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Mike Conovan
Pat Pemberton
David Hucko
Collier Weld
Barney Grau
Spec Cauley
Mr. Berninger
Mrs. Berninger
Hank Tasling
Sam Garsell
Charles Barry
Police Captain
Harry MacWade
Bus Boy
Pat's Caddy

Women Golfers

Line Judge at Tennis Court


Spencer Tracy
Katharine Hepburn
Ray Aldo
William Ching
Sammy White
George Matthews
Lori Smith
Phyllis Povah
Charles Brusinski aka Bronson
Frank Richards
Jim Backus
Chuck Connors
Joseph E. Bernard
Owen McGiveney
Lou Lubin
Carl Switzer
William Self
Billy McLean,
Frankie Darro,
Paul Brinegar,
'Tiny' Jimmie Kelly
Mae Clarke,
Helen Eby-Rock,
Elizabeth Holmes
Hank Weaver
Tom Harmon
Charlie Murray
Gussie Moran,
Babe Didrikson Zaharias,
Don Budge,
Alice Marble,
Frank Parker,
Betty Hicks,
Beverly Hanson,
Helen Dettwiler


Screenplay by

Based on original story by

Director of Photography
Art Direction by
Associate Art Director
Set Decorator
Associate Set Decorator
Film Editing by
Sound Recordist
Musical Score
Miss Hepburn's Wardrobe by
Makeup Artist
Special Effects
Assistant Director


George Cukor
Lawrence Weingarten
Ruth Gordon,
Garson Kanin
Ruth Gordon,
Garson Kanin
William Daniels
Cedric Gibbons
Urie McCleary
Edwin B. Willis
Hugh Hunt
George Boemler
Douglas Shearer
David Raskin
William Tuttle
Waren Newcombe
Peter Ballbusch
Jack Greenwood


Film data

95 minutes
Produced: January-March 1952
Filmed around Los Angeles - California - USA

Premiere: June 13, 1952


Pat Pemberton, a college physical education teacher, is signed as an all-round professional athlete by Mike Conovan, a smooth, fast-talking sports promoter. When it comes to golf, however, Pat just cannot reach the top of her game when her fiancÚ, Collier Weld, is watching her. This situation gives bright ideas to a pair of petty racketeers, who own part of her contract. It seems they want her to throw a golf tournament.


Critics' reviews

Bosley Crowther - The New York Times - 1952
"Katharine Hepburn and Spencer Tracy, who lost their amateur standing years ago so far as their popular rating as theatrical entertainers goes, are proving themselves equally able as a couple of professional sports in Pat and Mike....Miss Hepburn has always been an actress whose competence with a line or with a tensile dramatic situation has been well above the margin of surprise. But this is the first time she has shown us - at least, on the motion-picture screen - that she can swing a golf club or tennis racquet as adroitly as she can sling an epigram."

Geoff Andrew - Time Out
"Written, like several other Cukor films of the period, by Ruth Gordon and Garson Kanin, and charting the conflict between what Carlos Clarens called 'the redneck paternalism of Spencer Tracy and Katharine Hepburn's outraged liberal sensibilities', this is a lazy, episodic, conventional but strangely charming variation on the old comedy formula of initially hostile misfits falling in love (here platonic). Hepburn gets to show off her considerable athletic talents as the bright, upper middle class sporting all-rounder; Tracy gets to be gruffly loveable as the rough-diamond promoter-manager who finally becomes her protector. There are far too many shots featuring real-life sports stars, but the sparring leads, and Ray's dim boxer, work superbly together under Cukor?s deceptively effortless, always elegant direction."

What Kate had to say

Katharine Hepburn - interview with John Kobal - 1979
"That time of making Adam's Rib and Pat and Mike was a very creative and very exciting period. Spencer never used to join those conferences we had, George [Cukor] and Garson Kanin and Ruth Gordon - who wrote the scripts. We'd meet on the weekends, and Spencer would make a general comment on what he'd heard. During the reading of Pat and Mike, Spencer sat in a corner of the room when we had a reading of the script one night at George's house. But he didn't join in. They were written and very intimately discussed between us all, which I think was an enormous help to everyone concerned. It was very 'ensemble' in spirit. And things we didn't like, or which irritated one, or you didn't understand, you were able to state it, which one doesn't always get an opportunity to do in this business. It was not just friendship, but an artistic collaboration."

What fellow actors, the director and friends had to say

George Cukor
"The reason this comedy, and its predecessor Adam's Rib, worked was that none of us took ourselves very seriously during the writing and preparation. We batted ideas around like tennis balls, we all felt the lines and situations without any kind of ghastly solemnity. If we all laughed, a line went in. I remember there was a scene in which Spencer massaged Kate's leg. No sex implied, but it was very sexy. You sensed the empathy between these two. We had wonderful fun working out that scene."

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