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...that has soldered Norman and Ethel Thayer to each other, with complementary quirks and habits, tolerance and humor, love and concern. The time it takes to bind wounds the generations can inflict on each other?Norman and his daughter, Henry and his Jane. The time Henry Fonda and Katharine Hepburn have taken to travel their separate roads to this special union. The time on the screen that displays the deceptively easy effects of two actors, two half-centuries committed to getting it right in the theater and the movies. It is about this time?now?when two careers that might...

Author: /time Magazine | Title: Cinema: Two Who Get It Right | 11/16/1981 | See Source »

...77th year, Fonda has published his autobiography (with Howard Teichmann as his Boswell). Though disabled by serious heart disease, he still hopes to appear on Broadway next year as F.D.R.'s confidant Harry Hopkins. In her 75th year, Hepburn is magnetizing the attention of Philadelphia theatergoers in The West Side Waltz, prior to its Broadway opening next week. The play, written by On Golden Pond's Ernest Thompson, takes its own sweet three-quarter time to penetrate the twilight life of a Manhattan widow, but Hepburn triumphantly skirts sentimentality, displaying her radiance even as her character limps, hobbles and crawls...

Author: /time Magazine | Title: Cinema: Two Who Get It Right | 11/16/1981 | See Source »

...have looked threatening, even mannish. She was the most aggressive and patrician of the '30s liberated ladies, and moviegoers wanted some extraordinary ordinary guy to sweep her off her pedestal and bring her down to earth. In the '30s that man was Gary Grant, a spirit as blithe as Hepburn's and a lot breezier. In the '40s and beyond, it was Spencer Tracy, the stolid, sensitive man of whom Laurence Olivier said: "I've learned more about acting from watching Tracy than in any other way." Tracy and Hepburn may have seemed intractable opposites?the anchor and the billowing...

Author: /time Magazine | Title: Cinema: Two Who Get It Right | 11/16/1981 | See Source »

...things, on the evidence of Hepburn's films of the '50s and '60s: the lonely triumph of spinsterhood (Summertime, The African Queen, The Rainmaker), the sad declineinto dementia (Suddenly Last Summer, Long Day's Journey into Night). These later roles gave her the opportunity to soar, and she played each lovely chance to the hilt, whether she was getting morosely drunk over a lemonade in Pat and Mike (1952) or losing herself in heroin and reverie as O'Neill's Mary Tyrone...

Author: /time Magazine | Title: Cinema: Two Who Get It Right | 11/16/1981 | See Source »

...Hepburn fashioned a career as distinctive as any in screen acting, and if there are reservations to be stated about her work, they must come from the source. "With all the opportunities I had," she says today, "I could have done more. And if I had done more, I could have been quite remarkable...

Author: /time Magazine | Title: Cinema: Two Who Get It Right | 11/16/1981 | See Source »

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