Кэтрин Хепберн

Кэтрин Хепберн
MGM Studio Pubmite Portrait, c. 1941
Рожденный	Кэтрин Хоутон Хепберн ( 1907-05-12 ) 12 мая 1907 г. Хартфорд, Коннектикут , США
Умер	29 июня 2003 г. (2003-06-29) (в возрасте 96 лет) Старый Сайбрук, Коннектикут , США
Место отдыха	Кедар Хилл Кладбище
Образование	Колледж Брин Маур ( бакалавра )
Занятие	Актриса
Годы активны	1928–1995
Works	Full list
Political party	Democratic
Spouse	Ludlow Ogden Smith ​ ​ (m. 1928; div. 1934)​
Partner	Spencer Tracy (1941–1967; his death)
Mother	Katharine M. Hepburn
Relatives	Katharine Houghton (niece) Schuyler Grant (grandniece)
Family	See Houghton family
Awards	Full list
Signature

Кэтрин Хоутон Хепберн (12 мая 1907 г. - 29 июня 2003 г.) была американской актрисой, чья карьера ведущей в голливудской леди охватила шесть десятилетий. Она была известна своей неотъемлемой независимостью, энергичной личностью и откровенностью, культивирующей экрану, которая соответствовала этому общедоступному имиджу и регулярно играла во воле волеющую, изощренные женщины. Она работала в разнообразном диапазоне жанров, от комедии «Винтбол» до литературной драмы, которая принесла ей различные награды , включая четыре награды Оскар за лучшую актрису - запись для любого исполнителя.

Выросший в Коннектикуте богатыми, прогрессивными родителями, Хепберн начал действовать в колледже Брин Маур . Благоприятные отзывы о ее работе на Бродвее привлекли ее к сведению Голливуда. Ее ранние годы в фильме принесли ее международную известность, в том числе премию Оскар за лучшую женскую роль за ее третий фильм « Утренняя слава» (1933), но за этим последовала серия коммерческих неудач, кульминационных в кассовом провале, охваченной критикой, воспитывающим ребенка (ребенка ( «Ребенка» ( 1938). Хепберн руководил ее возвращением, выкупив свой контракт с RKO Radio Pictures и приобретая права на фильм на историю Филадельфии , которую она продала при условии, что она станет звездой. Этот комедийный фильм был успешным кассовым сбором и принесла ей третью номинацию на премию Оскар. В 1940-х годах она заключила контракт с Метро-Голдвин-Мейер , где ее карьера сосредоточилась на союзе со Спенсером Трейси . Партнерство на экране охватывало 26 лет и сняло девять фильмов.

Hepburn challenged herself in the latter half of her life as she tackled Shakespearean stage productions and a range of literary roles. She found a niche playing mature, independent, and sometimes unmarried women such as in The African Queen (1951), a persona the public embraced. Hepburn received three more Academy Awards for her performances in Guess Who's Coming to Dinner (1967), The Lion in Winter (1968), and On Golden Pond (1981). In the 1970s, she began appearing in television films, which later became her focus. She made her final screen appearance at the age of 87. After a period of inactivity and ill health, Hepburn died in 2003 at the age of 96.

Hepburn famously shunned the Hollywood publicity machine, and refused to conform to societal expectations of women. She was outspoken, assertive, athletic, and wore pants before it was fashionable. She married once, as a young woman, but thereafter lived independently. A 26-year affair with her co-star Spencer Tracy was hidden from the public. With her unconventional lifestyle and the independent characters she brought to the screen, Hepburn came to epitomize the "modern woman" in 20th-century America and influenced changing popular perceptions of women. In 1999, she was named the greatest female star of classic Hollywood cinema by the American Film Institute.

Early life and education

Left to right: daughter Katharine, Marion, Robert, Thomas, and Richard. Her mother is seated at center with daughter Margaret, 1921

Katharine Houghton Hepburn was born on May 12, 1907, in Hartford, Connecticut, the second of six children. Her parents were Thomas Norval Hepburn (1879–1962), a urologist at Hartford Hospital, and Katharine Martha Houghton Hepburn (1878–1951), a feminist campaigner. Both parents fought for social change in the United States: Thomas Hepburn helped establish the New England Social Hygiene Association, which educated the public about venereal disease, while the elder Katharine headed the Connecticut Woman Suffrage Association and later campaigned for birth control with Margaret Sanger. As a child, Hepburn joined her mother on several "Votes For Women" demonstrations. The Hepburn children were raised to exercise freedom of speech and encouraged to think and debate on any topic they wished. Her parents were criticized by the community for their progressive views, which stimulated Hepburn to fight against barriers she encountered. Hepburn said she realized from a young age that she was the product of "two very remarkable parents", and credited her "enormously lucky" upbringing with providing the foundation for her success. She remained close with her family throughout her life.

The young Hepburn was a tomboy who liked to call herself Jimmy and cut her hair short. Thomas Hepburn was eager for his children to use their minds and bodies to the limit and taught them to swim, run, dive, ride, wrestle, and play golf and tennis. Golf became a passion of Hepburn's; she took daily lessons and became very adept, reaching the semi-final of the Connecticut Young Women's Golf Championship. She loved swimming in Long Island Sound, and took ice-cold baths every morning in the belief that "the bitterer the medicine, the better it was for you". Hepburn was a fan of films from a young age and went to see one every Saturday night. She would put on plays and perform for her neighbors with friends and siblings for 50 cents a ticket to raise money for the Navajo people.

Hepburn's yearbook photo, 1928, Bryn Mawr College

In March 1921, Hepburn, 13, and her 15-year-old brother Tom were visiting New York, staying with a friend of their mother's in Greenwich Village over the Easter break. On March 30, Hepburn discovered the body of her adored older brother dead from an apparent suicide. He had tied a curtain tie around a beam and hanged himself. The Hepburn family denied it was suicide and maintained that Tom's death must have been an experiment that had gone wrong. The incident made the teenage Hepburn nervous, moody, and suspicious of people. She shied away from other children, dropped out of Oxford School (now Kingswood-Oxford School) and was tutored privately. For many years she used Tom's birthday (November 8) as her own. It was not until her 1991 autobiography, Me: Stories of My Life, that Hepburn revealed her true birth date.

In 1924, Hepburn was admitted to Bryn Mawr College. She initially agreed to attend the institution to satisfy her mother, who had studied there, but ultimately found the experience to be unfulfilling. It was the first time she had been in school for several years, and she was self-conscious and uncomfortable with her classmates. She struggled with the scholastic demands of university, and once was suspended for smoking in her room. Hepburn was drawn to acting, but roles in college plays were conditional on good grades. Once her marks had improved, she began performing regularly. She performed the lead role in a production of The Woman in the Moon in her senior year, and the positive response it received cemented Hepburn's plans to pursue a theatrical career. She graduated with a degree in history and philosophy in June 1928.

Career

Breaking into theatre (1928–1932)

Hepburn left university determined to become an actress. The day after graduating, she traveled to Baltimore to meet Edwin H. Knopf, who ran a successful stock theatre company. Impressed by her eagerness, Knopf cast Hepburn in his current production, The Czarina. She received good reviews for her small role, and the Printed Word described her performance as "arresting". She was given a part in the following week's show, but her second performance was less well received. She was criticized for her shrill voice, so she left Baltimore to study with Frances Robinson-Duff, a renowned voice teacher in New York City.

Hepburn in the 1932 role that brought her to the attention of Hollywood, The Warrior's Husband

Knopf decided to produce The Big Pond in New York, and appointed Hepburn the understudy to the leading lady. A week before opening, the lead was fired and replaced with Hepburn, which gave her a starring role only four weeks into her theatre career. On opening night, she turned up late, mixed her lines, tripped over her feet, and spoke too quickly to be understood. She was immediately fired, and the original leading lady rehired. Undeterred, Hepburn joined forces with the producer Arthur Hopkins and accepted the role of a schoolgirl in These Days. Her Broadway debut came on November 12, 1928, at the Cort Theatre, but reviews for the show were poor, and it closed after eight nights. Hopkins promptly hired Hepburn as the lead understudy in Philip Barry's play Holiday. In early December, after only two weeks, she quit to marry Ludlow Ogden Smith, a college acquaintance. She planned to leave the theatre behind but began to miss the work and quickly resumed the understudy role in Holiday, which she held for six months.

In 1929, Hepburn turned down a role with the Theatre Guild to play the lead in Death Takes a Holiday. She felt the role was perfect, but again, she was fired. She went back to the Guild and took an understudy role for minimum pay in A Month in the Country. In the spring of 1930, Hepburn joined the Berkshire Playhouse theater company in Stockbridge, Massachusetts. She left halfway through the summer season and continued studying with a drama tutor. In early 1931, she was cast in the Broadway production of Art and Mrs. Bottle. She was released from the role after the playwright took a dislike to her, saying "She looks a fright, her manner is objectionable, and she has no talent", but Hepburn was re-hired when no other actress could be found. It went on to be a small success.

Hepburn appeared in a number of plays with a summer stock company in Ivoryton, Connecticut, and she proved to be a hit. During the summer of 1931, Philip Barry asked her to appear in his new play, The Animal Kingdom, alongside Leslie Howard. They began rehearsals in November, Hepburn feeling sure the role would make her a star, but Howard disliked the actress and again she was fired. When she asked Barry why she had been let go, he responded, "Well, to be brutally frank, you weren't very good." This unsettled the self-assured Hepburn, but she continued to look for work. She took a small role in an upcoming play, but as rehearsals began, she was asked to read for the lead in the Greek fable The Warrior's Husband.

The Warrior's Husband proved to be Hepburn's breakout performance. Biographer Charles Higham states that the role was ideal for the actress, requiring an aggressive energy and athleticism, and she enthusiastically involved herself with its production. The play opened March 11, 1932, at the Morosco Theatre on Broadway. Hepburn's first entrance called for her to leap down a narrow stairway with a stag over her shoulder, wearing a short silver tunic. The show ran for three months, and Hepburn received positive reviews. Richard Garland of the New York World-Telegram wrote, "It's been many a night since so glowing a performance has brightened the Broadway scene."

Hollywood success (1932–1934)

Hepburn's first movie appearance, in the melodrama A Bill of Divorcement (1932). Critics praised her performance, and she became an instant star.

A scout for the Hollywood agent Leland Hayward spotted Hepburn's appearance in The Warrior's Husband, and asked her to test for the part of Sydney Fairfield in the upcoming RKO film A Bill of Divorcement. Director George Cukor was impressed by what he saw: "There was this odd creature", he recalled, "she was unlike anybody I'd ever heard." He particularly liked the manner in which she picked up a glass: "I thought she was very talented in that action." Offered the role, Hepburn demanded $1,500 a week, a large amount for an unknown actress. Cukor encouraged the studio to accept her demands and they signed Hepburn to a temporary contract with a three-week guarantee. RKO head David O. Selznick recounted that he took a "tremendous chance" in casting the unusual actress.

Hepburn arrived in California in July 1932, at 25 years old. She starred in A Bill of Divorcement opposite John Barrymore, but showed no sign of intimidation. Although she struggled to adapt to the nature of film acting, Hepburn was fascinated by the industry from the start. The picture was a success and Hepburn received positive reviews. Mordaunt Hall of The New York Times called her performance "exceptionally fine ... Miss Hepburn's characterization is one of the finest seen on the screen". The Variety review declared, "Standout here is the smash impression made by Katharine Hepburn in her first picture assignment. She has a vital something that sets her apart from the picture galaxy." On the strength of A Bill of Divorcement, RKO signed her to a long-term contract. George Cukor became a lifetime friend and colleague—he and Hepburn made ten films together.

As Jo March in Little Women (1933), which was one of the most popular movies of its day

Hepburn's second film was Christopher Strong (1933), the story of an aviator and her affair with a married man. The picture was not commercially successful, but Hepburn's reviews were good. Regina Crewe wrote in the Journal-American that although her mannerisms were grating, "they compel attention, and they fascinate an audience. She is a distinct, definite, positive personality." Hepburn's third picture confirmed her as a major actress in Hollywood. For playing aspiring actress Eva Lovelace—a role intended for Constance Bennett—in Morning Glory, she won an Academy Award for Best Actress. She had seen the script on the desk of producer Pandro S. Berman and, convinced that she was born to play the part, insisted that the role be hers. Hepburn chose not to attend the awards ceremony—as she would not for the duration of her career—but was thrilled with the win. Her success continued with the role of Jo in the film Little Women (1933). The picture was a hit, one of the film industry's biggest successes to date, and Hepburn won the Best Actress prize at the Venice Film Festival. Little Women was one of Hepburn's personal favorites and she was proud of her performance, later saying, "I defy anyone to be as good [as Jo] as I was".

By the end of 1933, Hepburn was a respected film actress, but she yearned to prove herself on Broadway. Jed Harris, one of the most successful theatre producers of the 1920s, was going through a career slump. He asked Hepburn to appear in the play The Lake, which she agreed to do for a low salary. Before she was given leave, RKO asked that she film Spitfire (1934). Hepburn's role in the movie was Trigger Hicks, an uneducated mountain girl. Though it did well at the box office, Spitfire is widely considered one of Hepburn's worst films, and she received poor reviews for the effort. Hepburn kept a photo of herself as Hicks in her bedroom throughout her life to "[keep] me humble".

The Lake previewed in Washington, D.C., where there was a large advance sale. Harris' poor direction had eroded Hepburn's confidence, and she struggled with the performance. Despite this, Harris moved the play to New York without further rehearsal. It opened at the Martin Beck Theatre on December 26, 1933, and Hepburn was roundly panned by the critics. Dorothy Parker quipped, "She runs the gamut of emotions all the way from A to B." Already tied to a ten-week contract, she had to endure the embarrassment of rapidly declining box office sales. Harris decided to take the show to Chicago, saying to Hepburn, "My dear, the only interest I have in you is the money I can make out of you." Hepburn did not want to continue in a failing show, so she paid Harris $14,000, most of her life savings, to close the production instead. She later referred to Harris as "hands-down the most diabolical person I have ever met", and claimed this experience was important in teaching her to take responsibility for her career.

Career setbacks (1934–1938)

In Mary of Scotland (1936), one of a series of unsuccessful films Hepburn made in this period

After the failure of Spitfire and The Lake, RKO cast Hepburn in The Little Minister (1934), based on a Victorian novel by James Barrie, in an attempt to repeat the success of Little Women. There was no such recurrence, and the picture was a commercial failure. The romantic drama Break of Hearts (1935) with Charles Boyer was poorly reviewed and also lost money. After three forgettable films, success returned to Hepburn with Alice Adams (1935), the story of a girl's desperation to climb the social ladder. Hepburn loved the book and was delighted to be offered the role. The film was a hit, one of Hepburn's personal favorites, and gave the actress her second Oscar nomination. She received the second most votes, after winner Bette Davis.

Given the choice of her next feature, Hepburn decided to star in George Cukor's new project, Sylvia Scarlett (1935), which paired her for the first time with Cary Grant. Her hair was cut short for the part, as her character masquerades as a boy for much of the film. Critics disliked Sylvia Scarlett and it was unpopular with the public. She next played Mary Stuart in John Ford's Mary of Scotland (1936), which met with a similarly poor reception. A Woman Rebels (1936) followed, a Victorian-era drama where Hepburn's character defied convention by having a child out of wedlock. Quality Street (1937) also had a period setting, this time a comedy. Neither movie was popular with the public, which meant she had made four unsuccessful pictures in a row.

Alongside a series of unpopular films, problems arose from Hepburn's attitude. She had a difficult relationship with the press, with whom she could be rude and provocative. When asked if she had any children, she snapped back, "Yes, I have five: two white and three colored." She would not give interviews and denied requests for autographs, which earned her the nickname "Katharine of Arrogance". The public was also baffled by her boyish behavior and fashion choices, and she became a largely unpopular figure. Hepburn sensed that she needed to leave Hollywood, so she returned east to star in a theatrical adaptation of Jane Eyre. It had a successful tour, but, uncertain about the script and unwilling to risk failure after the disaster of The Lake, Hepburn decided against taking the show to Broadway. Towards the end of 1936, Hepburn vied for the role of Scarlett O'Hara in Gone with the Wind. Producer David O. Selznick refused to offer her the part because he felt she had no sex appeal. He reportedly told Hepburn, "I can't see Rhett Butler chasing you for twelve years."

Hepburn made four films with Cary Grant. They are seen here in Bringing Up Baby (1938), which flopped on release, but has since become renowned as a classic screwball comedy.

Hepburn's next feature, Stage Door (1937), paired her with Ginger Rogers in a role that mirrored her own life—that of a wealthy society girl trying to make it as an actress. Hepburn was praised for her work at early previews, which gave her top billing over Rogers. The film was nominated for Best Picture at the Academy Awards, but it was not the box-office hit RKO had hoped for. Industry pundits blamed Hepburn for the small profit, but the studio continued its commitment to resurrecting her popularity. She was cast in Howard Hawks' screwball comedy Bringing Up Baby (1938), where she played a flighty heiress who loses a leopard while trying to woo a palaeontologist (Cary Grant). She approached the physical comedy of the film with confidence, and took tips on comedic timing from her co-star Walter Catlett. Bringing Up Baby was acclaimed by critics, but it was nevertheless unsuccessful at the box office. With the genre and Grant both hugely popular at the time, biographer A. Scott Berg believes the blame lay with moviegoers' rejection of Hepburn.

After the release of Bringing Up Baby, the Independent Theatre Owners of America included Hepburn on a list of actors considered "box office poison". Her reputation at a low, the next film RKO offered her was Mother Carey's Chickens, a B movie with poor prospects. Hepburn turned it down, and instead opted to buy out her contract for $75,000. Many actors were afraid to leave the stability of the studio system at the time, but Hepburn's personal wealth meant she could afford to be independent. She signed on for the film version of Holiday (1938) with Columbia Pictures, pairing her for the third time with Grant, to play a stifled society girl who finds joy with her sister's fiancé. The comedy was positively reviewed, but it failed to draw much of an audience, and the next script offered to Hepburn came with a salary of $10,000—less than she had received at the start of her film career. Reflecting on this change in fortunes, Andrew Britton writes of Hepburn, "No other star has emerged with greater rapidity or with more ecstatic acclaim. No other star, either, has become so unpopular so quickly for so long a time."

Revival (1939–1942)

Hepburn on Broadway in The Philadelphia Story (1939)

As Tracy Lord in The Philadelphia Story (1940), alongside James Stewart. Hepburn said of the role, "I gave her life, and she gave me back my career."

Following this decline in her career, Hepburn took action to create her own comeback vehicle. She left Hollywood to look for a stage project, and signed on to star in Philip Barry's new play, The Philadelphia Story. It was tailored to showcase the actress, with the character of socialite Tracy Lord incorporating a mixture of humor, aggression, nervousness, and vulnerability. Howard Hughes, Hepburn's partner at the time, sensed that the play could be her ticket back to Hollywood stardom and bought her the film rights before it even debuted on stage. The Philadelphia Story first toured the United States, to positive reviews, and then opened in New York at the Shubert Theatre on March 28, 1939. It was a big hit, critically and financially, running for 417 performances and then going on a second successful tour.

Several of the major film studios approached Hepburn to produce the movie version of Barry's play. She chose to sell the rights to Metro-Goldwyn-Mayer (MGM), Hollywood's number one studio, on the condition that she be the star. As part of the deal she also received the director of her choice, George Cukor, and picked James Stewart and Cary Grant (to whom she ceded top-billing) as co-stars. Before filming began, Hepburn shrewdly noted, "I don't want to make a grand entrance in this picture. Moviegoers ... think I'm too la-di-da or something. A lot of people want to see me fall flat on my face." Thus the film began with Grant knocking the actress flat on her backside. Berg describes how the character was crafted to have audiences "laugh at her enough that they would ultimately sympathize with her", which Hepburn felt was crucial in "recreating" her public image. The Philadelphia Story was one of the biggest hits of 1940, breaking records at Radio City Music Hall. The review in Time declared, "Come on back, Katie, all is forgiven." Herb Golden of Variety stated, "It's Katharine Hepburn's picture ... The perfect conception of all flighty, but characterful, Main Line socialite gals rolled into one, the story without her is almost inconceivable." Hepburn was nominated for her third Academy Award for Best Actress, and won the New York Film Critics Circle Award for Best Actress while Stewart won his only Academy Award for Best Actor for his performance.

Hepburn was also responsible for the development of her next project, the romantic comedy Woman of the Year about a political columnist and a sports reporter whose relationship is threatened by her self-centered independence. The idea for the film was proposed to her in 1941 by Garson Kanin, who recalled how Hepburn contributed to the script. She presented the finished product to MGM and demanded $250,000—half for her, half for the authors. Her terms accepted, Hepburn was also given the director and co-star of her choice, George Stevens and Spencer Tracy. On Hepburn and Tracy's first day on set together, she allegedly told Tracy "I'm afraid I'm too tall for you" to which Tracy replied, "Don't worry Miss Hepburn, I'll soon cut you down to my size." It started a relationship on screen and off that lasted until Tracy's death in 1967 with them appearing in another eight films together. Released in 1942, Woman of the Year was another success. Critics praised the chemistry between the stars, and, says Higham, noted Hepburn's "increasing maturity and polish". The World-Telegram commended two "brilliant performances", and Hepburn received a fourth Academy Award nomination. During the course of the movie, Hepburn signed a star contract with MGM.

Slowing in the 1940s (1942–1949)

In 1942, Hepburn returned to Broadway to appear in another Philip Barry play, Without Love, which was also written with the actress in mind. Critics were unenthusiastic about the production, but with Hepburn's popularity at a high, it ran for 16 sold-out weeks. MGM was eager to reunite Tracy and Hepburn for a new picture and settled on Keeper of the Flame (1942). A dark mystery with a propaganda message on the dangers of fascism, the film was seen by Hepburn as an opportunity to make a worthy political statement. It received poor notices, but was a financial success, confirming the popularity of the Tracy–Hepburn pairing.

The majority of films Hepburn did in this period were with Spencer Tracy. She later said the partnership did much to advance her career, as he was the more popular star at the time. Seen here in Adam's Rib (1949).

Since Woman of the Year, Hepburn had committed to a romantic relationship with Tracy and dedicated herself to helping the star, who suffered from alcoholism and insomnia. Her career slowed as a result, and she worked less for the remainder of the decade than she had done in the 1930s—notably by not appearing on-stage again until 1950. Her only appearance in 1943 was a cameo in the morale-building wartime film Stage Door Canteen, playing herself. She took an atypical role in 1944, playing a Chinese peasant in the high-budget drama Dragon Seed. Hepburn was enthusiastic about the film, but it met with a tepid response and she was described as miscast. She then reunited with Tracy for the film version of Without Love (1945), after which she turned down a role in The Razor's Edge to support Tracy through his return to Broadway. Without Love received poor reviews, but a new Tracy–Hepburn picture was a big event and it was popular on release, selling a record number of tickets over the Easter weekend in 1945.

Hepburn's next film was Undercurrent (1946), a film noir with Robert Taylor and Robert Mitchum that was poorly received. A fourth film with Tracy came in 1947: a drama set in the American Old West entitled The Sea of Grass. Similarly to Keeper of the Flame and Without Love, a lukewarm response from critics did not stop it from being a financial success both at home and abroad. The same year, Hepburn portrayed Clara Wieck Schumann in Song of Love. She trained intensively with a pianist for the role. By the time of its release in October, Hepburn's career had been significantly affected by her public opposition to the growing anti-communist movement in Hollywood. Viewed by some as dangerously progressive, she was not offered work for nine months and people reportedly threw things at screenings of Song of Love. Her next film role came unexpectedly, as she agreed to replace Claudette Colbert only days before shooting began on Frank Capra's political drama State of the Union (1948). Tracy had long been signed to play the male lead, and so Hepburn was already familiar with the script and stepped up for the fifth Tracy–Hepburn picture. Critics responded positively to the film and it performed well at the box-office.

Tracy and Hepburn appeared onscreen together for a third consecutive year in the 1949 film Adam's Rib. Like Woman of the Year, it was a "battle of the sexes" comedy and was written specifically for the duo by their friends Garson Kanin and Ruth Gordon. A story of married lawyers who oppose each other in court, Hepburn described it as "perfect for [Tracy] and me". Although her political views still prompted scattered picketing at theatres around the country, Adam's Rib was a hit, favorably reviewed and the most profitable Tracy–Hepburn picture to date. The New York Times critic Bosley Crowther was full of praise for the film and hailed the duo's "perfect compatibility".

Professional expansion (1950–1952)

Hepburn often worked abroad in the 1950s, beginning with The African Queen with co-star Humphrey Bogart.

The 1950s saw Hepburn take on a series of professional challenges, and stretch herself further than at any other point in her life at an age when most other actresses began to retreat. Berg describes the decade as "the heart of her vast legacy" and "the period in which she truly came into her own". In January 1950, Hepburn ventured into Shakespeare, playing Rosalind on stage in As You Like It. She hoped to prove that she could play already established material, and said, "It's better to try something difficult and flop than to play it safe all the time." It opened at the Cort Theatre in New York to a capacity audience and was virtually sold out for 148 shows. The production then went on tour. Reviews for Hepburn varied, but she was noted as the only leading lady in Hollywood who was performing high-caliber material onstage.

In 1951, Hepburn filmed The African Queen, her first movie in Technicolor. She played Rose Sayer, a prim missionary living in German East Africa at the outbreak of World War I. Co-starring Humphrey Bogart, The African Queen was shot mostly on location in the Belgian Congo, an opportunity Hepburn embraced. It proved a difficult experience, however, and Hepburn became ill with dysentery during filming. Later in life, she released a memoir about the experience. The movie was released at the end of 1951 to popular support and critical acclaim, and gave Hepburn her fifth Best Actress nomination at the Academy Awards while garnering Bogart his only Academy Award for Best Actor. The first successful film she had made without Tracy since The Philadelphia Story a decade earlier, it proved that she could be a hit without him and fully reestablished her popularity.

Hepburn went on to make the sports comedy Pat and Mike (1952), the second film written specifically as a Tracy–Hepburn vehicle by Kanin and Gordon. She was a keen athlete, and Kanin later described this as his inspiration for the film: "As I watched Kate playing tennis one day ... it occurred to me that her audience was missing a treat." Hepburn was under pressure to perform several sports to a high standard, many of which did not end up in the film. Pat and Mike was one of the team's most popular and critically acclaimed films, and it was also Hepburn's personal favorite of the nine films she made with Tracy. The performance brought her a nomination for the Golden Globe Award for Best Actress – Motion Picture Musical or Comedy.

In the summer of 1952, Hepburn appeared in London's West End for a ten-week run of George Bernard Shaw's The Millionairess. Her parents had read Shaw to her when she was a child, which made the play a special experience for the actress. Two years of intense work had left her exhausted, however, and her friend Constance Collier wrote that Hepburn was "on the verge of a nervous breakdown". Widely acclaimed, The Millionairess was taken to Broadway. In October 1952 it opened at the Shubert Theatre, where despite a lukewarm critical response it sold out its ten-week run. Hepburn subsequently tried to get the play adapted into a film: a script was written by Preston Sturges, and she offered to work for nothing and pay the director herself, but no studio picked up the project. She later referred to this as the biggest disappointment of her career.

Mid-career and Shakespeare (1953–1962)

In David Lean's romantic drama Summertime (1955). Jane Hudson is one of the roles Hepburn played in the 1950s.

Pat and Mike was the last film Hepburn completed on her MGM contract, making her free to select her own projects. She spent two years resting and traveling, before committing to David Lean's romantic drama Summertime (1955). The movie was filmed in Venice, with Hepburn playing an unmarried woman who has a passionate love affair. She described it as "a very emotional part" and found it fascinating to work with Lean. At her own insistence, Hepburn performed a fall into a canal and developed a chronic eye infection as a result. The role earned her another Academy Award nomination and has been cited as some of her finest work. Lean later said it was his personal favorite of the films he made, and Hepburn his favorite actress. The following year, Hepburn spent six months touring Australia with the Old Vic theatre company, playing Portia in The Merchant of Venice, Kate in The Taming of the Shrew, and Isabella in Measure for Measure. The tour was successful and Hepburn earned significant plaudits for the effort.

Hepburn received an Academy Award nomination for the second year running for her work opposite Burt Lancaster in The Rainmaker (1956). Again she played a lonely woman empowered by a love affair, and it became apparent that Hepburn had found a niche in playing mature, unmarried women. Hepburn said of playing such roles, "With Lizzie Curry [The Rainmaker] and Jane Hudson [Summertime] and Rosie Sayer [The African Queen]—I was playing me. It wasn't difficult for me to play those women, because I'm the maiden aunt." Less success that year came from The Iron Petticoat (1956), a reworking of the classic Greta Garbo comedy Ninotchka. Starring opposite Bob Hope, Hepburn played a cold-hearted Soviet pilot, in a performance Bosley Crowther called "horrible". The film was a critical and commercial failure, and Hepburn considered it the worst movie of her career.

Tracy and Hepburn reunited on screen for the first time in five years for the office-based comedy Desk Set (1957). Berg notes that it worked as a hybrid of their earlier romantic-comedy successes, but it performed poorly at the box-office. That summer, Hepburn returned to Shakespeare. Appearing in Stratford, Connecticut, at the American Shakespeare Theatre, she repeated her Portia in The Merchant of Venice and played Beatrice in Much Ado About Nothing. The shows were positively received.

From the trailer for Suddenly, Last Summer (1959), based on the play by Tennessee Williams

After two years away from the screen, Hepburn starred in a film adaptation of Tennessee Williams' controversial play Suddenly, Last Summer (1959) with Elizabeth Taylor and Montgomery Clift. The movie was shot in London and was "a completely miserable experience" for Hepburn. She clashed with director Joseph L. Mankiewicz during filming, which culminated with her spitting at him in disgust. The picture was a financial success, and her work as creepy aunt Violet Venable gave Hepburn her eighth Oscar nomination. Williams was pleased with the performance, writing, "Kate is a playwright's dream-actress. She makes dialogue sound better than it is by a matchless beauty and clarity of diction". He wrote The Night of the Iguana (1961) with Hepburn in mind, but the actress, although flattered, felt the play was wrong for her and declined the part, which went to Deborah Kerr.

Hepburn returned to Stratford in the summer of 1960 to play Viola in Twelfth Night, and Cleopatra in Antony and Cleopatra. The New York Post wrote of her Cleopatra, "Hepburn offers a highly versatile performance ... once or twice going in for her famous mannerisms and always being fascinating to watch." Hepburn herself was proud of the role. Her repertoire was further improved when she appeared in Sidney Lumet's film version of Eugene O'Neill's Long Day's Journey Into Night (1962). It was a low-budget production, and she appeared in the film for a tenth of her established salary. She called it "the greatest [play] this country has ever produced" and the role of morphine-addicted Mary Tyrone "the most challenging female role in American drama", and felt her performance was the best screen work of her career. Long Day's Journey Into Night earned Hepburn an Oscar nomination and the Best Actress Award at the Cannes Film Festival. It remains one of her most praised performances.

Success in later years (1963–1970)

In Guess Who's Coming to Dinner (1967), which won Hepburn her second of four Academy Awards

Following the completion of Long Day's Journey Into Night, Hepburn took a break in her career to care for ailing Spencer Tracy. She did not work again until 1967's Guess Who's Coming to Dinner, her ninth and final film with Tracy. The movie dealt with the subject of interracial marriage, with Hepburn's niece, Katharine Houghton, playing her daughter. Tracy was dying by this point, suffering the effects of diabetes and heart disease, and Houghton later commented that her aunt was "extremely tense" during the production. Tracy died 17 days after filming his last scene. Guess Who's Coming to Dinner was a triumphant return for Hepburn and her most commercially successful picture to that point. She won her second Best Actress Award at the Oscars, 34 years after winning her first. Hepburn felt the award was not just for her but was also given to honor Tracy.

Katharine Hepburn as Eleanor of Aquitaine, her third of four Academy Awards in The Lion in Winter (1968)

Hepburn quickly returned to acting after Tracy's death, choosing to occupy herself as a remedy against grief. She received numerous scripts and chose to play Eleanor of Aquitaine in The Lion in Winter (1968), a part she called "fascinating". She read extensively in preparation for the role, in which she starred opposite Peter O'Toole. Filming took place in Montmajour Abbey in the south of France, an experience she loved despite being—according to director Anthony Harvey—"enormously vulnerable" throughout. John Russell Taylor of The Times suggested that Eleanor was "the performance of her ... career", and proved that she was "a growing, developing, still surprising actress". The movie was nominated in all the major categories at the 41st Academy Awards, and for the second year running Hepburn won the Oscar for Best Actress (shared with Barbra Streisand for Funny Girl). The role, combined with her performance in Guess Who's Coming to Dinner, also received a British Academy Film Award (BAFTA) for Best Actress. Hepburn's next appearance was in The Madwoman of Chaillot (1969), which she filmed in Nice immediately after completing The Lion in Winter. The picture was a failure critically and financially, and reviews targeted Hepburn for giving a misguided performance. By the end of 1969, she was voted the most popular female star in America by Quigley's Top Ten Money Making Stars Poll, making a rare occurrence of an actress over 50 to achieve such a position.

From December 1969 to August 1970, Hepburn starred in the Broadway musical Coco, about the life of Coco Chanel. She admitted that before the show, she had never sat through a theatrical musical. She was not a strong singer, but found the offer irresistible and, as Berg puts it, "what she lacked in euphony she made up for in guts". The actress took vocal lessons six times a week in preparation for the show. She was nervous about every performance and recalled "wondering what the hell I was doing there". Reviews for the production were mediocre, but Hepburn herself was praised, and Coco was popular with the public—with its run twice extended. She later said Coco marked the first time she accepted that the public was not against her, but actually seemed to love her. Her work earned a Tony Award nomination for Best Actress in a Musical.

Film, television, and theatre (1971–1983)

Hepburn stayed active throughout the 1970s, focusing on roles described by Andrew Britton as "either a devouring mother or a batty old lady living [alone]". First she traveled to Spain to film a version of Euripides' The Trojan Women (1971) alongside Vanessa Redgrave. When asked why she had taken the role, she responded that she wanted to broaden her range and try everything while she still had time. The movie was poorly received, but the Kansas City Film Critics Circle named Hepburn's performance the best from an actress that year. In 1971, she signed on to star in an adaptation of Graham Greene's Travels with My Aunt, but was unhappy with early versions of the script and took to rewriting it herself. The studio disliked her changes, so Hepburn abandoned the project and was replaced with Maggie Smith. Her next film, an adaptation of Edward Albee's A Delicate Balance (1973) directed by Tony Richardson, had a small release and received generally unfavorable reviews.

In 1973, Hepburn ventured into television for the first time, starring in a production of Tennessee Williams' The Glass Menagerie. She had been wary of the medium, but it proved to be one of the main television events of the year, scoring high in the Nielsen ratings. Hepburn received an Emmy Award nomination for playing wistful Southern mother Amanda Wingfield, which opened her mind to future work on the small screen. Her next project was the television movie Love Among the Ruins (1975), a London-based Edwardian drama with her friend Laurence Olivier. It received positive reviews and high ratings and earned Hepburn her only Emmy Award.

In the western Rooster Cogburn (1975), where Hepburn costarred with John Wayne

Hepburn made her only appearance at the Academy Awards in 1974, to present the Irving G. Thalberg Memorial Award to Lawrence Weingarten. She received a standing ovation, and joked with the audience, "I'm very happy I didn't hear anyone call out, 'It's about time'." The following year, she was paired with John Wayne in the western Rooster Cogburn, a sequel to his Oscar-winning film True Grit. Echoing her African Queen character, Hepburn played a deeply religious unmarried woman who teams up with a masculine loner to avenge a family member's death. The movie received mediocre reviews. Its casting was enough to draw some people to the box office, but it did not meet studio expectations and was only moderately successful.

In 1976, Hepburn returned to Broadway for a three-month run of Enid Bagnold's play A Matter of Gravity. The role of eccentric Mrs. Basil was deemed a perfect showcase for the actress, and the play was popular despite poor reviews. It later went on a successful nationwide tour. During its Los Angeles run, Hepburn fractured her hip, but she chose to continue the tour performing in a wheelchair. That year, she was voted "Favorite Motion Picture Actress" by the People's Choice Awards.

During the summer of 1976, Hepburn starred in the low-budget family film Olly Olly Oxen Free. The feature failed to find a major-studio distributor and was finally released independently in 1978. Because of its poor distribution, it played in relatively few theaters, resulting in one of the biggest misfires of Hepburn's career. The screenwriter James Prideaux, who worked with Hepburn, later wrote that it "died at the moment of release" and referred to it as her "lost film". Hepburn claimed the main reason she had done it was the opportunity to ride in a hot-air balloon. The television movie The Corn Is Green (1979), which was filmed in Wales, followed. It was the last of ten films Hepburn made with George Cukor, and gained her a third Emmy nomination.

By the 1980s, Hepburn had developed a noticeable tremor, giving her a permanently shaking head. She did not work for two years, saying in a television interview, "I've had my day—let the kids scramble and sweat it out." During this period she saw the Broadway production On Golden Pond, and was impressed by its depiction of an elderly married couple coping with the difficulties of old age. Jane Fonda had purchased the screen rights for her father, actor Henry Fonda, and Hepburn sought to play opposite him in the role of quirky Ethel Thayer. On Golden Pond was a success, the second-highest-grossing film of 1981. It demonstrated how energetic the 74-year-old Hepburn was, as she dived fully clothed into Squam Lake and gave a lively singing performance. The film won her a second BAFTA and a record fourth Academy Award. Homer Dickens, in his book on Hepburn, notes that it was widely considered a sentimental win, "a tribute to her enduring career".

Hepburn also returned to the stage in 1981. She received a second Tony nomination for her portrayal in The West Side Waltz of a septuagenarian widow with a zest for life. Variety observed that the role was "an obvious and entirely acceptable version of [Hepburn's] own public image". Walter Kerr of The New York Times wrote of Hepburn and her performance, "One mysterious thing she has learned to do is breathe unchallengeable life into lifeless lines." She hoped to make a film out of the production, but nobody purchased the rights. Hepburn's reputation as one of America's best loved actors was firmly established by this point, as she was named favorite movie actress in a survey by People magazine and again won the popularity award from People's Choice.

Focus on television (1984–1994)

In 1984, Hepburn starred in the dark-comedy Grace Quigley, the story of an elderly woman who enlists a hitman (Nick Nolte) to kill her. Hepburn found humor in the morbid theme, but reviews were negative and the box-office was poor. In 1985, she presented a television documentary about the life and career of Spencer Tracy. The majority of Hepburn's roles from this point were in television movies, which did not receive the critical praise of her earlier work in the medium, but remained popular with audiences. With each release, Hepburn would declare it her final screen appearance, but she continued to take on new roles. She received an Emmy nomination for 1986's Mrs. Delafield Wants to Marry, then two years later returned for the comedy Laura Lansing Slept Here, which allowed her to act with her grandniece, Schuyler Grant.

Hepburn's final film role was in Love Affair (1994). Critics commented that the 87-year-old had lost none of her powerful screen presence.

In 1991, Hepburn released her autobiography, Me: Stories of My Life, which topped best-seller lists for over a year. She returned to television screens in 1992 for The Man Upstairs, co-starring Ryan O'Neal, for which she received a Golden Globe nomination. In 1994, she worked opposite Anthony Quinn in This Can't Be Love, which was largely based on Hepburn's own life, with numerous references to her personality and career. These later roles have been described as "a fictional version of the typically feisty Kate Hepburn character" and critics have remarked that Hepburn was essentially playing herself.

Hepburn's final appearance in a theatrically released film, and her first since Grace Quigley nine years earlier, was Love Affair (1994). At 87 years old, she played a supporting role, alongside Annette Bening and Warren Beatty. It was the only film of Hepburn's career, other than the cameo appearance in Stage Door Canteen, in which she did not play a leading role. Roger Ebert noted that it was the first time she had looked frail, but that the "magnificent spirit" was still there, and said her scenes "steal the show". A writer for The New York Times reflected on the actress's final big-screen appearance: "If she moved more slowly than before, in demeanor, she was as game and modern as she had ever been." Hepburn played her final role in the television film One Christmas (1994), for which she received a Screen Actors Guild Award nomination at 87 years old.

Personal life

Public image and character

Hepburn was known for being fiercely private, and would not give interviews or talk to fans for much of her career. She distanced herself from the celebrity life and was not interested in a social scene she saw as tedious and superficial. She wore casual clothes that went strongly against convention in an era of glamour. She rarely appeared in public, usually avoided restaurants and once wrestled a camera out of a photographer's hand when he took her picture without asking. Despite her zeal for privacy, she enjoyed her fame and later confessed that she would not have liked the press to ignore her. The protective attitude toward her private life diminished as she aged; beginning with a two-hour-long interview on The Dick Cavett Show in 1973, Hepburn became much more open with the public.

"I strike people as peculiar in some way, although I don't quite understand why. Of course, I have an angular face, an angular body, and, I suppose, an angular personality, which jabs into people."

"I'm a personality as well as an actress. Show me an actress who isn't a personality, and you'll show me a woman who isn't a star."

— Hepburn commenting on her personality.

Hepburn's relentless energy and enthusiasm for life are often cited in biographies and her headstrong independence became key to her celebrity status. This self-assurance came with a tendency to be controlling and difficult; her friend Garson Kanin likened her to a schoolmistress and she was famously blunt and outspoken. Katharine Houghton commented that her aunt could be "maddeningly self-righteous and bossy". Hepburn confessed to being, especially early in life, "a me me me person". She saw herself as having a happy nature, reasoning "I like life and I've been so lucky, why shouldn't I be happy?" A. Scott Berg knew Hepburn well in her later years and said that while she was demanding, she retained a sense of humility and humanity.

The actress led an active life, reportedly swimming and playing tennis every morning. In her eighties she was still playing tennis regularly, as indicated in her 1993 documentary All About Me. She also enjoyed painting, which became a passion later in life. Asked about politics, Hepburn told an interviewer, "I always just say be on the affirmative and liberal side. Don't be a 'no' person". The anti-Communist attitude in 1940s Hollywood prompted her to political activity, as she joined the Committee for the First Amendment. Her name was mentioned at the hearings of the House Un-American Activities Committee but Hepburn denied being a Communist sympathizer. Later in life, she openly promoted birth control and supported the legal right to abortion. She described herself as a "dedicated Democrat". She practiced Albert Schweitzer's theory of "Reverence for Life" but did not believe in religion or the afterlife. In 1991, Hepburn told a journalist, "I'm an atheist, and that's it. I believe there's nothing we can know, except that we should be kind to each other and do what we can for other people". Her public declarations of these beliefs led the American Humanist Association to award her the Humanist Arts Award in 1985.

Hepburn liked to go barefoot and for her first acting role, in the play "The Woman in the Moon", she insisted that her character Pandora should not wear shoes. Offscreen, she usually dressed in slacks and sandals, even for formal occasions, such as television interviews. She said, "the thing that drove me out of skirts was the stocking situation ... That's why I've always worn pants ... that way you can always go barefoot".

Relationships

Hepburn's only marriage was to Ludlow Ogden Smith, a socialite-businessman from Philadelphia whom she met while a student at Bryn Mawr. The couple wed on December 12, 1928, when she was 21 and he was 29. Smith changed his name to S. Ogden Ludlow at her behest so that she would not be "Kate Smith", which she considered too plain. She never fully committed to the marriage and prioritized her career. The move to Hollywood in 1932 cemented the couple's estrangement. Hepburn filed for divorce in Yucatán on April 30, 1934, and it was finalized on May 8. Hepburn often expressed her gratitude toward Smith for his financial and moral support in the early days of her career, and in her autobiography she called herself "a terrible pig" for exploiting his love. The pair remained friends until his death in 1979.

Soon after moving to California, Hepburn began a relationship with her agent, Leland Hayward, although they were both married. Hayward proposed to the actress after they had both divorced, but she declined, later explaining, "I liked the idea of being my own single self." The affair lasted four years. In 1936, while she was touring Jane Eyre, Hepburn began a relationship with entrepreneur Howard Hughes. She had been introduced to him a year earlier by their mutual friend Cary Grant. Хьюз хотел жениться на ней, и таблоиды сообщили о своих надвигающихся браке, но Хепберн оставался сосредоточенным на воскресении своей неудачной карьеры. Они расстались в 1938 году, когда Хепберн покинул Голливуд после того, как их назвали «кассовым ядом».

Хепберн придерживалась своего решения не вступить в повторный брак и сделал сознательный выбор не иметь детей. Она полагала, что материнство требует полной обязанности, и сказала, что она не хотела сделать. «Я была бы ужасной матерью, - сказала она Бергу, - потому что я в основном очень эгоистичный человек». Она чувствовала, что она частично пережила родительство через своих гораздо более молодых братьев и сестер, которые удовлетворяли любой необходимости иметь собственных детей.

Слухи существовали с 1930 -х годов, что Хепберн был лесбиянкой или бисексуалом , о котором она часто шутила. В 2007 году Уильям Дж. Манн выпустил биографию актрисы, в которой он утверждал, что это так. В ответ на это предположение ее племянница Кэтрин Хоутон сказала: «Я никогда не обнаружила никаких доказательств того, что она лесбиянка». Однако в документальном фильме 2017 года обозреватель Лиз Смит , которая была близким другом, засвидетельствовала, что она была.

Спенсер Трейси

Спенсер Трейси и Хепберн в рекламном фото для набора (1957)

Самая значимая связь жизни Хепберна была с Спенсером Трейси , ее коллегой по фильму в девяти фильмах. В своей автобиографии она написала: «Это было уникальное чувство, которое я имел для [Трейси]. Я бы сделал что -нибудь для него». Лорен Бакалл , близкий друг, позже написала о том, как «ослепительно» в любви Хепберн был с актером. Впоследствии отношения были опубликованы как одно из легендарных любовных отношений Голливуда.

Хепберн и Трейси встретились в MGM в 1941 году, когда они должны были начать снимать женщину года , когда ей было 34 года, и ему было 41 год. Трейси изначально опасалась Хепберна, не впечатляя ее грязные ногти и подозревая, что она была лесбиянкой, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но, но Хепберн сказала, что она «сразу знала, что [она] нашла его неотразимым». Трейси оставалась замужем на протяжении всего их отношений. Хотя он и его жена Луиза жили отдельной жизнью с 1930 -х годов, официального раскола никогда не было, и ни одна из сторон не преследовала развод. Хепберн не вмешивался.

Когда Трейси решила скрыть отношения с Хепберном от своей жены, она должна была оставаться частным. Они были осторожны, чтобы их не видели вместе и сохранили отдельные резиденции. Трейси страдала от сильной алкогольной зависимости и была чрезвычайно капризной и часто подавленной; Хепберн описал его как «замученного», И она посвятила себя тому, чтобы сделать его жизнь проще. Отчеты от людей, которые видели их вместе, описывают, как изменилось вся поведение Хепберна, когда вокруг Трейси. По сообщениям, она была матери и повиновалась ему, и вскоре он стал зависимым от нее. Они часто проводили значительные временные районы из -за своей работы, особенно в 1950 -х годах, когда Хепберн часто путешествовал за границу для кинотеатров.

Алкоголизм Трейси нанес огромный ущерб его здоровью, и в начале 1960-х Хепберн сделала пятилетний перерыв в своей карьере, чтобы заботиться о нем. Она переехала в дом Трейси в этот период и была с ним, когда он умер 10 июня 1967 года. Из -за рассмотрения семьи Трейси она не посещала его похороны. Только после смерти Луизы Трейси в 1983 году Хепберн начала публично говорить о своих чувствах к Трейси, хотя их отношения были открытым секретом в течение многих лет. В ответ на вопрос о том, почему она так долго оставалась с Трейси, несмотря на характер их отношений, она сказала: «Я честно не знаю. Я могу только сказать, что никогда не смогу оставить его». Она утверждала, что не знает, что он относится к ней, и что они «только что прошли двадцать семь лет вместе в том, что было для меня абсолютным блаженством».

Последние годы и смерть

Могильный камень Хепберна на Кедар -Хилл Кладбище

Хепберн заявила в ее восьмидесятых годах: «Я не боюсь смерти. Должно быть, быть замечательным, как долгий сон». Ее здоровье начало ухудшаться вскоре после ее последнего появления экрана, и в марте 1993 года она была госпитализирована для истощения. Зимой 1996 года она была госпитализирована с пневмонией . К 1997 году она стала очень слабой и говорила и ела очень мало, и было боятся, что она умрет. она показала признаки деменции . В последние годы К 2000 году ее племянница считала ее «частным человеком». В июле 2001 года она была помещена в больницу по пневмонии и инфекции мочевыводящих путей . В мае 2003 года в шее Хепберн была обнаружена агрессивная опухоль. Решение было принято не вмешаться с медицинской точки зрения, и она умерла от остановки сердца 29 июня 2003 года в семейном доме Хепберн в Фенвике, штат Коннектикут . Она была похоронена на кладбище Сидар -Хилл в Хартфорде . Хепберн попросил, чтобы не было поминальной службы.

Смерть Хепберна получила значительное внимание общественности. Многие дани были проведены по телевидению, и газеты и журналы посвящены актрисе. Американский президент Джордж Буш сказал, что Хепберн "будет помнить как одно из художественных сокровищ страны". В честь ее обширных театральных работ, свет Бродвея был погружен на вечер 1 июля 2003 года.

В 2004 году, в соответствии с пожеланиями Хепберна, ее вещи были выставлены на аукцион с Sotheby's в Нью -Йорке. Мероприятие собрало 5,8 миллиона долларов, которые Хепберн привела к ее семье.

Актерский стиль и экрана личность

"Ее лучшие фильмы были, когда она была представлена ​​как женщина на своей высокой лошади со слегка претенциозными, часто комично изложенными идеями о мире. Мужчины снести ее вниз и заставить ее показать себя довольно хорошей девушкой, спортивной и Демократические.

- Историк и критик Ричард Шикель Ричард Шикель объясняет типичную роль Хепберна и ее привлекательность.

«Мне понравилось лицо Кэтрин Хепберн на экране, независимо от того, что было сказано о ее претенциозности ...»-писатель Ф. Скотт Фицджеральд в своем раскаленном , апрель 1936 г.

Согласно сообщениям, Хепберн не был инстинктивным актером. Она любила тщательно изучить текст и персонажа заранее, следя за тем, чтобы она была тщательно их знала, а затем репетировать как можно больше и снимать множественные взгляды сцены. С искренней страстью к актерскому мастерству, она в значительной степени совершила каждую роль и настаивала на том, чтобы изучить любые необходимые навыки и самостоятельно выполнять трюки. Известно, что она изучала не только свои собственные линии, но и у ее коллег. Комментируя ее мотивацию, Стэнли Крамер сказала: «Работайте, работайте, работайте. Она может работать, пока все не упадут». Хепберн участвовала в производстве каждого из своих фильмов, вкладывая предложения для сценария и заявив о своем мнении обо всем, от костюмов до освещения до оперативной работы.

Персонажи Хепберн играли, за очень немногими исключениями, богатыми и умными, часто сильными и независимыми. Эти жесткие персонажи, как правило, смирены в той или иной форме и, как выяснили, имели скрытую уязвимость. Гарсон Канин описал то, что он назвал «формулой успеха Хепберна: высокого класса или застрявшей ... девушке опускается на землю земным типом или низкой мощностью ... или катастрофической ситуации. Кажется. Снова и снова работали ». Из -за этой повторяющейся дуги персонажа Хепберн воплотил «противоречия» «природы и статуса женщин», И сильные женщины, которых она изображает, в конечном итоге «восстановлены в безопасной позиции в статус -кво». Кино-критик Молли Хаскелл прокомментировала важность этого для карьеры Хепберна: с пугающим присутствием было необходимо, чтобы ее персонажи «делали какую-то самообеспечение, оставаться на хорошей стороне аудитории».

Хепберн - одна из самых знаменитых американских актрис, Но ее также подвергли критике за отсутствие универсальности. Ее персонажа на экране тесно соответствовала ее собственной реальной личности, что Хепберн признала себя. В 1991 году она рассказала журналисту: «Я думаю, что я всегда такой. У меня была очень определенная личность, и мне нравились материал, которые показали эту личность». Драматург и автор Дэвид Макарай сказал: «Картинка Кэтрин Хепберн в каждом фильме, в котором она когда -либо снималась, и спрашивает себя, не играет ли она, по сути, снова и снова ... икона или нет, давайте не будем запутать по -настоящему увлекательную и уникальная женщина с превосходной актрисой ». Еще одна неоднократная критика заключается в том, что ее поведение было слишком холодно.

Наследие

Хепберн, с ее нетрадиционным образом жизни и независимыми женскими ролями, которые она играла на экране (например, Тесс Хардинг в «Женбине года» , на фото), представляла эмансипированную женщину.

Хепберн считается важной и влиятельной культурной фигурой. Рос Хортон и Салли Симмонс включили ее в свою книгу женщин, которые изменили мир , что отмечает 50 женщин, которые помогли сформировать историю и культуру мировой и культуры. Она также названа в списке Encyclopædia Britannica « 300 женщин, которые изменили мир», Ladies Home Journal Книга 100 Самая важная женщина 20 -го века , Variety Magazine "100 Icons of the Century", И она является номером 84 в . списке VH1 «200 величайших поп -культуры всех времен» В 1999 году Американский институт кино назвал Хепберн « величайшей американской легендой экрана » среди женщин.

Что касается фильма Хепберна, один из ее биографов, Шеридан Морли , сказала, что она «сломала плесень» для женщин в Голливуде, где она принесла на экран новую породу воле воле. Академик кино Эндрю Бриттон написал монографию, изучающую «ключевое присутствие Хепберна в классическом Голливуде, последовательное, потенциально радикальное нарушение», и определяет ее «центральное» влияние на выведение феминистских проблем на экран.

Вне экрана, образ жизни Хепберн опередил ее время, Приходя, чтобы символизировать «современную женщину» и сыграть роль в изменении гендерных отношений. Хортон и Симмонс пишут: «Уверенный, умный и остроумный, четырехкратный победитель Оскара Кэтрин Хепберн, бросала вызов съезду на протяжении всей своей профессиональной и личной жизни ... Хепберн предоставил изображение напористой женщины, которую [женщины] могли смотреть и учиться». После смерти Хепберна историк кино Жинин Басингер заявила: «То, что она принесла нам, было новым видом героини - модерна и независимой. Она была прекрасна, но она не полагалась на это». Мэри Макнамара, журналист и рецензент по развлечениям в Los Angeles Times, написала: «Больше, чем кинозвезда, Кэтрин Хепберн была покровителем независимой американской женщины». Однако ее не повсеместно почитались феминистками, которые были возмущены ее публичными заявлениями о том, что женщины «не могут иметь все это», что означает семью и карьеру.

Наследие Хепберна распространяется на моду, где она пионера носила брюки в то время, когда это был радикальный шаг для женщины. Она помогла сделать брюки приемлемыми для женщин, и фанаты начали подражать ее одежде. В 1986 году она получила награду за достижения в течение всей жизни от Совета модельеров Америки в знак признания ее влияния на женскую моду.

Ряд фильмов Хепберна стали классикой американского кино, с четырьмя ее фотографиями ( королева африканской королевы , «Филадельфийская история» , «Воспитывать ребенка » и «Угадай, кто придет на ужин» ), представленные в списке американского института фильма « 100 величайших американских фильмов» всех времен . женщина Адама Ребро и года AFI были включены в список величайших американских комедий . Ее обрезанный, патрицианский голос считается одним из самых отличительных в истории кино.

Мемориалы

Восточная 49 -я улица в Нью -Йорке, названная в честь Кэтрин Хепберн

Хепберн был удостоен чести нескольких мемориалов. Сообщество Turtle Bay в Нью -Йорке, где она проживала более 60 лет, посвятила сад на своем имени, расположенном в Dag Hammarskjöld Plaza в 1997 году. После смерти Хепберна в 2003 году пересечение Восточной 49 -й улицы и 2 -й авеню было переименовано в «Кэтрин Хепберн Плейс». Три года спустя колледж Брин Маур, альма -матер Хепберна, запустила Центр Кэтрин Хоутон Хепберн. Он посвящен как актрисе, так и ее матери и призывает женщин решать важные вопросы, влияющие на их пол. Центр присуждает ежегодную медаль Кэтрин Хепберн, которая «признает женщин, чьи жизни, работа и вклад воплощают интеллект, драйв и независимость четырехкратного победившего в актрисе» и чьи получатели премии «выбираются на основе их обязательства и вклад в величайшие увлечения женщин Хепберн - цивистическое участие и искусство ». Центр культурных искусств Кэтрин Хепберн был открыт в 2009 году в Старом Сайбруке, штат Коннектикут , расположении семейного пляжного дома Хепберн, которому она любила, а затем принадлежала. Здание включает в себя пространство для выступлений и музей Кэтрин Хепберн, в котором представлены личные письма, фильмы, костюмы и многие личные эффекты.

Академии кинематографических искусств и наук Библиотека и в Нью -Йоркской публичной библиотеке хранятся коллекции личных документов Хепберна. Выборы из Нью-Йоркской коллекции, в которой документируется театральная карьера Хепберна, были представлены на пятимесячной выставке, Кэтрин Хепберн: в своих собственных файлах , в 2009 году. Другие выставки были проведены, чтобы продемонстрировать карьеру Хепберна. Одна жизнь: Кейт, празднование столетия, состоялось в Национальной портретной галерее в Вашингтоне с ноября 2007 года по сентябрь 2008 года. Университет штата Кент продемонстрировал подборку своих костюмов кино и театра с октября 2010 года по сентябрь 2011 года в Кэтрин Хепберн: одетый для сцены и экрана . Хепберн также была удостоена чести своей собственной почтовой маркой в ​​рамках серии маркеров «Легенды Голливуда». В 2015 году Британский институт кино прошел двухмесячную ретроспективу работы Хепберна.

Характеристики

Хепберн является предметом игры с одной женщиной, чай в пять , написанный Мэтью Ломбардо . Первый акт включает в себя Хепберн в 1938 году, после того, как ее назвали «кассовым ядом», и второй акт в 1983 году, где она размышляет о своей жизни и карьере. Премьера состоялась в 2002 году на сцене Хартфорда. Хепберн был изображен в чае в пять лет Кейт Малгрю , Това Фелдшух , Стефани Зимбалист , и Чарльз Буш . Пересмотренная версия пьесы, исключив первый акт и расширив второе, премьера состоялась 28 июня 2019 года в Бостонском театре Хантингтон, где Фэй Данауэй играл Хепберн. Фельдшух также появился в роли Хепберна в «Удивительном Говарде Хьюзе» , телевизионном фильме 1977 года, в то время как Мирл Энн Тейлор позже изобразила ее в войне Скарлетт О'Хара (1980). В Мартина Скорсезе Говарда Хьюза биографическом фильме «Авиатор » Хепберн была изображена Кейт Бланшетт , которая принесла ей премию Оскар за лучшую актрису второго плана . Это ознаменовало первое место , когда изображение самой актрисы, удостоенной премии Оскар, получила премию Оскар.

Актерские кредиты

Основная статья: Кэтрин Хепберн на экране и сцене

За 66-летнюю карьеру Хепберн появилась в 44 художественных фильмах, 8 телевизионных фильмах и 33 пьесах. Ее карьера в фильме охватывала ряд жанров, в том числе комедии «Винтбол» , «Периодные драмы» и «Адаптацию работ» ведущих американских драматургов. Она появлялась на сцене за каждые десятилетия с 1920 -х годов по 1980 -е годы, исполняя пьесы Шекспира и Шоу , а также бродвейский мюзикл .

Выберите фильмографию:

• Билль о разводе (1932)
• Утренняя слава (1933)
• Кристофер Стронг (1933)
• Маленькие женщины (1933)
• Алиса Адамс (1935)
• Дверь сцены (1937)
• Воспитывать ребенка (1938)
• Праздник (1938)
• Филадельфийская история (1940)
• Женщина года (1942)
• Состояние Союза (1948)
• Ребро Адама (1949)
• Африканская королева (1951)
• Пэт и Майк (1952)
• Лето (1955)
• Rainmaker (1956)
• Стол (1957)
• Внезапно прошлым летом (1959)
• Длинное путешествие в ночь (1962)
• Угадай, кто придет на ужин (1967)
• Лев зимой (1968)
• Любовь среди руин (1975)
• Петух Когберн (1975)
• На Золотом пруду (1981)
• Грейс Куигли (1985)
• Любовь (1994)

Выберите театральные роли:

• Муж воина (1932)
• Филадельфийская история (1939–1941)
• Как вам это нравится (1950)
• Миллионер (1952)
• Укрощение строптуры (1955)
• Мера для меры (1955)
• Торговец Венеции (1955 и 1957)
• Много шума ничего (1957)
• Двенадцатая ночь (1960)
• Энтони и Клеопатра (1960)
• Коко (1969–1970)
• Вопрос гравитации (1976–1977)
• West Side Waltz (1981)

Награды и номинации

Основная статья: Список наград и номинаций, полученный Кэтрин Хепберн

Хепберн получил четыре премии Оскар , рекордное число для исполнителя, и получила в общей сложности 12 номинаций на Оскар за лучшую женскую роль - номер, превзойденный только Мерил Стрип . Хепберн также имеет рекорд в течение самого долгого периода между номинациями на первом и последнем Оскаре, на 48 лет. Она получила две награды и пять номинаций от Британской академической премии Film Awards , одной награды и шести номинаций от премии «Эмми» , восьми номинаций на премию «Золотой глобус» , двух номинаций на премию Тони и наград от Каннского кинофестиваля , Венецианского кинофестиваля , Нью -Йорка. Криотики Circle Awards , награды People's Choice Awards и другие. Хепберн была введена в Американский зал славы театра в 1979 году. Она также получила награду «Достигнутые достижения» от премии Гильдии актеров экрана в 1979 году и получила награды Центра Кеннеди , которая в 1990 году признала целую жизнь в искусстве.

Хепберн был признан Академией кинематографических искусств и наук за следующие выступления:

Год	Церемония	Премия	Результаты	Работает/с
1934	6 -я премия Оскар	Лучшая актриса	Выиграл	Утренняя слава
1936	8 -я награда Оскар		Номинирован	Алиса Адамс
1941	13 -я награда Оскар		Номинирован	Филадельфийская история
1943	15 -я награда Оскар		Номинирован	Женщина года
1952	24 -й награды Оскар		Номинирован	Африканская королева
1956	28 -я награда Оскар		Номинирован	Лето
1957	29 -я награда Оскар		Номинирован	Дождь
1960	32 -я награда Оскар		Номинирован	Внезапно прошлым летом
1963	35th Academy Awards		Номинирован	Долгий день путешествия в ночь
1968	40 -й награды Оскар		Выиграл	Угадай, кто придет на ужин
1969	41 -я награда Оскар		Выиграл	Лев зимой (связан с Барброй Стрейзанд для смешной девушки )
1982	54 -я премия Оскар		Выиграл	На Золотом пруду

Смотрите также

• Список записей премии Оскар
• Список актеров с номинациями на премию Оскар
• Список актеров с двумя или более наградами Академии в актерских категориях
• Список актеров с двумя или более номинациями на премию Оскар в актерских категориях
• Список самых старых и самых молодых лауреатов и кандидатов на премию Оскар
• Список актеров с голливудскими
• Список звезд на Голливудской прогулке славы

Ссылки

Общие и цитируемые источники

• Bacall, Lauren (2005). Сам, а потом . Лондон: заголовок. ISBN  978-0-7553-1350-1 .
• Берг, Скотт А. (2004) [2003]. Кейт вспомнила: Кэтрин Хепберн, личная биография . Лондон: карман. ISBN  978-0-7434-1563-7 .
• Бриттон, Эндрю (2003) [1984]. Кэтрин Хепберн: звезда как феминистка . Нью -Йорк, Нью -Йорк: издательство Колумбийского университета. ISBN  978-0-231-13277-0 .
• Чендлер, Шарлотта (2011) [2010]. Я знаю, куда я иду: Кэтрин Хепберн, личная биография . Милуоки, WI: аплодисменты. ISBN  978-1-907532-01-6 .
• Кертис, Джеймс (2011). Спенсер Трейси: биография . Лондон: Хатчинсон. ISBN  978-0-09-178524-6 .
• Диккенс, Гомер (1990) [1971]. Фильмы Кэтрин Хепберн . Нью -Йорк, Нью -Йорк: издательская группа Кэрол. ISBN  978-0-8065-1175-7 .
• Эдвардс, Энн (1985). Замечательная женщина: биография Кэтрин Хепберн . Нью -Йорк, Нью -Йорк: William Morrow & Company, Inc. ISBN  978-0-688-04528-9 .
• Хавер, Рональд (1980). Дэвид О. Селзник, Голливуд . Лондон: Martin Secker & Warburg Ltd. ISBN  978-0-394-42595-5 .
• Хендриксон, Роберт (2013). Да благословит Бог Америку: происхождение более 1500 патриотических слов и фраз . Нью -Йорк, Нью -Йорк: Скайхорс издательство. ISBN  978-1-62087-597-1 .
• Hepburn, Katharine (1991). Я: Истории моей жизни . Нью -Йорк, Нью -Йорк: Альфред А. Кнопф. ISBN  978-0-679-40051-6 .
• Хайэм, Чарльз (2004) [1975]. Кейт: Жизнь Кэтрин Хепберн . Нью -Йорк, Нью -Йорк: WW Norton. ISBN  978-0-393-32598-0 .
• Хортон, Рос; Симмонс, Салли (2007). Женщины, которые изменили мир . Лондон: Quercus Publishing Plc. ISBN  978-1-84724-026-2 .
• Канин, Гарсон (1971). Трейси и Хепберн: интимные мемуары . Нью -Йорк, Нью -Йорк: Викинг. ISBN  978-0-670-72293-8 .
• Манн, Уильям Дж. (2007). Кейт: Женщина, которая была Хепберн . Нью -Йорк, Нью -Йорк: Пикадор. ISBN  978-0-312-42740-5 .
• Дикштейн, Моррис (2002). Воспитывать ребенка (1938), в списке A: Национальное общество 50 важных фильмов кинокритиков . Кембридж: да капо. ISBN  978-0-306-81096-1 .
• Придо, Джеймс (1996). Зная Хепберн и другие любопытные переживания . Бостон, Массачусетс: Фабер и Фабер. ISBN  978-0-571-19892-4 .
• Верлхак, Пьер-Хенри (2009). Кэтрин Хепберн: жизнь в картинках . Сан -Франциско, Калифорния: Книги хроники. ISBN  978-0-8118-6947-8 .

Внешние ссылки

• Кэтрин Хепберн в IMDB
• Кэтрин Хепберн в базе данных Broadway Internet Broadway
• Кэтрин Хепберн в базе данных фильмов TCM
• Кэтрин Хепберн собрала новости и комментарии в The Guardian
• Кэтрин Хепберн в библиотеках ( WorldCat ) Каталог
• Кэтрин Хепберн Бумаги в библиотеке Маргарет Херрик
• «Одна жизнь: Кейт, празднование столетия» онлайн -выставка из Национальной портретной галереи, Смитсоновский институт
• Кэтрин Хепберн Пейперы, проводимые Театральной дивизией Билли Роуз, Нью -Йоркская публичная библиотека для исполнительских искусств