Rival reporters Sam and Tess fall in love and get married, only to find their relationship strained when Sam comes to resent Tess' hectic lifestyle.Rival reporters Sam and Tess fall in love and get married, only to find their relationship strained when Sam comes to resent Tess' hectic lifestyle.Rival reporters Sam and Tess fall in love and get married, only to find their relationship strained when Sam comes to resent Tess' hectic lifestyle.
- Won 1 Oscar
- 2 wins & 2 nominations total
Ludwig Stössel
- Dr. Lubbeck
- (as Ludwig Stossel)
Jimmy Ames
- Cab Driver
- (uncredited)
Herbert Ashley
- Stage Doorman
- (uncredited)
Dorothy Ates
- Phone Girl
- (uncredited)
William Bailey
- Baseball Fan
- (uncredited)
- Director
- Writers
- Ring Lardner Jr.
- Michael Kanin
- John Lee Mahin(uncredited)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaKatharine Hepburn refused to reveal who wrote the screen play to Louis B. Mayer until after he bought the project from Hepburn. Hepburn was afraid that Mayer would low-ball the two authors (Michael Kanin and Ring Lardner Jr.) because, at the time, they were both relatively unknown.
- GoofsIn the kitchen scene, Tess uses a vacuum coffee maker (Cona) to make coffee. However, if she had put the coffee in the bottom of the coffee maker and the water in the top, as shown, it wouldn't have made coffee at all.
- Quotes
Tess Harding: [In the stands at the ballpark, observing the large crowd in attendance] Are all these people unemployed?
Sam Craig: No, they're all attending their grandmother's funeral.
- Alternate versionsThere is an Italian edition of this film on DVD, distributed by DNA Srl: "LA DONNA DEL GIORNO (1942) + INCANTESIMO (1938)" (2 Films on a single DVD, with "Woman of the Year" in double version 1.33:1 and 1.78:1), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
- ConnectionsFeatured in George Stevens: A Filmmaker's Journey (1984)
- SoundtracksBridal Chorus (Here Comes the Bride)
(1850) (uncredited)
from "Lohengrin"
Written by Richard Wagner
Played on an organ at the wedding
Featured review
Great beginning, awful ending
First 70 minutes: 9 stars. I marveled over the chemistry between Hepburn and Tracy, and even more over her character, who is a highly sophisticated, intelligent, strong, funny, and romantic woman. She calls the shots, interviews heads of state, flies all over the world, speaks what seems like every language, and can hold her own drinking Scotch. At the same time, she falls for this salty sports reporter and her body language and affection for him are so tender, including when she re-assures him that he won't feel like a weekend guest while staying in her apartment on their honeymoon night with a wonderful little hint of seductiveness, and when she says "hello daddy" in a baby voice when he comes home one night. My favorite bit of dialogue was this though, where he shows such interest and acceptance of her; the way that they look at each other is wonderful:
Hebpurn: Well, we're alone. Talk. You do have something to talk about? Tracy: Yeah, yeah. You. You. I'd like to know what you like and don't like, and how you feel about being you. Hepburn: I feel very good about it. Always have. I like knowing more about what goes on than most people. Tracy: And telling them. Hepburn: Yeah, and telling them.
Last 45 minutes: 5 stars. The film starts unraveling with Hepburn's rash decision to adopt a refugee, not because that's a bad thing (it's a great thing), but because she does so without telling her husband, or without the slightest thought to actually caring for the child. It spirals from there until that horrific prolonged ending scene, where this intelligent, brilliant woman fumbles around in the kitchen, apparently not knowing how to use a toaster. It's, quite frankly, god-awful on every possible level.
The message is loud and clear: if a woman chooses to focus on a career, she will neglect her husband, not have a clue about raising kids, and be incompetent at performing wifely tasks like making breakfast. It's terribly insulting, and undoes a lot of the great things it did in the first 70 minutes. Hepburn's character wins the "Woman of the Year" award, but it's ironically Tracy who is showcased as award-worthy, for having put up with the "difficult case" of his wife, remained level-headed, and taught her a good lesson in what it takes to have a good marriage.
The only small saving grace is that his character suggests she can have both, a career and a family, as long as she doesn't go to extremes in either. It's only too bad the film didn't simply show us how women can do this balancing just as well as men, but it was 1942, and a lot of people - including those in powerful positions - were simply not ready for this message.
Hebpurn: Well, we're alone. Talk. You do have something to talk about? Tracy: Yeah, yeah. You. You. I'd like to know what you like and don't like, and how you feel about being you. Hepburn: I feel very good about it. Always have. I like knowing more about what goes on than most people. Tracy: And telling them. Hepburn: Yeah, and telling them.
Last 45 minutes: 5 stars. The film starts unraveling with Hepburn's rash decision to adopt a refugee, not because that's a bad thing (it's a great thing), but because she does so without telling her husband, or without the slightest thought to actually caring for the child. It spirals from there until that horrific prolonged ending scene, where this intelligent, brilliant woman fumbles around in the kitchen, apparently not knowing how to use a toaster. It's, quite frankly, god-awful on every possible level.
The message is loud and clear: if a woman chooses to focus on a career, she will neglect her husband, not have a clue about raising kids, and be incompetent at performing wifely tasks like making breakfast. It's terribly insulting, and undoes a lot of the great things it did in the first 70 minutes. Hepburn's character wins the "Woman of the Year" award, but it's ironically Tracy who is showcased as award-worthy, for having put up with the "difficult case" of his wife, remained level-headed, and taught her a good lesson in what it takes to have a good marriage.
The only small saving grace is that his character suggests she can have both, a career and a family, as long as she doesn't go to extremes in either. It's only too bad the film didn't simply show us how women can do this balancing just as well as men, but it was 1942, and a lot of people - including those in powerful positions - were simply not ready for this message.
helpful•172
- gbill-74877
- Feb 25, 2020
- How long is Woman of the Year?Powered by Alexa
Details
- Release date
- Country of origin
- Languages
- Also known as
- Günün Kadını
- Filming locations
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 54 minutes
- Color
- Aspect ratio
- 1.37 : 1
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