Adam's Rib - 1949

Adam’s Rib

A Classic Battle of the Sexes Fought in Court and at Home

Adam’s Rib (1949), directed by George Cukor, is a witty courtroom comedy that explores gender equality through the story of a married lawyer couple, Adam and Amanda Bonner, who face off in court over a domestic shooting case. Amanda defends the woman accused, arguing for equal treatment of women under the law, while Adam prosecutes.

Their legal clash sparks personal tensions, testing their marriage. Starring Katharine Hepburn and Spencer Tracy, the film blends sharp humor with social commentary, highlighting evolving gender roles in postwar America.

Praised for its intelligent script and strong performances, Adam’s Rib became a landmark in feminist cinema and romantic comedy, influencing generations of films about relationships, law, and equality.

Related

George Cukor

Katharine Hepburn

Spencer Tracy

Judy Holliday

Tom Ewell

David Wayne

Jean Hagen

Adam’s Rib – 1949

Summary:

Adam’s Rib is a sophisticated romantic comedy and courtroom drama, masterfully directed by George Cukor and written by real-life married screenwriters Ruth Gordon and Garson Kanin. It’s a sharp, witty exploration of gender roles, marital dynamics, and the clash between personal and professional lives, set against the backdrop of post-war American society.

The film opens with a dramatic event: a woman named Doris Attinger (played by Judy Holliday) follows her cheating husband, Warren, and catches him in the act with his mistress. In a fit of passion and heartbreak, Doris pulls out a gun and shoots — though not fatally — at both. This act of violence becomes the core legal case around which the story revolves.

Enter Adam and Amanda Bonner (Spencer Tracy and Katharine Hepburn), a married couple who are also prominent lawyers in New York. Adam is assigned to prosecute Doris, while Amanda, spurred by a deep belief in gender equality and women’s rights, decides to defend her — setting the stage for a legal and marital showdown.

As the trial unfolds, the courtroom becomes an arena for broader social commentary. Amanda builds her defense on the premise that women should be judged by the same standards as men — that if a man had committed such a crime in similar circumstances, the legal system (and society) might be more forgiving. She draws attention to the systemic double standards faced by women in matters of justice, emotion, and personal agency.

Adam, while sympathetic to feminist ideals in theory, grows increasingly frustrated with Amanda’s courtroom tactics. His irritation deepens when Amanda uses a variety of theatrical strategies — including calling a female weightlifter to the stand to challenge stereotypes of female fragility. Tensions between them rise as the courtroom battle begins to mirror the battles in their marriage.

The climax of the trial sees Amanda’s brilliant legal mind prevailing. Doris is acquitted, not necessarily for the crime she committed, but because Amanda successfully appeals to the jury’s sense of empathy and fairness in regard to gender inequality.

At home, however, things are less victorious. Adam feels emasculated and humiliated — not just as a lawyer who lost a case, but as a husband who feels ridiculed by his wife’s public performance. The couple separates temporarily, but after some reflection and vulnerability, they reconcile in a comedic and tender closing scene.

Analysis:

Adam’s Rib stands out as a groundbreaking film for its time, seamlessly blending comedy with social critique. It offers a nuanced portrayal of a marriage where both partners are intellectual equals — a rarity in the cinema of the 1940s. The chemistry between Hepburn and Tracy, who were real-life partners, adds layers of authenticity and charm to their on-screen dynamic.

Themes and Social Commentary:

• Gender Equality:
  Amanda’s courtroom defense serves as a direct critique of the double standards in the legal system and society at large. She insists that justice should be gender-blind and that women deserve the same compassion and consideration afforded to men.
   
• Marriage and Power:
  The film explores the balance of power within marriage. Amanda’s legal victory strains the marriage because Adam feels personally challenged. The film delicately questions whether men of the era were truly prepared to accept women as equals — not just in the workplace, but in their own homes.
   
• Feminism and Backlash:
  Amanda is portrayed not as a radical but as a principled and empathetic advocate. Yet her progressive ideals provoke defensive, even petty, responses from the men around her — particularly Adam. The film captures the tension between forward-thinking ideals and traditional values.

Character Dynamics:

• Amanda Bonner is intelligent, idealistic, and principled. Her motivation stems from genuine empathy for women like Doris, and she believes in social progress through reason and justice. She represents a modern woman — articulate and unapologetic.
   
• Adam Bonner is more conventional, embodying the patriarchal norms of the era. While not overtly misogynistic, his discomfort with Amanda’s assertiveness reveals the fragility of male ego in a rapidly changing world.
   
• Doris Attinger serves as the emotional heart of the case. She is not demonized for her actions but portrayed as a sympathetic figure — a woman pushed to the edge by betrayal and desperation.

Style and Direction:

Cukor’s direction is light but deft, allowing the performances and dialogue to shine. The film moves briskly and balances humor with gravitas. George J. Folsey’s cinematography keeps the tone elegant and intimate, and Miklós Rózsa’s music score subtly supports the mood without overwhelming it.

The script by Gordon and Kanin sparkles with intelligence, loaded with wit, irony, and sharp observations. It’s clear the writers drew on their own relationship to craft a story that reflects both love and conflict in equal measure.

Legacy:

Adam’s Rib has become a classic of American cinema, celebrated for its intelligent writing and iconic performances. It is often cited in feminist film studies as a pioneering work that introduced serious gender issues into mainstream Hollywood narrative.

The film’s enduring popularity rests not only in its clever script and star power, but in its willingness to ask difficult questions — about justice, love, equality, and the cost of personal pride. Even decades later, it remains both entertaining and thought-provoking.

Full Cast

·  Spencer Tracy as Adam Bonner

·  Katharine Hepburn as Amanda Bonner

·  Judy Holliday as Doris Attinger

·  Tom Ewell as Warren Attinger

·  David Wayne as Kip Lurie

·  Jean Hagen as Beryl Caighn

·  Hope Emerson as Olympia La Pere

·  Eve March as Grace (Amanda’s secretary)

·  Clarence Kolb as Judge Reiser

·  Polly Moran as Mrs. McGrath (neighbor/witness)

·  Will Wright as Jules Frikke (court clerk)

·  Emerson Treacy as Assistant District Attorney Phipps

·  Harry Hayden as Judge's Clerk

·  Dan Tobin as Mr. Bonner’s Office Associate

·  Howard Wendell as Dr. Margaret Brodsky (called as a medical expert)

·  Don Beddoe as Police Officer

·  George Calliga as Bailiff

·  Addison Richards as Police Lieutenant

·  Celia Lovsky as Dr. Margaret Brodsky (uncredited, but sometimes listed in connection with the role)

·  Irving Bacon as Court Reporter (uncredited)

·  Snub Pollard as Juror (uncredited)

Classic Trailer Adam's Rib

George Cukor’s Direction in Adam’s Rib

George Cukor, often celebrated as a “woman’s director” for his skill with female-led narratives, brings a deft and nuanced hand to Adam’s Rib. His direction is marked by restraint, intelligence, and sensitivity to character — allowing the performances and dialogue to take center stage while carefully guiding tone, pace, and emotional rhythm.

Balance of Tone: Wit and Warmth

One of Cukor’s greatest achievements in this film is his ability to balance multiple tones: legal drama, screwball comedy, romantic conflict, and social commentary. Under a lesser director, this mix could feel jarring or uneven, but Cukor lets each element inform and strengthen the others.

• The courtroom scenes sparkle with theatricality but never tip into farce.
• The domestic scenes between Adam and Amanda Bonner feel intimate and lived-in, capturing the warmth and tension of a real marriage.
• The social critique — particularly of gender roles and marital expectations — is delivered with a light touch, never didactic, but always sharp.

Performance-Centered Direction

Cukor was renowned for his work with actors, and Adam’s Rib is a showcase of that gift.

• He draws beautifully calibrated performances from both Spencer Tracy and Katharine Hepburn, allowing their natural chemistry and contrasting energies to drive the story. Tracy’s grounded, simmering masculinity meets Hepburn’s agile, confident modernity in ways that feel both romantic and volatile.
• Judy Holliday, in her film debut, is directed with compassion and delicacy. Cukor presents her character Doris not as comic relief or a caricature, but as a deeply sympathetic woman caught in a moment of emotional collapse.

Cukor allows space for actors to breathe — giving scenes time to unfold, not rushing toward punchlines or dramatic peaks. He trusts the dialogue (written by Garson Kanin and Ruth Gordon) to do much of the narrative work, and he lets body language, silences, and glances play as loudly as the script itself.

Spatial Intelligence and Blocking

Though much of the film takes place in confined interiors — apartments, courtrooms, offices — Cukor makes the spaces feel alive and dynamic. His use of blocking (how actors move within a scene) enhances the emotional power of each exchange.

• In the Bonner home, we often see the couple navigating around each other physically, echoing the emotional dance they’re performing.
• In court, Amanda commands the floor with motion and presence, while Adam is more fixed, reflecting his rooted — and somewhat rigid — worldview.

Cukor also uses the camera sparingly but smartly. There’s little overt stylization, no flashy tricks or intrusive angles. Instead, his camera is patient and observant, capturing character interactions with clarity and grace. This aligns with his belief that the director should be invisible — facilitating the story, not overshadowing it.

Gender Dynamics and Sensibility

Cukor’s personal sensitivity to gender — both in character and in politics — elevates Adam’s Rib from a simple “battle of the sexes” comedy to something more probing and human. He never mocks Amanda’s ideals, nor does he vilify Adam’s discomfort. Instead, he presents a world in which both partners are flawed, sincere, and struggling to evolve. His empathy stretches across the gender divide, portraying everyone as capable of both strength and folly.

This even-handedness is part of what makes the film so enduring. Cukor doesn’t choose a side; he invites the audience to understand both. He sees the humor in the battle, but he also sees the cost of it — particularly when love is caught in the crossfire.

Pacing and Rhythm

The film’s pacing is brisk but never rushed. Cukor knows when to linger on a moment — a sigh, a stare, a silence — and when to cut sharply to keep energy flowing. The transitions between domestic and courtroom scenes are seamless, and the tension escalates gradually until the emotional climax lands with true resonance.

Conclusion

George Cukor’s direction in Adam’s Rib is a masterclass in subtlety, character-driven storytelling, and tonal harmony. He creates a film that is both entertaining and enlightening — deeply rooted in its era, yet forward-looking in its social insight. His touch is elegant, invisible, and yet absolutely essential to the film’s success. In his hands, Adam’s Rib becomes more than a comedy — it’s a humanist portrait of love, law, and the fragile dance between equality and ego.

Katharine Hepburn as Amanda Bonner: A Descriptive Performance Analysis

Katharine Hepburn’s performance in Adam’s Rib is one of her most iconic and enduring. As Amanda Bonner, Hepburn delivers a portrayal that is both sparkling with intellectual vigor and deeply human. Her performance radiates intelligence, independence, and emotional depth — all of which are hallmarks of her screen persona, but here are channeled with particularly refined control and nuance.

Commanding Intellect and Verbal Precision

From the very first scene, Hepburn’s Amanda is quick-witted, sharp-tongued, and supremely articulate. Hepburn uses her voice with precision — her diction is crisp, her rhythm agile, and her delivery layered with implication. She doesn’t just speak lines; she slices through them, often blending sincerity with just a touch of irony.

• In the courtroom, Hepburn brings a rhetorical command that is magnetic. She speaks with conviction, yet never sacrifices charm. Even when making bold feminist arguments, she avoids didacticism — her tone remains conversational, persuasive, and elegant.

Her Amanda is not just smart — she enjoys being smart, and Hepburn communicates this intellectual joy through quick glances, confident posture, and the way she listens to others (not just how she speaks). The audience gets the sense that Amanda is always thinking — a woman who never coasts, but constantly engages with the world around her.

Emotional Restraint with Subtle Vulnerability

While Amanda is a strong and assertive character, Hepburn is careful not to turn her into an impenetrable force. Beneath the confident exterior, there is vulnerability — a deep care for her marriage, a sensitivity to being misunderstood, and a longing for emotional connection. Hepburn lets these elements simmer just below the surface.

• In domestic scenes, she softens her movements, lets silences linger a little longer, and uses her eyes to express concern, disappointment, or hurt.
• When Adam accuses her of humiliating him, Hepburn doesn’t respond with fire but with a quiet gravity — a moment of emotional transparency that adds richness to Amanda’s character.

This balance — between strength and tenderness — is what makes the performance so layered. Hepburn never reduces Amanda to a “type.” She is at once an idealist, a lawyer, a wife, a woman — and each of those identities is given space to breathe.

Physical Presence and Comedic Timing

Hepburn’s physical performance is also vital. She moves with ease and confidence, often pacing when thinking, leaning in when challenging, or folding her arms when withholding emotion.

• In comedic moments, she shows impeccable timing — especially in her repartee with Spencer Tracy. Whether she's tossing a quip across the room or narrowing her eyes in mock suspicion, her comedic instincts are always finely tuned.
• Her interactions with courtroom props, other characters, and even her own handbag or documents are used expressively — not just as accessories but as tools for performance.

Chemistry with Spencer Tracy

The Hepburn–Tracy partnership is legendary, and in Adam’s Rib it reaches a kind of peak. Their chemistry is not just romantic but intellectual — they spar, tease, and challenge each other with palpable affection and underlying tension.

• Hepburn brings out something lighter and more emotionally flexible in Tracy, while Tracy grounds her performance with his steady presence.
• Their scenes together — especially arguments — crackle with real emotional stakes. Hepburn never tries to dominate these moments; instead, she dances with Tracy, pushing him while inviting his response.

A Feminist Icon Without Preaching

Perhaps most impressively, Hepburn delivers a proto-feminist performance without turning Amanda into a symbol. She’s not a mouthpiece for ideology; she’s a living, breathing woman with complex feelings. Hepburn’s portrayal avoids sanctimony. She brings warmth, humor, and humanity to a character who could have been written as overly righteous or preachy in lesser hands.

Conclusion

Katharine Hepburn’s performance as Amanda Bonner is a masterclass in controlled charisma, layered emotionality, and intellectual vitality. She embodies a woman who is ahead of her time — not just in belief, but in behavior, speech, and self-awareness. Hepburn infuses the role with her own innate strength, but also with emotional generosity, creating a character who is as relatable as she is admirable.

In Adam’s Rib, Hepburn doesn’t just play a great female character — she defines one, setting a standard for intelligent women on screen for generations to come.

Key Quotes from Adam’s Rib:

• Amanda Bonner (Katharine Hepburn):
  “Law is the equalizer — the scales of justice should not tip in favor of either sex.”
  — A central expression of Amanda’s belief in legal equality, and a major theme of the film.
• Adam Bonner (Spencer Tracy):
  “You’re not giving a defense, you’re giving a performance!”
  — Adam accuses Amanda of turning the courtroom into a stage, revealing both personal and professional conflict.
• Amanda Bonner:
  “There’s no difference between the sexes. Men, women — the same.”
  — Amanda’s bold feminist declaration, highlighting the progressive ideas she brings to the courtroom and to her marriage.
• Adam Bonner:
  “You don’t know the law, you don’t know the evidence, and you don’t know when to shut up!”
  — One of Adam’s angrier outbursts during the height of their professional and marital tension.
• Amanda Bonner:
  “You don’t have to be stronger to be right!”
  — A powerful line aimed at dismantling the traditional link between physical dominance and moral authority.
• Kip Lurie (David Wayne):
  “I hate to see a marriage go to the dogs… unless I’m the dog.”
  — A cheeky, flirtatious line from Kip, Amanda’s friend and admirer, laced with humor and innuendo.
• Amanda Bonner (in court):
  “It’s not the act, it’s the background. It’s not the shooting, it’s the circumstances. It’s not the woman, it’s the injustice.”
  — Part of Amanda’s courtroom argument, shifting the focus from legality to context and fairness.
• Adam Bonner (sarcastically):
  “What a wife! What a lawyer! What a woman!”
  — A line that blends admiration with frustration as Adam begins to feel overwhelmed by Amanda’s force of personality.
• Amanda Bonner (to Adam):
  “I’m fighting prejudice. I’m fighting a system that says women are not people. I’m fighting for a principle.”
  — One of her clearest statements of purpose and a direct appeal to conscience.
• Final reconciliation scene:
  Adam: “Shall we kiss and make up?”
  Amanda: “We’ll kiss, anyway.”
  — A sweet closing note that signals their emotional reunion, even if their ideological battle isn’t entirely settled.

Awards and Recognition

Academy Awards (Oscars)

Nominated:

• Best Story and Screenplay – Ruth Gordon and Garson Kanin

Note: Adam’s Rib did not win any Academy Awards, but the screenplay nomination recognized the film's witty and progressive script.

Writers Guild of America Awards (WGA)

Won:

• Best Written American Comedy – Garson Kanin and Ruth Gordon

This was a major acknowledgment from the screenwriting community for the film’s smart, socially conscious humor.

National Film Registry (United States Library of Congress)

Selected in 1992 for preservation in the National Film Registry as being “culturally, historically, or aesthetically significant.”

This is a prestigious recognition that reflects the film’s lasting impact on American cinema and culture.

American Film Institute (AFI) Rankings

While not awards in the traditional sense, AFI has included Adam’s Rib in several of its notable lists:

• AFI’s 100 Years...100 Laughs (2000):
  Ranked #22 (among the funniest American movies of all time)
• AFI’s 100 Years...100 Passions (2002):
  Ranked #7 (among the greatest love stories in American cinema)
• AFI’s 100 Years...100 Movie Quotes (2005):
  Amanda Bonner’s line “There’s no difference between the sexes. Men, women — the same.” was a notable contender.

Other Honors and Recognition

• Katharine Hepburn’s performance in Adam’s Rib has been retrospectively praised and often cited in critical surveys of the greatest film performances by an actress.
• Judy Holliday’s supporting role was widely acclaimed and helped launch her career — she won the Academy Award for Best Actress the following year for Born Yesterday (1950), which was partly due to her performance in Adam’s Rib.

Classic Scenes

Adam’s Rib (1949) is filled with memorable and thematically rich scenes that blend humor, legal drama, and romantic tension. Below are some of the most classic and iconic scenes, described in detail with an eye for their significance, tone, and visual/performative style.

The Opening Crime Scene: Doris Attinger’s Shooting

What happens:
The film begins with Doris Attinger (Judy Holliday) awkwardly stalking her husband Warren and his mistress. After following them into their apartment building, she pulls a gun and fires multiple shots.

Why it’s classic:
This scene sets the tone — comedic in its exaggerated awkwardness yet rooted in serious emotional distress. It’s the inciting incident that triggers the courtroom drama and raises the question of whether society judges women differently in moments of emotional crisis.

Direction and style:
Cukor’s framing is careful: Doris is not shown as dangerous but as desperate and confused. Her clumsy movements and comically over-sized handbag add an element of absurdity that contrasts with the seriousness of the crime.

The Bonners Discuss the Case at Home

What happens:
After hearing about the case, Amanda decides to defend Doris — much to Adam’s dismay. The couple argues about whether women are treated equally under the law.

Why it’s classic:
This scene introduces the central personal conflict of the film — the collision between professional duty and personal ideology. Their verbal sparring is sharp, funny, and emotionally charged.

Performances:
Hepburn is at her articulate, passionate best, while Tracy simmers with frustration and pride. The chemistry is electric, and the tension feels authentic — as if we’re watching a real couple in disagreement.

Amanda’s Courtroom Demonstration with Olympia La Pere

What happens:
Amanda calls a female weightlifter (played by Hope Emerson) to the stand. In a surprising demonstration, Olympia lifts Adam off the ground in front of the jury.

Why it’s classic:
This is one of the film’s most famous comic set pieces. Amanda uses Olympia to challenge the stereotype that women are inherently weaker than men and therefore more innocent or deserving of protection.

Symbolism and humor:
The act of lifting Adam is more than a physical feat — it’s symbolic of Amanda’s intellectual dominance and feminist argument. The courtroom audience (and the viewers) react with laughter, but there’s pointed meaning behind the humor.

The Emotional Argument Between Adam and Amanda

What happens:
After Amanda appears to publicly humiliate Adam in court, the couple has a serious confrontation at home. Adam accuses her of undermining him not just in court, but in their marriage.

Why it’s classic:
This is the emotional core of the film. It moves beyond ideology to show the real costs of competition within a relationship. Both characters are vulnerable here, stripped of their courtroom personas.

Acting highlights:
Tracy is visibly wounded, and Hepburn softens her assertiveness to reveal Amanda’s inner conflict. Their dynamic shifts from combative to tender, revealing the depth of their bond despite their ideological divide.

The Verdict and Amanda’s Closing Argument

What happens:
Amanda delivers a passionate closing argument, arguing that justice must be fair regardless of gender. Doris is ultimately acquitted.

Why it’s classic:
Amanda’s speech is one of the most stirring feminist declarations in classic Hollywood cinema. It balances legal logic with emotional intelligence.

Legacy:
The scene became emblematic of the evolving role of women in film — Amanda isn’t a sidekick or love interest, but a full, persuasive character with moral and intellectual authority.

The Final Reconciliation

What happens:
After a brief separation, Adam and Amanda reconcile. Adam pretends to shoot Amanda with a toy gun in mock revenge — and she plays along.

Why it’s classic:
The scene is playful, funny, and slightly absurd — yet it mirrors the film’s first scene (a woman shooting a man) in a gentler, ironic way. It brings the film full circle and resolves the tension with affection and mutual respect.

Tone:
The reconciliation is not just romantic but thematic: they recognize each other’s strengths and flaws, suggesting that love can survive even the fiercest ideological clashes — if respect is maintained.