Summertime Shows a Different Side to Katharine Hepburn
Long before Carrie Bradshaw gave the single-and-over-thirty demographic a reputation for being independent and terrible at writing, Katharine Hepburn was thriving as a single woman with as much use for a man as a fish does a bicycle. The year was 1955 when English director David Lean took it upon himself to grab a hold of the actress' new-found popularity and present the opportunity to play against type in Summertime - a love story, travelogue, and battle cry for the single lady.
This is where the trouble starts: the push and pull within Jane is evident as she aggressively protects herself from outsiders by thrusting a camera between her body and the world at every opportunity, but chokes back tears as she yearns to be one of the carefree, lovestruck couples. It is in these moments of internal conflict that Lean brings out something rare in Hepburn - a naturalness and ease with vulnerability.
The Philadelphia Story was created for Hepburn, showcasing her wit, elegance, and the sense that she felt better than others. This is not the case in Summertime. The unexpected encounter with Renato renders Jane flustered, stumbling, and out of control. Lean presents a woman fighting the realities of age and her lot in life. There is no rom-com gloss to the scene: when Jane removes her glasses, she doesn’t become Prom Queen—she’s still a vulnerable tourist who looks her age.
'Summertime' Defies Expectations With Its Ending The hurt and anguish of years of nothingness finally explode when Hudson learns that di Rossi is married with several children, and that her new comrade, the young street urchin-cum-tour-guide, Mauro , is moonlighting as a go-between for adulterous relationships within her hotel. It is all too much for Hudson, illusions shattered about humanity, the lost innocence of Mauro, and her own inadvertent status as "the other woman.
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