Cubussoli Very very predictable, including the post credit scene !!!

GarnettTeenage The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

writers_reign Already in only her second film and second year in Hollywood Hepburn displays all the assurance of a veteran. The plot is pure soap and Billie Burke, lovely though she looks, has an unfortunate habit of addressing her lines - especially in her initial scene with Colin Clive - to the middle distance whilst selecting a suitable expression to complement the dialogue. If Hepburn plays a pioneer of sorts - an aviatrix clearly modelled on Amelia Earhart - director Dorothy Arzner is also something of a pioneer standing virtually alone in a Hollywood dominated by male directors. For its time (1933) the exposition may have appeared slick; a group of 'bright young things' engaged in a treasure hunt are instructed by the hostess to find someone who has been faithful to his or her spouse for more than five years and someone who has never had a love affair. The first is easy for one of the guests who simply brings her father whilst someone else brings Hepburn; the age gap is as nothing and they embark on an affair doomed to end in tears. As I said it's world-class hoke but Hepburn makes it watchable.

robert-temple-1 This was Katherine Hepburn's second film, and she gives a very strong performance indeed (pun intended). She plays a young woman aviator, clearly based upon Amelia Earhart, who has never loved a man and, although beautiful, is convinced that 'there is nothing about me that a man could love'. How wrong she is, as the character Sir Christopher Strong, played sturdily if stodgily by Colin Clive with an upper lip so stiff it cracks, proceeds to demonstrate by cheating on his wife, the wimpish and idle Billie Burke, who likes to lie in bed in a lace bed jacket or welcome guests to soirees in a warbling affected voice. This is such a period piece that anyone who wants a genuine glimpse of pre-War London 'society' should make a point of watching it. How artificial can manners get? Talk about a veneer of politesse thinly covering a seething mass of prejudice, arrogance, and superciliousness! The film was sensitively directed by Dorothy Arzner (1897-1979), the only important female director in Hollywood between 1927 and 1943, who made 21 films in those years, of which the best known today is probably CRAIG'S WIFE (1936) with Rosalind Russell. Although one can imagine being attracted to Hepburn, it is difficult today to imagine anyone taking a character like Christopher Strong seriously, as he is so incredibly boring and formal that any modern woman faced with having to spend a day with him would probably become suicidal very quickly. But in the 1930s, people like that were simply everywhere. Some of the 'fun parties' shown in this film are truly extraordinary. If you can sit back and pretend that you are alive in 1933 and all the 'strange stuff' is normal, then you will get a lot out of this film. It is based on a novel by the popular author of the day, Gilbert Frankau. You would never know that on the other side of the Atlantic, the Great Depression was underway, since the frivolity and frolicsome behaviour of these London socialites gives an effervescent air of limitless wealth and privilege. And it is perfectly natural that Katherine Hepburn has her own private plane in which she can fly around the world solo if she feels like it, and does. Like I said, this is a period piece, and because Hepburn throws her all into it, the drama is powerful within its period limitations.

moonspinner55 Merry madcaps in London stage a treasure hunt, with one young woman inadvertently fixing up her married politician father with a strong, independent lady-flier who's never been in love. Intriguing early vehicle for Katharine Hepburn, playing an Amelia Earhart-like aviatrix who's been too self-involved to give herself over to any man. The director (Dorothy Arzner) and the screenwriter (Zoe Akins, who adapted Gilbert Frankau's book) were obviously assigned to this project to get the female point of view, but why are all the old clichés kept intact like frozen artifacts? Billie Burke plays the type of simpering, weepy wife who takes to her bed when thing go wrong, and Hepburn's final scene is another bummer. A curious artifact, but not a classic for Kate-watchers. ** from ****

jrgirones It's ironical this film to be titled as the main male character, above all when this raises among film classics for its accurate depiction, not only of the main female one, but also of the female secondary roles. It is probably due to the fact that it is directed by a woman, but the talent of Arzner goes beyond through accurate cinematography and a sense for lyrical melodrama far from the soapy tone of the majority of its contemporaneous. Katharine Hepburn is exulting as the brave woman always a step further its era, here in love for the first time with a married man. Particularly moving is the last sequence, with Hepburn trying to achieve the altitude record with her airplane as she confronts the most relevant facts of her story. A little gem to be discovered.