con su mujer, la abogada defensora de Doris Attinger (Judy Holliday). Doris había irrumpido en el piso donde su esposo se reunía con su amante y, en un ataque de histeria, les dispara.

Una comedia progresista con un guión inteligentísimo y sutil, narrada con audacia y convicción y con continuos guiños intelectuales. La interpretación de unos actores de lujo no tiene fisuras. Hay algunas escenas memorables, como las discusiones del matrimonio Bonner, un tira y afloja entre el campo profesional y el amoroso. Cuando se rodó la película los guionistas Garson Kanin y Ruth Gordon formaban matrimonio, Spencer Tracy y Katharine Hepburn habían comenzado unas tormentosas y veladas relaciones, y ambas parejas guardaban amistad entre sí y con el director George Cukor y Judy Holliday (DeCine21).

AMG SYNOPSIS: Written by Ruth Gordon and Garson Kanin, Adam's Rib is a peerless comedy predicated on the double standard. Spencer Tracy and Katharine Hepburn play Adam and Amanda Bonner, a husband-and-wife attorney team, both drawn to a case of attempted murder. The defendant (Judy Holliday) had tearfully attempted to shoot her husband (Tom Ewell) and his mistress (Jean Hagen). Adam argues that the case is open and shut, but Amanda points out that, if the defendant were a man, he'd be set free on the basis of "the unwritten law." Thus it is that Adam works on behalf of the prosecution, while Amanda defends the accused woman. The trial turns into a media circus, while the Bonners' home life suffers. Adam's Rib represented the film debuts of New York-based actors Jean Hagen, Tom Ewell, and David Wayne (as Hepburn's erstwhile songwriting suitor), and the return to Hollywood of Judy Holliday after her Born Yesterday triumph. One of the best of the Tracy-Hepburn efforts, it inspired a brief 1973 TV series starring Ken Howard and Blythe Danner. -- Hal Erickson

AMG REVIEW: Ruth Gordon and Garson Kanin's witty and intelligent script (despite many improbabilities, such as the conflict of interest in having a husband and wife contest the same case, and the plausibility-defying circus-like theatrics that Amanda deploys in the courtroom) propels this funny and barbed courtroom comedy. The legal and gender-fueled debates at the center of the film may seem somewhat antiquated today, but the intelligence and wit that inform much of the film's dialogue are still surprisingly fresh. Spencer Tracy and Katharine Hepburn share an onscreen ease and familiarity usually reserved for long-married couples. Ironically -- given that the film is about the legal ramifications of a woman's shooting of her philandering husband -- they had become an extramarital item themselves by the time this film was being made. Judy Holliday gives an unexpectedly affecting performance as the woman wronged, while bug-eyed Tom Ewell is solid as her weasel-like philandering husband. However, David Wayne as the lascivious piano composer/neighbor of the feuding legal eagles gives the most impressive supporting performance. His best line? "Lawyers should never marry other lawyers. This is called inbreeding, from which comes idiot children and more lawyers." Technically, the film is very conventional. Outside of the opening sequences, in which George Cukor's camera roams the busy streets of rush hour New York, the film has a stage-like feel, with static shots of the battling spouses dominating the proceedings. Perhaps Cukor didn't want to distract us from the real star of the show, the clever and insightful Kanin/Gordon script. -- Dan Jardine

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vivar77 escribió: ↑

Jue 26 Ago, 2021 04:38

Hola Dardo, gracias por tu ayuda. Al final se ha descargado la versión de francomapa, no sé cómo, llevába ahí semanas sin fuentes y de pronto me baja a velocidad de fibra. Quizás algún compi de divxclasico la ha lanzado; de ser así, mil gracias.

Dardo escribió: ↑

Jue 26 Ago, 2021 12:14

Por eso siempre es bueno comentar estas cosas en los hilos de las publicaciones porque te lee gente, la repone, le sube la prioridad etc y tambén sirve para que se apunte gente nueva, puedan aparecer ripeos actualizados etc.

Si ya tienes lo que buscabas perfecto!!!