Holiday (1938) User Reviews

Now THIS is romance

[FilmOtaku · 8/10 · 10 August 2005]

Now THIS is romance Back in the mid-late 1930's, when Katherine Hepburn, though she had already won an Oscar, was labeled (along with several other actresses) "box office poison", it was Hollywood that suffered. Unfortunately, after the Production Code blasted out full throttle, strong roles for women disappeared because women no longer had a strong voice in cinema, so a lot of the heavier-hitters (Hepburn, Joan Crawford, Miriam Hopkins) ended up foundering in what they were given. In the case of George Cukor's 1938 film "Holiday", she had a couple of friends involved with the picture who insisted that she be used (she had been the understudy of her film counterpart on the stage) which turned out to be an excellent plan since she is one of the many great things about this film.

Set in New York, "Holiday" stars Carey Grant as Johnny Case, a fledgling businessman who is more concerned about making a career out of something he wants to do, and not what he should do in order to make a lot of money. He has a plan; he has been working hard at a job that he doesn't particularly like to save enough money to take an indeterminate time off to figure out what he wants to do with himself. While he takes a holiday, he meets Julia Seton (Nolan), the two fall in love and go back to New York to tell Julia's father. What Johnny doesn't know is that Julia comes from an extremely wealthy family, and while he is shocked and bemused by this fact, he finds himself taken with the other members of Julia's family; Linda Seton (Hepburn), Julia's free-thinking and dramatic sister, and brother Ned Seton (Ayres) a kind but dour alcoholic. Both siblings are discontented with being under their father's thumb (while he is not a bad person, Edward Seton has strong feelings about how things should be handled) and both take an instant liking to Johnny, particularly Linda who finds herself falling in love with him. As plans for the marriage begin to solidify, it becomes clear that Johnny is being forced to quash his dreams, not only to gain the approval of their father, but because Julia thinks it is the way to go as well.

Having never even heard of this film, I wasn't sure what to expect out of "Holiday"; I figured it might either be a screwball comedy (based on the Hepburn/Grant collaboration in "Bringing up Baby") or maybe a regular romantic comedy. What I got was actually a romantic dramedy that was not only charming but heartfelt as well. George Cukor's direction (as usual) is wonderful and the chemistry between Hepburn and Grant is simply electric. Hepburn, clearly the star of this production, acts each scene with an emotion and charm that is almost unheard of in the mainstream cinema of the present. While I watched the film, I found myself becoming so endeared to her character that I probably would have been completely devastated if she didn't get some sort of happiness in the end, probably one of the highest compliments that I can give to an actor's performance since I mainly pay attention to the story and the film itself primarily and the characters are important, but seem to be secondary. Grant, who is probably most famous for being debonair and dashing, often played the goofball in his films of the 30's and early 40's, and this was another one of those roles for him. He is such a fresh and passionate character however, (he often finds himself doing various acrobatic stunts with glee) that he quickly proves himself to be more than just the handsome doofus who makes bug eyes at the camera when he's confused. He and Hepburn actually look like they're having a good time together in this film; a wonderful thing to see when it seems that 90% of collaborations look like they are phoned in nowadays. If Doris Nolan isn't unremarkable and bland all the time, she did a really great job in her role as fiancée Julia – at some point you're really wondering what Johnny ever really saw in her and made him declare his bachelorhood over with at the age of 30. Lew Ayres, a name I had heard before, but didn't recognize by face was also very charming as the alcoholic brother. I found his character to be incredibly endearing, especially as the film progressed. A mention also has to be made of the actors who played Johnny's best friends, the Potters. (Edward Everett Horton & Jean Dixon) Anyone would be hard pressed to dislike these two intellectuals with senses of humor that are more arid than the Mojave. Every scene they were in became even more enjoyable.

What stuck with me is that between the script and the actors, I felt like I was actually watching a real slice of life, kind of like Booth Tarkington without the depression. "Holiday" is a fantastic hidden gem in the classic film catalogue and I would recommend it very highly. Not only is it short in length, but also its engaging story, steady pacing and brilliant actors made me wish it were longer. Watch this wonderful movie if you have any ounce of appreciation for classic film. 8/10 --Shelly

Delightful

[aeh16 · 9/10 · 5 October 2004]

This is such a sweet, funny, heartfelt movie. The first time I saw it, I immediately wanted to see it again. Like so many of Katharine Hepburn's movies, it's about the kind of love you don't often see in movies. Hers is a pure, sweet, and intelligent love, one which we see develop and with which, by the end of the movie, we wholeheartedly agree. Cary Grant is just delightful in his acrobatics and his naivete, and Hepburn has all of her idealism and wisdom, and proves once again that the two aren't mutually exclusive. If you love witty and intelligent romantic comedy, then this is for you. Not as wonderful as The Philadelphia Story, but great nonetheless.

So Right for Phillip Barry Roles

[bkoganbing · 8/10 · 6 February 2006]

Katharine Hepburn brought three Phillip Barry characters to life on the screen in Without Love, The Philadelphia Story and first and foremost Holiday. Her upper class upbringing in Connecticut made her the perfect actress for his plays about the fabulously wealthy which Depression Era USA just ate up.

Holiday of necessity had to be updated. It debuted on Broadway in the boom year of 1928 so some lines to acknowledge the Great Depression had to be included. When Henry Daniell says his obscene market profits would be better with the right kind of government, he's taking dead aim at the New Deal, in particularly the newly formed Security Exchange Commission.

One guy who wants out of the money making rat race is Cary Grant as Johnny Case. He's a poor kid who's worked his way up, probably the same as the founder of the Seton fortune did back in the day. But he's decided there's more to life than just making money. Like Grandpa Vanderhof in You Can't Take It With You or Charles Foster Kane who admittedly inherited his. Henry Kolker as Edward Seton and George Coulouris as Thatcher think exactly alike.

Case has a vision of his life and wants to share it with his fiancé Doris Nolan. But he's picked the wrong sister, it's younger sister Katharine Hepburn of the Seton girls who's his soul mate.

As one who's now retired and admittedly not living in the style of the Setons I can empathize with Cary Grant. As long as you have enough to live on and you have interests to occupy yourself and you don't have a family to support, why work? In fact make room for the next generation who might have a family to support.

In that sense Holiday has a message that applies more for today than it did in 1938. Make what you can, take care of those who depend on you, but get out and enjoy life.

And enjoy Holiday.

Grant and Hepburn Make the Magic

[jhclues · 8/10 · 29 April 2001]

Today, the world around us may be changing by leaps and bounds, but as this film so aptly illustrates, this is nothing new; the world has always been, and always will be, in a constant state of flux, from one generation to the next. In `Holiday,' a delightful romantic comedy directed by George Cukor, a young man of thirty has some decisions to make about his life and love that are going to determine the course of his life. After a whirlwind, ten day romance with Julia Seton (Doris Nolan), a girl he's just met, Johnny Case (Cary Grant) asks her to marry him; and she accepts. But the story really begins when he shows up at her house to meet her widowed father, Edward (Henry Kolker), to ask for Julia's hand in marriage.

This is not an early version of `Meet the Parents,' however; Johnny's a regular guy with a good job at an investment firm, and he's in love. All is going well; he's about to meet the family of the woman he loves, and he's made a decision about his life. And when he arrives at Julia's house, he makes some startling discoveries: First, she's filthy rich-- her house is so big he calls it a museum-- and she has a beautiful, spirited sister named Linda (Katharine Hepburn). But soon he'll be married to Julia, and if all goes right with a deal he's been working on for the firm, he'll also be able to follow through on his decision. If the deal at work goes through, it'll put some change in his pockets, which is all he wants; but not because it'll put him on the fast track to getting ahead with the company. He wants to make enough to get married and quit his job, so he can take a `holiday' while he's still young enough to enjoy it-- even if it only turns out to be three months or so-- and have some time to discover just where he fits into a world that's rapidly changing. Now all he has to do is explain it all to Julia. And to her father. And all while trying to deny the fact that he's attracted to Linda.

Cukor takes a lighthearted approach to this story, which keeps it upbeat and entertaining, and he laces it with warmth and humor that'll give you some laughs and put a smile on your face. But beyond all that, Cukor shows some real insight into human nature and the ways of the world. And it makes this film timeless. Consider Johnny's comments about how the world is changing, and wanting to find out for himself where he fits in; or the comment by one of Julia's cousins, Seton Cram (Henry Daniell)-- who is already wealthy, apparently, beyond all comprehension-- that there would be a lot of money to be made if only `The right government was in place.' To make this film today, you'd only have to change the dates on the calendar, shoot in color, substitute Norton for Grant, Danes for Hepburn and bring in Nora Ephron to direct.

But what really makes this one special are the performances of Grant and Hepburn. Grant is as charming as ever, but just a bit looser and slightly less debonair than he is in most of his later roles. And it becomes him; he endows Johnny with youthful exuberance, good looks and personality, as well as a carefree yet responsible attitude that makes him someone you can't help but like. And Hepburn fairly sparkles as Linda, a role she was born to play; this young woman filled with a zest for life and an indomitable spirit. She imbues Linda with that same, trademark Hepburn feistiness you'll find in so many of her characters in films like `The Philadelphia Story,' `Adam's Rib' and `The African Queen.' All of whom she plays with a variation that makes each of them unique. And it's that personal spark of life that she's able to transfer to her characters that makes Hepburn so special. Whether she's locking horns with Tracy, pouring Bogart's gin into the river or falling in live with Grant, nobody does it quite like Kate. And Cukor had an affinity for Hepburn that enabled him to bring out the best in her, always. Arguably, her best work was with Cukor.

The memorable supporting cast includes Lew Ayres (Ned), Edward Everett Horton (Nick), Binnie Barnes (Laura), Jean Dixon (Susan) and Mitchell Harris (Jennings). A thoroughly enjoyable film, `Holiday' makes a subtle statement about embracing the time you have and grabbing for the brass ring while you're still able; that in the end, life is what you make of it. But Cukor never lets it get too serious, and never lets you forget that the main thing here is to have some fun, beginning with this movie. And by the time it's over, the world seems just a little bit brighter somehow. And that's the magic of the movies. I rate this one 8/10.

a wonderful, enchanting film

[surrealistgirl_x · 10/10 · 30 January 2005]

This movie is one of my all time Hepburn and Grant favorites. It is truly a classic -- directed by George Cukor and written by Broadway playwright Philip Barry.

What really sets the film apart for me, as a comedy, is that the main characters are fully realized and complex. Cary Grant is Johnny, engaged to Hepburn's shallow, but socially acceptable sister. Hepburn's Linda is the black sheep of a vary ambitious, conceited family. It is her very humanity that makes her the "black sheep". She spends half of the movie in love with Johnny, but her respect for her sister and decency thwart her desires. Johnny wants to make his fortune as a young man, retire, and enjoy life. His fiancée attempts to control and manipulate him for her own ends and ambitions.

Edward Everett Horton is marvelous as one of Johnny's best friends. It is a warm and deep friendship.

As Johnny approaches the business deal that could leave him set for life, and marriage to a controlling woman conflict ensues.

I love the scene in the children's playroom -- it is witty and melancholy at the same time. There is a wonderful balance of drama, comedy, and heart in this movie. Don't miss it!

A playful look at wealth and its obligations....

[MissRosa · 19 March 1999]

Wit, insight, deft characterization, family misery, and social commentary all play a part in Holiday. The acting and script are superb -- all the characters are sympathetically drawn and interact in the foreground, while wealth and its "privileges" form the background.

Is love a social obligation? Or does it spring from sheer affinity? Should the acquisition of wealth be the summum bonum of experience -- or happen accidently, as the result of hard and honest work? These are the questions that will tease you, as you enjoy the gleaming intelligence of Katherine Hepburn and the polished insouciance of Cary Grant. Both are in top form!!!

What stands out in my recollection of this film is the theme of play. The stars are playful; they get acquainted among the toys in a playroom. The plot revolves around a holiday -- a chance for adults to play. There are plays on words. The Play is the Thing. Holiday is ultimately about the importance of play, in all its connotations: flexibility, acting out, silly behavior, continuous learning, freedom to be.

It is okay for adults to play sometimes, or do adults need "permission" to play?

Pleasant diversion...begins as a drawing-room comedy before revealing a more complicated undercurrent

[moonspinner55 · 6/10 · 17 December 2011]

Audiences in 1938 stayed away from this generally witty adaptation of Philip Barry's play about a 30-year-old 'self-made man' who plans to retire and be free from responsibilities (perhaps it was the hardships of the Depression that, by contrast, made the picture seem out-of-touch?). Cary Grant (with a thick head of black Brylcreem'd hair) performs amiably in the underwritten lead, discovering his fiancée is the daughter of a wealthy banker, a man who'd prefer his future son-in-law to go into business with him. Katharine Hepburn plays Grant's prospective sister-in-law, who finds herself drawn to his carefree nature despite all her resistance. Opens on a light, frivolous note, but becomes more substantial and interesting in its final third. George Cukor directed, allowing the characters room to blossom and change, although some of his asides (such as Hepburn's emotional visit to professor Edward Everett Horton's apartment, or the curiously dissatisfied nature of her embittered brother) stick out as odd concepts which don't quite come off. **1/2 from ****

lovely film with a great cast

[blanche-2 · 8/10 · 11 January 2006]

Katharine Hepburn and Cary Grant on paper, I suppose, look like an odd pairing, but they were absolutely marvelous together, and "Holiday," directed by George Cukor, is no exception. Hepburn plays the unhappy, bored, but bright Linda in a dysfunctional, upper crust New York family. Her brother, Ned (Lew Ayres) is a miserable drunk, and her father controls the family with an iron hand and the ethic that money is their god. Their mother, who was like Linda, is deeply missed by her. Linda adores her younger sister, Julia, but has idealized her and doesn't see that she has the same upper class values as their father. When Julia brings home her fiancée, Johnny Case (Grant), it is immediately obvious to the audience (and later to the characters) that Johnny fell for the wrong girl.

"Holiday" is a film filled with heart, poignancy, and some warm humor provided by Johnny's friends, played by Edward Everett Horton and Jean Dixon, who come up against the society crowd at a party. Hepburn gives a beautiful performance as a young woman who wants to break free, and Ayres is heartbreaking as a man who can't. Grant, of course, is in the kind of role he did best in his early career, a young man from the wrong side of the tracks who is an independent spirit. He does some great gymnastics in the film, and he and Hepburn have a wonderful moment where she stands on his shoulders, and they fall into head rolls. Really marvelous stuff. The only problem I have is that the character of Julia, the younger sister, is so uptight and shallow, it's amazing that Johnny fell for her at all. Since they met while she was vacationing in Lake Placid, the audience must assume that out of the family home, she was more fun and playful, but when she comes up against her father, she falls right in with him.

Hepburn and Grant worked together in "Bringing Up Baby," "The Philadelphia Story," and this film - actually, three films in a row - plus "Sylvia Scarlett." One wishes they had appeared together even more. They had great chemistry.

Witty, surprisingly edgy, comedy about high society

[stills-6 · 7/10 · 20 February 1999]

I liked this movie because of its dark side. Katharine Hepburn is outstanding as the black sheep of a rich family. She really shows the disappointment that she has been to her family and her family has been to her. Cary Grant is wonderful as the working man, not quite sure what he's doing there or what he wants. Slightly cynical and at times a dark commentary on love and hidden motivations.

An Important Lesson

[boo_squib · 9/10 · 28 December 2001]

I just saw this incredible film for the third time. Unlike what most people comment about this movie, it is more than just "delightful" and "whimsical", or worst yet calling it a screwball comedy. If you call Holiday a screwball comedy, you may as well call It's A Wonderful Life the same thing. There are distinct parallels between these two groundbreaking works. Both deal with strong dreams being crushed. But in the case of Lew Ayres' character it is his "place" in society that stops him from becoming a serious composer. And though he comes from a wealthy family he does not have the freedom that many believe (falsely) to chose what he truly wishes to do. In a tightly-wound capitalistic society as ours, the obligations to continue the legacy of money-making overwhelms the individual's desire to create what many believe is frivolous artistry. What many of us, as well as his father, fail to realize is when this desire is crushed apathy sets in. This brings up the singularly amazing theme of this movie, a theme Philip Barry uses in many of his works, that a society that chases wealth without conscience, that suppresses truly individualistic idealism is a society of superficial, mean-spirited and back-biting people. The party scene in Holiday is a clear-eyed view of our society and how lost we are. Everyone talks down about others under their breath, than hypocritically smiles and fawns over these same people to insure their own place in society. Those who refuse to go along with this status quo are relegated, as Hepburn,Ayres,and the Professor and his wife are, to the childrens' playroom until they "grow-up" and accept things as they are. This films warms an audience with it's superficial whimsy, as "...Wonderful Life" did, yet can drive a cold stare with its slashing and often hurtful glances at how we are all relegated to the playroom of society if we express criticism of the narrow-mindenness and suffocating aspects of capitalism.

Holiday should be an important lesson to many of us on not just how important Life is, but shows us how much more important it is to grasp on to what truly makes it worth living.

A Holiday indeed!

[etherkiss · 7/10 · 28 May 2004]

As always, Kate and Cary are fabulous together! This is definitely one of my favorite classics. It's more romance than hijinks, but they still managed to add some fun into it (the circus/gymnastics scene). Seeing Cary Grant (and later Katharine Hepburn, as well) do a somersault makes me smile every time.

Though it wasn't quite as fun as Bringing Up Baby, it was still a good pairing and a good movie overall.

Lew Ayres (playing Kate's alcoholic brother) was also excellent in his small, but striking role. He's definitely an underrated actor.

The only one who annoyed me was Doris Nolan (playing Kate's sister, who's engaged to Cary in the film)...but I guess she was supposed to.

If you love the Kate/Cary combo and equally love old movies, then this is a must-see!

One of Grant's and Hepburn's greatest!

[cwpnewpaltz · 10/10 · 17 February 2002]

What can you say when the young, dashing, up and coming lawyer,the extraordinarily handsome and highly unconventional Cary Grant, falls in love with one of the richest women in New York, thinking she's a private secretary and he should use the mansion's service entrance? Well, when her sister is Catherine Hepburn you can say there's bound to be a more interesting ending than he-obligingly-goes-to-work-at-daddy's-bank and counts-money-happily-ever-after. The stars are at their peak with great chemistry, and Lew Ayres and Edward Everett Horton give extremely fine supporting performances. This film has always been one of my anthems, and Johnny Case something of an alter ego; showed it last night to my 28-year old daughter, who loved Johnny Case and now has a better impression of her old man. A real treat of a movie, on a par with Grant's and Hepburn's best.

A romp in the playroom for Cary & Kate

[jjodo32 · 7/10 · 4 December 2003]

This is a moderately enjoyable movie which features Cary & Kate showing off their modest acting skills & superior acrobatic skills. The supporting cast is outstanding & plays it cool while Kate, as usual, over-emotes. The key scenes are played in Kate's "playroom" where the good guys assemble for heart-to-heart talks. In the end Cary is forced to dump his money-grubbing fiancee for her fun-loving sister played by Kate. These kind of 30s plots with clear black-and-white choices (and film) seem simplistic by today's more nuanced treatment of similar themes. Kate & Cary seem to be at home in these sort of comedies, where they each seem to play their notions of themselves. Later in life they grew to play scripted roles. All of that being said, I still liked Holiday.

Didn't do anything for me

[aysx87 · 2/10 · 21 October 2011]

This film was boring... super boring... super predictable. A successful idealistic young man meets his wealthy fiancé's family for the first time -- and they're rich... and shallow... and try to make him ~make money... and be more successful... and are shallow... and judgmental... and talk about people behind their back. He just wants to spend a few months or years travelling the world aimlessly. He meets his match in a jaded young woman played by Katherine Hepburn.

All the lines are clichés, which basically have the meaning 'being rich or successful doesn't matter, what matters is being happy!' and 'rich people are shallow.' This movie feels dated and Linda's angst comes across as just spoiled; I find it very hard to relate to her. She's also extremely actressy and overdone in this film, giving long and dramatic monologues about her situation (as a rich beautiful young woman who's the black sheep of her family and refuses to settle down.) I really don't get the problem, there seems to be no plot, and while Cary Grant is as charming and insightful as ever he doesn't seem to quite mesh with the incredibly unlikable Hepburn.

I did like the dissolute brother, who played a part with humor. And of course the lovely scenery and costumes of the period, almost over the top.

Easy Planning

[kosmasp · 9/10 · 29 May 2021]

I hate to say the following words "they don't make it like this anymore" ... but you wouldn't be wrong uttering them in connection with this movie. Of course one of the reasons they don't make them like this anymore is because how society has changed, viewers are more savvy now and some other factors. That being said, that does not mean you can't find a lot to love here. Yes it may have aged in certain aspects and black and white movies may seem "old" as in prehistoric to some ... but they are not the ones I am talking to here.

So if you have some preconceived notion, if you do like "modern" movies, do not feel offended, when I say this is likely not your cup of tea. We have different tastes and many just watch a few movies ... not in a week, but during the whole year. So to save yourself time and anxiety/boredom or whatever you want to call it: skip this. Everyone else hold on to your horses - you're in for a wild and fun ride.

Especially the beginning is quite amazing. We get to know our main character and how he thinks and feels. We also get to know his future wife - and her family. And we start to feel the gap between them. Not everything is being said, but we can feel that there is friction and that there is a different view on many things here - not just when it comes to a ... "holiday". But there is a reason that is front and center and the title of the movie ... you will know by the end of the movie ... great comedy, with rapid fire dialog and such charisma that it ouzes of and from the screen right into your lap ...

One of Cukor's best

[funkyfry · 8/10 · 11 October 2002]

Likeable urbane comedy about an ill-fated courtship and the romance that springs up in the shadows behind it. Grant and Hepburn are fresh and fun to watch; Grant impresses with what feels like ad-libbed quips and shows off his vaudeville background by doing numerous gymnastic stunts. Hepburn sheds her usual stuffy airs and lets fly as a "black sheep" heiress, the betrothed's sister. Cukor directed it in his best imitation of Howard Hawks, but with his own personal style added -- like the "realistic" feminine relationship between Hepburn and her sister (Nolan) which deteriorates by the film's end into stereotypes.

Pleasant, Thoughtful, & Witty

[Snow Leopard · 5 December 2001]

Pleasant, thoughtful, and witty, "Holiday" is an offbeat and very enjoyable romantic comedy. Cary Grant and Katherine Hepburn are excellent in portraying two free-spirited and likable characters, and they are joined by a fine supporting cast, especially Lew Ayres as Hepburn's brother, and Edward Everett Horton and Jean Dixon as an eccentric older couple. The plot is pretty simple, but there's just enough to it to show the different sides of the various characters and to allow each of them the chance to show how he or she approaches life.

Probably the best part of the movie is the long New Year's Eve party sequence. It has many entertaining touches, and brings together all of the characters and themes nicely. The atmosphere in the 'play room' is creative, and is very appropriate for the scenes there. The cast members all do a very good job of reacting consistently to their surroundings, with some characters more comfortable in formalized settings and others happier when they are less constrained.

Though it has perhaps been overshadowed by some of the more famous films of its era, "Holiday" is an entertaining classic that most fans of vintage romantic comedies should enjoy.

Another successful Grant-Hepburn pairing

[jem132 · 7/10 · 21 April 2006]

Although 'Holiday' didn't fulfil my expectations overall and I found it to be a tad overrated, viewing it is still an enjoyable experience due to the presence of it's two stars, Cary Grant and Katharine Hepburn.

Katharine sails into her usual black-sheep role of the 30's with ease and precision, although here she is not playing a prim, haughty rich girl but a rich yet down-to-earth gal. She is Linda Seton, the sister of Julia (Doris Nolan, who is really the haughty one). Julia is engaged to Johnny Case (Cary Grant, in a good performance)and brings him to meet the Seton clan. They all expect Johnny to go into big business after the marriage, but this is not what Johnny wants out of life. He's an adventurous spirit, spontaneous (I love the somersaults! Cary Grant shows off his athletic ability, being a former trapeze artist, in this one)and he just wants to spend the next few years on a sort of 'Holiday'. Socially-aware Julia is horrified at the thought, but Linda is understanding. She begins to fall for him early but she must keep her feelings hidden for fear of upsetting her sister. Johnny starts to doubt his choice of sister as it becomes apparent that Linda is really his soulmate and the girl for him.

This film is about love, and following your heart's instinct. It's not up there with other Grant-Hepburn films such as 'Bringing Up Baby' and 'The Philadelphia Story' but it's a pleasant vehicle for the two stars. It has some comedic touches which benefit the overall product, but it has a tendency to drag towards the ending.

7/10.

terrific Cary Grant and Katharine Hepburn

[SnoopyStyle · 8/10 · 23 December 2014]

Johnny Case (Cary Grant) is on cloud nine as he tells his friends the Potters that he's marrying Julia Seton (Doris Nolan). Only he doesn't know that she's the daughter in a wealthy family. She wants him incorporated into her money-making family. Her older black sheep sister Linda (Katharine Hepburn) loves his carefree attitude. Her loving mother passed away and her father is a hard man. Her brother Ned was a musician but her father puts him to work in a life that he hates.

Cary Grant and Katharine Hepburn have superior charisma and terrific chemistry together. That's all the film needs and all that any viewer needs to know. The characters are fast-talking fun with some slapstick thrown in. They learn to follow their dreams and their hearts rather than follow their family obligations. Grant is always a great every man and it's important that he's not a slacker. He is the new self-made man not encumbered by money while Hepburn is the liberated woman.

First Name above the Title Gets the Boy

[JamesHitchcock · 6/10 · 18 August 2017]

In the opening scene a young man named Johnny Case announces to his friends Nick and Susan Potter that he has fallen in love with a girl named Julia and that they are engaged to be married, although he admits that knows very little about her or her family background. In Scene 2 Johnny visits Julia's home and is astounded to discover that the address she has given him is a luxurious mansion and that her family are obviously extremely wealthy.

And then in Scene 3 we get to see Julia for the first time and we immediately realise (if we know something about the conventions of the Hollywood romantic comedy) exactly how the story is going to play out. The clue lies in those words in the opening credits, "starring Katharine Hepburn". And Hepburn does not play Julia. (She is played by a lesser-known actress called Doris Nolan).

Big-name movie stars have always disliked playing losers in love, so the general rule in all romantic comedies involving a love triangle is "First name above the title gets the girl". Or, in this case, the boy. If a rom-com stars two actors of the magnitude of Katharine Hepburn and Cary Grant we know that they are going to end up together. Nobody was ever going to make a film in which Kate loses her man to the milk-and-water Doris Nolan, so we just know that Johnny and Julia are going to split up for some reason so that he can get together with Hepburn's character, who is soon revealed to be Julia's sister, Linda. We just have to wait and see how this is going to be accomplished.

The title "Holiday" has two meanings. It refers to the fact that the action takes place over the Christmas/New Year holiday season. On the other hand it also refers to Johnny's plans for his future. He is a self-made man from relatively humble origins who has done well in business and made a considerable amount of money for himself, although he is nowhere near as rich as Julia's family. He intends to take a "holiday" from work after his marriage so that he can decide what he really wants to do with his life (which may not involve making money). Julia's autocratic banker father Edward is impressed with Johnny's success, so much so that he is prepared to overlook Johnny's humble background, something which under normal circumstances would have ruled him out as Edward's son-in-law. He is not, however, impressed by Johnny's plan for a "holiday from work". To Edward nothing is more important than making money, and he already has plans to use Johnny's talents in the services of his banking business.

More importantly, Julia is not impressed by Johnny's plans either, as she is a conformist who sees eye-to-eye with her father about most matters, especially the importance of money as the be-all and end-all of life. Linda, however, is portrayed as a free spirit and a rebel against her privileged background, a girl who instinctively sees Johnny as a kindred soul. No prizes for guessing who he ends up with.

Although the film was generally well received by the critics when it came out in 1938, it did not do well at the box-office, probably because America was only just starting to emerge from the Great Depression, and in a period of widespread poverty and unemployment audiences found it difficult to understand or sympathise with a man who would voluntarily walk away from a job which would assure him wealth and security for life. The movie was a remake of one from 1930, and both were based upon a stage play from the pre-Depression boom era of the Roaring Twenties. (As, however, Johnny gives his date of birth as July 1908 and his age as 30, we can date the action of the film to December 1938 and January 1939).

This was one of four films Hepburn and Grant made together, the others being "Sylvia Scarlett", "Bringing Up Baby" and "The Philadelphia Story". All of these, apart from "Bringing Up Baby", were directed by George Cukor. Hepburn and Grant were practised romantic comedy stars and do enough to make "Holiday" still worth watching nearly eighty years on, but it lacks the depth of "The Philadelphia Story" or the screwball zaniness of "Bringing Up Baby". (I have never seen "Sylvia Scarlett"). It relies too much on a predictable plot and well-worn clichés about how wealth does not lead to happiness and how money can't buy me love. And, yes, that was a cliché long before the Beatles pressed it into service as a song title. 6/10

Very charming movie

[perfectbond · 8/10 · 29 November 2003]

I actually like this Grant and Hepburn pairing even better than The Philadelphia Story! The theme that love and independence are what's really important and that riches are not the be all and end all of life is very inspirational. Grant and Hepburn, and even Grant and Nolan at the beginning, have great chemistry and bring their characters to wonderful life. The supporting cast complements them perfectly. Cukor did a masterful job converting the story from the stage to the screen and coaxing the performances out of his cast. This is simply a wonderful movie, 9/10.

Shades of "The Philadelphia Story"...

[Doylenf · 6/10 · 14 April 2005]

KATHARINE HEPBURN is a non-conformist in a family of stuffy socialites. Sound familiar? Once again she's a free spirit nobody can tame. CARY GRANT is a man who just can't seem to settle down or find his way in the world. A third person (Kate's snobbish sister) wants him if he conforms to her idea of marriage under the domineering thumb of her wealthy dad.

It all plays rather well and moves at a nice pace, but if you've seen other Hepburn flicks (like THE PHILADELPHIA STORY), the outcome is predictable.

Hepburn is fine in the quieter moments, showing sensitivity and grace, but in her big moments she becomes the actressy and overmannered actress of stage gestures.

Grant is right at home as the nonchalant Johnny Case who wants to see more of life before settling down and letting himself be ruled by a family of stuffy socialites.

The nice surprise in the whole mix is LEW AYRES as the brother who finds relief in the bottle and appears to be tipsy in just about every scene, giving a lighthearted imitation of a man under the influence.

It's typical Philip Barry fluff and a little too much like the other play he wrote for Hepburn about socialites planning a wedding. If you're a Hepburn fan you'll like this. She looks radiant and appears to be having a fine time as the rebellious daughter.

Nice supporting roles for Edward Everett Horton and Binnie Barnes. But it left me with a take it or leave it attitude toward it all. Maybe familiarity breeds contempt.

Charming

[gbill-74877 · 9/10 · 21 December 2019]

I was seriously charmed by this one and its stellar cast. Katharine Hepburn, the "black sheep" of the wealthy family, with those marvelous scenes in her playroom. Cary Grant playful but always earnest, wanting to live life and find himself, and showing off some clever tumbling skills besides. Lew Ayres as the functioning alcoholic scion of the family, doling out bits of wisdom and melancholy in between drinks. And those non-upper-crust friends played by Edward Everett Horton and Jean Dixon, whose banter and wit feels so alive ... it was all pretty magical to me.

The romance that develops between Hepburn and Grant can be seen coming from a mile away, and the shift from one sister to another seemed a little strange, but it didn't matter to me. From the moment they meet and he baaa's like a goat to the moment they're at a window watching the fireworks, their lips hovering so close to one another but not touching, there is a palpable connection between the two. It's a joy to watch, and I liked the bits of philosophy and class mixed in to a very good romantic comedy, elevating it into something special.

How did a bank employee conquer a family of millionaires or the Magnificent duo of Cary Grant and Katharine Hepburn

[lyubitelfilmov · 7/10 · 9 March 2023]

Romantic comedy. The film adaptation of the play by the American screenwriter Philip Barry (which I have never seen), which was a huge success at one time on Broadway, staged by George Cukor, the director of my favorite picture "My Fair Lady". And since I am not familiar with the play, I will evaluate the picture as an independent work. And I was interested in this picture by Cary Grant and Katharine Hepburn, whom I remember from the good picture "Philadelphia Story", where their duet naturally shone, so when I found out that they starred together in this picture, I decided to check it out - and it was worth it. And here's my brief opinion for you - How a bank employee conquered a family of millionaires. I want to note right away that there are no minuses as such in the picture, but there is a small explanation that I will highlight in a separate paragraph, but for now I will focus your attention on the merits of this romantic comedy of the Golden Age of Hollywood.

So, here they are: 1. Scenario - a young and ambitious bank employee Johnny Case has conquered the heart of the beautiful Julia Seton, and it's clearly going to the wedding. However, there is one point - Julia herself and her family are millionaires who own factories, newspapers and steamships, so you need to inform the head of the family about this event, but carefully. In the process, Johnny meets Julia's brother Ned and her older sister Linda. And only after a few days spent in the Seton house, Johnny realizes who he really loves, and how a loving heart should act in this situation. The fact that this is a play becomes clear already at the very beginning, because the theater is a car and a small cart. The characters utter long monologues, sometimes they slightly overplay, but in each of their phrases there is something that catches the viewer and does not let them tear themselves away from the screen. This is the greatness of the old movie - you never know how the hero will act in the next second, you only know where it all goes and how it should be done approximately. So it was in the Philadelphia Story, so it is here. Characters, dialogues - everything is worked out thoroughly. There is no extra garbage that serves to stretch the timekeeping. Everything is clear and strictly to the point. There are a lot of events in the picture, the scene follows the scene, and the predictable ending completes the whole story. Learn modern screenwriters!

2. Humor - since we have a romantic comedy, they will make us laugh. And the creators succeed in this. Moreover, the local humor is filled with a certain philosophy, a lot of funny moments and in general such jokes that only educated people will understand (and I'm not talking about diploma crusts that are gathering dust in our documents folder). Personally, I liked this approach. I got my portion of pleasure, my portion of laughter, and appreciated the elegant mockery of the snobs of high American society.

3. Aesthetic beauty - everything in the frame looks great. Costumes, dresses, household items, furnishings of houses, apartments, etc. And this is despite the fact that the picture is black and white. The picture is full of colors. It's nice to look at her. Chic, glitter, beauty. The clothes on the characters "sit" as it should. Well, right ideal. This is how the picture should look like. A worthy example to follow.

4. Acting is an old Hollywood school, where everyone gives their best one hundred percent (and even more), for high fees. Every actor is in his place, not a hitch. There's not even anything to find fault with. No actor causes rejection. The text has clearly been worked out more than one hundred times. These are not modern schools of "stone mug" or "squealing pig".

A little about the main characters: 1. Johnny Case, played by Cary Grant, is a respectable bank employee who fell in love with the daughter of a millionaire, although he treats money only from a practical point of view (they are not his whole life for him). Very freedom-loving, eager for adventure, which does not suit his chosen Julia. Cary Grant was great in this role. Bravo!

2. Julia Seton, played by Doris Nolan, is the youngest daughter from a rich and very influential family who fell in love with Johnny, a man who is below her in status. With external beauty, it is a typical product of its system - money is everything for it. Doris was great in this role. Bravo!

3. Linda Seton, played by Katharine Hepburn, is Julia's older sister, and a very freedom-loving daughter in a millionaire's family who does everything "her own way". Linda is a girl with her own zest, which only Brother Ned really understands. It is from her mouth that we hear the most important dialogues in this picture, which make us think about a lot. Catherine was great in this role, and the duet with Cary Grant here was no less convincing than in the "Philadelphia Story", because there is so much "spark" between them. Bravo!

Of course, if you judge the picture sensibly, if you forget about the gloss and think, then this is a pure fairy tale about a bourgeois paradise, where even an ordinary person can enter a millionaire's family, and where he will be respected. Ah, dreams, dreams! Yes, such families can only be related to their own kind, the way is ordered for strangers there. No, of course you can try, but you won't succeed with a 99.9% probability. This picture is the purest bourgeois fairy tale from America of the thirties. Beautiful, glossy, but it is a fairy tale that has nothing similar to life. It's a movie, a good movie, but only a movie.

My rating is 7 out of 10 and my recommendation for viewing!

nothing special

[fauxface · 3/10 · 11 November 2009]

The plot of the movie moved along way too slow, and i was bored almost throughout the entire thing. Katharine Hepburn has yet to impress me, and this is just yet another film where i wish she was not a part of. Her character was too whiny and childish and to watch this movie was to suffer. This aside, she does have excellent chemistry with Cary Grant and they work very well together.

I did, however, like the overall idea of the movie, being that an engaged man falls in love with the sister of his betrothed. the topic seems entirely taboo, maybe because i know if i even thought about one of my sisters men, past or present, the outcome would be catastrophic.

Overall, there was nothing special or unique about this movie. it was kind of bland, not memorable, and i probably could've done without.