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Pat Jamieson
Jamie Rowan
Kitty Trimble
Quentin Ladd
Paul Carell
Edwina Collins
Professor Grinza
Flower Girl
Elevator Boy
Professor Thompson
Professor Ellis
Colonel Braden

Girl on Elevator


Screenplay by
Based on a story 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 Recordist
Musical Score
Costume Supervision by
Associate Costumer
Makeup Artist
Assistant Director
Special Effects

Spencer Tracy
Katharine Hepburn
Lucille Ball
Keenan Wynn
Carl Esmond
Patricia Morison
Felix Bressart
Emily Massey
Gloria Grahame
George Davis
George Chandler
Clancy Cooper
Wallis Clark
Donald Curtis
Charles Arnt
Eddie Acuff
Clarence Muse
Franco Corsaro
Ralph Brooks
William Forrest
Gary Owen,
Joe Devlin,
William Newell
James Flavin
Hazel Brooks


Harold S. Bucquet
Lawrence A. Weingarten
Donald Ogden Stewart
Philip Barry
The Theatre Guild Inc.
Karl Freund
Cedric Gibbons
Harry McAfee
Edwin B. Willis
McLean Nisbet
Frank Sullivan
Douglas Shearer
Bronislau Kaper
Marion Herwood Keyes
Earl McEvoy
Peter Ballbusch
Jack Dawn
A. Arnold Gillespie,
Danny Hall


Film data

111 minutes
Reels: 12
Produced: October 11-December 1944

Premiere: March 22, 1945


Jamie Rowan, an attractive widow, has a large house in wartime Washington D.C, Pat Jamieson, a scientist who is having difficulties with the housing shortage in the capital, desperately needs a place where he can conduct his experiments. Jamie proposes to a 'platonic' marriage and the woman-hating bachelor accepts.


Critics' reviews

James Agee – The Nation – 1945
"Without Love is a satiny translation of a Philip Barry play; I like it all right and have very little to say for or against it. Unlike Mr. Barry, I don't find the expression 'by gum' charming on lips which use it for charm's sake, and enjoy even less the heroine’s recalling, of her dying husband, that he 'grinned that grin of his'. But a good deal of the dialogue is happy to hear and happier in its skills; Katharine Hepburn and Spencer Tracy are exactly right for their jobs; (and) it is good to see Lucille Ball doing so well with a kind of role new to her."

Dave Kehr – Chicago Reader
"This 1944 Hepburn-Tracy pairing is so undistinguished that it's nearly dropped out of the history books. It covers the ground of The More the Merrier, with scientist Spence moving in with widow Kate during the wartime housing shortage in Washington, though the sexual tension never turns into anything meaningful. Amazingly, it represents a collaboration of two of the finest artificers of romantic comedy: Philip Barry (Holiday) wrote the original play, Donald Ogden Stewart (Love Affair) adapted it to the screen. The weak link, plainly, is Harold Bucquet, a dreary director up from MGM's B unit (The Secret of Dr. Kildare)."

What Kate had to say

In treatment

What fellow actors, the director and friends had to say

Lawrence Weingarten
"As always, Kate was 'into' everything on Without Love. I remember one charming experience. We were building the sets and dressing them when the set decorator, Ed Willis, came up to me in a fury and said, 'I quit.' I asked him, 'What's the matter?' He said, 'She doesn't like the set – she wants it like it was on the stage.' I said, 'Oh, come on, now, calm down.' Kate came in that night – she used to come in all the time – I used to say to her, 'Even looking at photos of you makes me tiered!' I didn't know what to do to resolve the problem. I couldn't say to her, 'Keep your nose out of this, it's not your business.' As she was leaving, late that night, after sniffing her disapproval of everything down to the cushions, I said to her, 'Kate, if you've got time before you go, go down and see Buddy Gillespie in Special Effects to see how the miniature are coming along. 'She got the message. She didn't interfere any more. People always said to me, 'She's trying to do everything.' And my reply was, 'The thing I'm afraid of, and you should be afraid of, is that she can do everything.' Producer, director, cameraman! That's what she was! Her idea of everything was always better than you could ever have envisioned."

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