profoundly understands the comic bluster and bravado of its two lead actors. For Katharine Hepburn, Susan Vance is like an early version of what would be her archetypal character: Boisterous but overwhelmingly naïve and clumsy, thoughtlessly drawing David Huxley into some wild conundrums. I prefer the vehicles that encourage Hepburn and Grant to discover one another on a more equal footing, but this imbalance doesn’t dilute the loveliness of their inbuilt rapport.
Ellen’s ship went missing seven years ago and, until she confronts her husband Nick on his honeymoon with his new wife, she was presumed dead. It is always fun to imagine Hollywood writers in the ’40s, convening in smoky rooms to concoct these bizarre plots.
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