Bringing Up Baby is a 1938 American screwball comedy film directed by Howard Hawks, starring Katharine Hepburn and Cary Grant, and released by RKO Radio Pictures. The film tells the story of a paleontologist in a number of predicaments involving a scatterbrained heiress and a leopard named Baby. The screenplay was adapted by Dudley Nichols and Hagar Wilde from a short story by Wilde which originally appeared in Collier's Weekly magazine on April 10, 1937.
Bringing Up Baby | |
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Lobby card for the film | |
Directed by | Howard Hawks |
Produced by | Cliff Reid Howard Hawks |
Written by | Dudley Nichols Hagar Wilde Robert McGowan (uncredited) Gertrude Purcell (uncredited) |
Based on | Bringing Up Baby 1937 short story in Collier's by Hagar Wilde |
Starring | Katharine Hepburn Cary Grant Charles Ruggles Walter Catlett May Robson Fritz Feld Barry Fitzgerald |
Music by | Roy Webb (musical director) Jimmy McHugh Dorothy Fields (original writers of I Can't Give You Anything but Love, Baby) |
Cinematography | Russell Metty |
Edited by | George Hively |
Production company | RKO Radio Pictures |
Distributed by | RKO Radio Pictures |
Release date |
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Running time | 102 minutes |
Country | United States |
Language | English |
Budget | $1,073,000 |
Box office | $1,109,000 |
The script was written specifically for Hepburn, and was tailored to her personality. Filming began in September 1937 and wrapped in January 1938; it was over schedule and over budget. Production was frequently delayed due to uncontrollable laughing fits between Hepburn and Grant. Hepburn struggled with her comedic performance and was coached by another cast member, vaudeville veteran Walter Catlett. A tame leopard was used during the shooting; its trainer was off-screen with a whip for all its scenes.
Bringing up Baby was a commercial flop upon its release, although it eventually made a small profit after its re-release in the early 1940s. Shortly after the film's premiere, Hepburn was infamously labeled box-office poison by the Independent Theatre Owners of America and would not regain her success until The Philadelphia Story two years later. The film's reputation began to grow during the 1950s, when it was shown on television.
Since then, the film has received acclaim from both critics and audience for its zany antics and pratfalls, absurd situations and misunderstandings, perfect sense of comic timing, completely screwball cast, series of lunatic and hare-brained misadventures, disasters, light-hearted surprises and romantic comedy.
In 1990, Bringing Up Baby was selected for preservation in the National Film Registry of the Library of Congress as "culturally, historically, or aesthetically significant", and it has appeared on a number of greatest-films lists, ranking at 88th on the American Film Institute's 100 greatest American films of all time list.
Screenplay
David Huxley (Cary Grant) is a mild-mannered paleontologist. For the past four years, he has been trying to assemble the skeleton of a Brontosaurus but is missing one bone: the "intercostal clavicle". Adding to his stress is his impending marriage to the dour Alice Swallow (Virginia Walker) and the need to impress Elizabeth Random (May Robson), who is considering a million-dollar donation to his museum.
The day before his wedding, David meets Susan Vance (Katharine Hepburn) by chance on a golf course when she plays his ball. She is a free-spirited, somewhat scatterbrained young lady unfettered by logic. These qualities soon embroil David in several frustrating incidents.
Susan's brother Mark has sent her a tame leopard named Baby (Nissa) from Brazil. Its tameness is helped by hearing "I Can't Give You Anything But Love". Susan thinks David is a zoologist, and manipulates him into accompanying her in taking Baby to her farm in Connecticut. Complications arise when Susan falls in love with him and tries to keep him at her house as long as possible, even hiding his clothes, to prevent his imminent marriage.
David's prized intercostal clavicle is delivered, but Susan's aunt's dog George (Skippy) takes it and buries it somewhere. When Susan's aunt arrives, she discovers David in a negligee. To David's dismay, she turns out to be potential donor Elizabeth Random. A second message from Mark makes clear the leopard is for Elizabeth, as she always wanted one. Baby and George run off. The zoo is called to help capture Baby. Susan and David race to find Baby before the zoo and, mistaking a dangerous leopard (also portrayed by Nissa) from a nearby circus for Baby, let it out of its cage.
David and Susan are jailed by a befuddled town policeman, Constable Slocum (Walter Catlett), for acting strangely at the house of Dr. Fritz Lehman (Fritz Feld), where they had cornered the circus leopard. When Slocum does not believe their story, Susan tells him they are members of the "Leopard Gang"; she calls herself "Swingin' Door Susie" and David "Jerry the Nipper". Eventually, Alexander Peabody (George Irving) shows up to verify everyone's identity. Susan, who escaped out a window during a police interview, unwittingly drags the highly irritated circus leopard into the jail. David saves her, using a chair to shoo the big cat into a cell.
Some time later, Susan finds David, who has been jilted by Alice because of her, on a high platform working on his brontosaurus reconstruction at the museum. After showing him the missing bone which she found by trailing George for three days, Susan, against his warnings, climbs a tall ladder next to the dinosaur to be closer to him. She tells David that her aunt has given her the million dollars, and she wants to donate it to the museum, but David is more interested in telling her that the day spent with her was the best day of his life. They profess their love for each other as Susan unconsciously swings the ladder from side to side, and as it sways more and more with each swing Susan and David finally notice the ladder moving and that Susan is in danger. Frightened, she climbs onto the skeleton, causing it to collapse, and David grabs her hand just as she falls. After she dangles for a few seconds, David lifts her onto the platform. After she talks him into forgiving her without him saying a word about anything but halfheartedly complaining about the loss of his years of work putting together the skeleton, David, resigning himself to a future of chaos, hugs and kisses Susan.
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Uncredited
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Development and writing
In March 1937, Howard Hawks signed a contract at RKO for an adaptation of Rudyard Kipling's Gunga Din, which had been in pre-production since the previous fall. When RKO was unable to borrow Clark Gable, Spencer Tracy and Franchot Tone from Metro-Goldwyn-Mayer for the film and the adaptation of Gunga Din was delayed, Hawks began looking for a new project. In April 1937, he read a short story by Hagar Wilde in Collier's magazine called "Bringing Up Baby" and immediately wanted to make a film from it, remembering that it made him laugh out loud. RKO bought the screen rights in June for $1,004, and Hawks worked briefly with Wilde on the film's treatment. Wilde's short story differed significantly from the film: David and Susan are engaged, he is not a scientist and there is no dinosaur, intercostal clavicle or museum. However, Susan gets a pet panther from her brother Mark to give to their Aunt Elizabeth; David and Susan must capture the panther in the Connecticut wilderness with the help of Baby's favorite song, "I Can't Give You Anything but Love, Baby".
Hawks then hired screenwriter Dudley Nichols, best known for his work with director John Ford, for the script; Wilde would develop the characters and comedic elements of the script, while Nichols would take care of the story and structure. Hawks worked with the two writers during summer 1937, and they came up with a 202-page script. Wilde and Nichols wrote several drafts together, beginning a romantic relationship and co-authoring the Fred Astaire and Ginger Rogers film Carefree a few months later. The Bringing Up Baby script underwent several changes, and at one point there was an elaborate pie fight, inspired by Mack Sennett films. Major Applegate had an assistant and food taster named Ali (which was intended to be played by Mischa Auer), but this character was replaced with Aloysius Gogarty. The script's final draft had several scenes in the middle of the film in which David and Susan declare their love for each other which Hawks cut during production.
Nichols was instructed to write the film for Hepburn, with whom he had worked on John Ford's Mary of Scotland in 1936. Barbara Leaming alleged that Ford had an affair with Hepburn, and claims that many of the characteristics of Susan and David were based on Hepburn and Ford. Nichols was in touch with Ford during the screenwriting, and the film included such members of the John Ford Stock Company as Ward Bond, Barry Fitzgerald, D'Arcy Corrigan and associate producer Cliff Reid. John Ford was a friend of Hawks, and visited the set. The round glasses Grant wears in the film are reminiscent of Harold Lloyd and of Ford.
Filming was initially scheduled to begin on September 1, 1937 and wrap on October 31, but was delayed for several reasons. Production had to wait until mid-September to clear the rights for "I Can't Give You Anything but Love, Baby" for $1,000. In August, Hawks hired gag writers Robert McGowan and Gertrude Purcell for uncredited script rewrites, and McGowan added a scene inspired by the comic strip Professor Dinglehoofer and his Dog in which a dog buries a rare dinosaur bone. RKO paid King Features $1,000 to use the idea for the film on September 21.
Unscripted ad-lib by Grant
It is debated by some whether Bringing Up Baby is the first fictional work (apart from pornography) to use the word gay in a homosexual context. In one scene, Cary Grant's character is wearing a woman's marabou-trimmed négligée; when asked why, he replies exasperatedly "Because I just went gay all of a sudden!" (leaping into the air at the word gay). As the term gay did not become familiar to the general public until the Stonewall riots in 1969, it is debated whether the word was used here in its original sense (meaning "happy") or is an intentional, joking reference to homosexuality.
In the film, the line was an ad-lib by Grant and not in any version of the original script. According to Vito Russo in The Celluloid Closet (1981, revised 1987), the script originally had Grant's character say "I...I su
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