Katherine Hepburn rarely allows herself to be publicly subdued by anything or anybody. But Hepburn fans can experience the rare treat of seeing MGM's Dorothy Thompson subdued and emotionally thrashed into a passionately feminine woman, or at least a woman, on the U.T. review night screen tonight. In "Woman of The Year" nighty Katie starts as 1941's world-beater, a combination Luce and D.T., but ends most pleasantly as a love-stricken, even cooing bride.
But only a rip-roaring gentleman could be equal to this man size job. And Spence Tracy, virility jutting from every mannerism and word, smoothly performs the operation. As a long-suffering fellow reporter, Tracy completely neutralizes La Hepburn's international and arty aspects and ends up in love with what's left. The personality conflict between the two begins at a Dodger ball game, made even funnier by a Hepburn who thought a squeeze play was a diplomatic mancuver, and ends on the wedding night, interrupted by a Hungarian refugee, who looked about as frustrated as Tracy might have been.
Aside from the personal performances on which the movie relies, the plot is entirely able to stand alone. The individual situations, from Hepburn cheesecake (another cinema rarity) to the final all-out love scene, are well-written, perfectly handled. But the best plot in Hollywood wouldn't be able to stand up under the beating of these two personalities. The picture is theirs, and they make it the scintillating show that stems from the first class retreat of a definitely first class gal.
The second feature, England's "Target for Tonight," is one of the most successful documentaries to develop from the Allied war effort. It's plot reaches the peak of realism, consisting entirely of an actual raid on an occupied port. The characters play their roles efficiently and quictly, as well they must, for their lives depend on it. The film is the best of all possible propaganda, actual truth.