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Cast

Alice Adams
Arthur Russell
Mr. Adams
Mildred Palmer
Walter Adams
Mrs. Adams
Mr. Lamb
Frank Dowling
Mrs. Palmer
Mr. Palmer
Henrietta Lamb
Mrs. Dowling
Mrs. Dresser
Ella Dowling
Malena


Credits

Director
Producer
Screenplay by

Based on a novel by
Adaption
Director of Photography
Art Direction by
Film Editing by
Sound Recordist
Musical Score
Costume Design by
Makeup Artist
Assistant Director
Song: I can't Waltz Alone by

Name
Katharine Hepburn
Fred MacMurray
Fred Stone
Evelyn Venable
Frank Albertson
Ann Shoemaker
Charles Grapewin
Grady Sutton
Hedda Hopper
Jonathan Hale
Janet McLeod
Virginia Howell
Zeffie Tilbury
Ella McKenzie
Hattie McDaniel


Name

George Stevens
Pandro S. Berman
Dorythy Yost,
Mortimer Offner
Booth Tarkington
Jane Murfin
Robert De Grasse
Van Nest Polglase
Jane Loring
Denzil A. Cutler
Max Steiner
Walter Plunkett
Mel Burns
Edward Killy
Max Steiner,
Dorothy Fields


VHS / DVD




Film data

RKO Radio Pictures
99 minutes
Reels: 11
Produced: May 22-July 3, 1935

Premiere: August 25, 1935


Synopsis

Young Alice Adams is ambitious for social recognition, but merely tolerated by her wealthier girl friends. She longs to be part of their world and to have them like her. Soon, at a party, she meets visiting Arthur Russel, who takes an interest in her and asks if he may call. Alice's big night comes when Arthur arrives for dinner.


Trailer




Critics' reviews

The Times (London) - 1935
"From the beginning it was obvious that Miss Hepburn had conceived the part as a whole; that she was going to allow Alice to tell her story in her own way, and that she was not going to encompass poor Alice in a theatrical design of her own making. The result is that Miss Hepburn shows that there is a good deal more in Alice than mere vanity and man-hunting. Because of her insight into the part and the pathos she gives it might appear to superficial that Miss Hepburn has exaggerated the posings; what she really has done is to over-act as Alice over-acted every time she met a man or walked into a room."

Andre Sennwald - The New York Times - 1935
"Katharine Hepburn's Alice is a striking and sensitive a performance as any she has given.... her performance holds that same quality of unexpected excitement which distinguished her first screen appearance in A Bill of Divorcement."

Andrew Sarris
"The scene of social humiliation is peculiarly American in that it reflects the tensions created by social mobility, but no actress ever suffered more beautifully through this trauma than Katharine Hepburn in Alice Adams. So beautifully and with so much voluptuous masochism. And Stevens' enormous and sustained close-ups gave Hepburn's fine-boned beauty an expressive intensity such as audiences had never experienced before. It was almost to much of a good thing. Audiences would not long sit still for such camera adulation, any more than they had sat still indefinitely for Sternberg's lens-love-making with Marlene Dietrich in the early thirties."

Tom Milne - Time Out
"Hepburn is magnificent as the small-town social climber, although the script so softens Booth Tarkington's novel that she emerges though out as a Persil-white heroine tarnished only by a little adolescent foolishness. With Tarkington's acidly observed social satire on Midwestern mores carefully ironed out by the Hollywood machine, little remains beyond a glowingly nostalgic slice of Americana. But Stevens fills the gap with some brilliant set pieces, including the exemplary scene-setting of the opening sequence, the society ball at which Hepburn is reduced to endless subterfuge to mask her gauche unease, and the ghastly dinner party at which all her social pretensions finally collapse under pressure from a heat wave."


What Kate had to say




What fellow actors, the director and friends had to say

George Stevens - Intervies with James Silk - 1964
"That was quite different for her. It was far away from the parts she had been doing to be so purposely romantic and rather simple and sentimental. By nature she was adverse to it, but she fell in with it and loved doing it. She liked the girl that she became when she sat in the swing, and we explored the fact that what she was really becoming in the story was what Kate was herself. At that time she particularly liked to appear very sophisticated, yet she had a very generous heart. She found the whole thing fascinating."


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