Guess Who's Coming to Dinner production and distribution
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Carolyne 2022-03-25 09:01:14
20201220 As one of the most talked about black films in American film history, this film is undoubtedly the "crystallization" of a stretch of time, which fully confirms how various progressive and conservative discourses can be used in a pair of interracial lovers. , and even Sidney Poitier alone takes place and completes complex encounters and couplings. But the movie is first and foremost a culmination of the Hollywood industry: almost every two people have dramatic tension, almost every relationship is laid out with conflict, all characters have arcs, and this setting itself is the historical context of the 1960s reflexive. Buried under the seemingly progressive view of race is the science of success. Blacks must be morally self-disciplined (not living together) and successful in their careers (big doctors) to be recognized; while whites must accept the abundance of love and the country has A changing reality. This is not so much an affirmation of rights, but rather a precursor to the "colorblind movement" in the future. So the real black characters are the maids. After Daddy Bai made an impassioned speech, he turned to order the maid to cook, which is the real face of this society.
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Dean 2022-04-23 07:03:20
It was indeed "love story of today" from 1967, a love story that explored social issues. It's a little didactic, and some settings are more deliberate (like Poitier's role as a great scholar), but the script and scheduling are solid. The opposite scenes of Tracy and Hepburn add emotional warmth to the film.
Guess Who's Coming to Dinner quotes
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Joanna Drayton: He thinks you're gonna faint because he's a Negro.
Christina Drayton: Well... I don't think I'm going to faint, but I'll sit down anyway.
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Christina Drayton: [to her assistant, Hilary, in the driveway] Now I have some instructions for you. I want you to go straight back to the gallery - Start your motor - When you get to the gallery tell Jennifer that she will be looking after things temporarily, she's to give me a ring if there's anything she can't deal with herself. Then go into the office, and make out a check, for "cash," for the sum of $5,000. Then carefully, but carefully Hilary, remove absolutely everything that might subsequently remind me that you had ever been there, including that yellow thing with the blue bulbs which you have such an affection for. Then take the check, for $5,000, which I feel you deserve, and get - permanently - lost. It's not that I don't want to know you, Hilary - although I don't - it's just that I'm afraid we're not really the sort of people that you can afford to be associated with.
[Hilary opens her mouth to say something]
Christina Drayton: Don't speak, Hilary, just... go.