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Richard Summer
Bunny Watson
Mike Cutler
Peg Costello
Miss Warringer
Old Lady


Screenplay by

Based on the play by
As produced on the Stage by

Director of Photography
Art Direction by
Associate Art Director
Set Decorator
Associate Set Decorator
Film Editing by
Sound Recordists

Musical Score
Musical Director
Costume Design by
Makeup Artist
Hair Stylist
Special Photographic Effects
Assistant Director
Color Consultant
Cinemascope Lenses by

Spencer Tracy
Katharine Hepburn
Gig Young
Joan Blondell
Dina Merrill
Sue Randall
Neva Patterson
Harry Ellerbe
Nicolas Joy
Diane Jergens
Merry Anders
Ida Moore
Rachel Stephens
Sammy Ogg


Walter Lang
Henry Ephron
Phobe Ephron,
Henry Ephron
William Marchant
Robert Fryer,
Lawrence Carr
Leon Shamroy
Lyle Wheeler
Maurice Ransford
Walter M. Scott
Paul S. Fox
Robert Simpson
E. Clayton Ward,
Harry M. Leonard
Cyril J. Mockridge
Lionel Newman
Edward B. Powell
Charles Le Maire
Ben Nye
Helen Turpin
Ray Kellogg
Hal Herman
Leonard Doss
Bausch & Lomb


Film data

A Twentieth Century-Fox Picture
103 minutes
Produced: January-March 4, 1957
Filmed at 20th Century Fox Studios Los Angeles California - USA
Rockefeller Center Manhattan New York City New York USA

Premiere: May 1, 1957


Bunny Watson, who possesses a formidable brain and memory, is head of a large TV network's reference library. Together with her quite capable staff, she can answer almost any question. Along comes Richard Sumner, a methods engineer, who has invented an electronic brain called Emerac - or 'Emmy,' for short - that can answer anything. The girls fear that this cold machine will replace them, sooner or later, and rivalries spring up between Bunny and the inventor.


Critics' reviews

William K. Zinsser The New York Herald Tribune 1957
"Solely through their (Hepburn and Tracy's) efforts a second-rate movie becomes tolerable and sometimes even amusing. Miss Hepburn is as beguiling as always. She is at her best disarming the engineer with feats of memory and thrusts of wit. She manages to bring some depth to a character that really has none. Tracy accomplishes the same trick, mainly by underplaying his role."

Bosley Crowther - The New York Times - 1957
"Best of all, there are Miss Hepburn and Mr. Tracy. They can tote phone books on their heads or balance feathers on their chins and be amusing - which is about the size of what they do here. Under Walter Lang's relaxed direction, they lope through this trifling charade like a couple of oldtimers who enjoy reminiscing with simple routines. Mr. Tracy is masculine and stubborn, Miss Hepburn is feminine and glib. The play is inconsequential. The sets and color are good."

Rod McShane Time Out
"Most reviewers agreed at the time that Hepburn got far more out of this mere bauble of a sex comedy than the 1955 Broadway play by William Marchant deserved. In it she plays the leader of an all-female TV network research team fearful of being rendered redundant by the arrival of an electronics expert's computer, with Tracy wooing her into acceptance. If Tracy was never quite as interesting as Hepburn's best comic foil, Cary Grant, he always allowed his offscreen lover ample scope. The results are some splendidly crisp exchanges between the pair, and the inevitable scene of embarrassment where he is literally 'caught with his pants down.'"

What Kate had to say

In treatment

What fellow actors, the director and friends had to say

Walter Lang
"Katie was a wonderful gal. She's a strange person but I've always admired her greatly...She was the kind who would come in and look at sets and say, 'I've got just the thing at home for this,' and bring it in the next day...So she was in on everything and Spence would kid the life out of her saying 'Shut your mouth - go back where you belong in vaudeville.'"

Diane Merrill
"I was looking at a magazine. She came over to me and said, 'Don't ever let me see you doing that again on the set. You are a beginner, you should watch us and learn your business.'"

Diane Merrill
"She and Tracy had obviously done the day's work that was coming up, and staged it in their own place where they lived. The director [Walter Lang] had hardly anything to do. She would say, 'Spence and I talked this over. We thought that this might be good for the scene.' And they did the whole thing. And he'd say, 'Well, looks good to me.'"

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