Most Helpful Customer Reviews
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28 of 28 people found the following review helpful:
5.0 out of 5 stars
A masterpiece in every respect, March 30, 2002
I remember seeing this film while a graduate student at West Virginia University and bursting into tears at the end because it was such a perfect and beautiful film. I now proudly own the VHS of it and have watched it several times and each time I see it, it gets better. Olivier and Hepburn are perfectly matched and the score by John Barry is incredibly beautiful. Thank goodness Katherine Hepburn made the comment on Dick Cavett's show that Olivier was one star with whom she had not acted and would like to and that George Cukor and ABC had the smarts to do
something this beautiful. It will forever remain one of my favorites and is one of the great events of TV history.
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24 of 24 people found the following review helpful:
5.0 out of 5 stars
It is love that is on trial when Olivier woos Hepburn , January 16, 2005
It is ironic that Katharine Hepburn and Laurence Olivier never made a movie together until 1975. When Olivier and Vivien Leigh suddenly decided to get married Hepburn was one of their witnesses. Hepburn always admired Olivier's acting talent, but was dismissive of him as a human being mainly because while Olivier never achieved the success in movies that he did on stage, every time Leigh would win an Oscar for an astounding performance on the screen Olivier would drag her off to do Shakespeare on the stage. Hepburn, who would end up with four Best Actress Oscars, must have wondered what performances were lost to posterity because Leigh was too busy doing legitimate theater to keep her husband happy to keep making movies.
I mention Hepburn's sentiments because ever since I read about them I have been reconsidering her performance in "Love Among the Ruins." The screenplay by James Costigan ("Eleanor and Franklin," "Eleanor and Franklin: The White House Years") really makes Olivier's character of Sir Arthur Glanville-Jones the center of the action, with Hepburn's Jessica Medicott either his goad or his distraction, depending on her frame of mind. For most of the made-for-television film she does not even remember who he is, which is exactly the thing he finds so infuriating.
Sir Arthur is a noted barrister in Victorian England, who is all in a fluster because Mrs. Medicott wants to hire him because she is being sued for breach of promise. She was engaged to Alfred Pratt (Leigh Lawson), a young man whose mother is probably half of Mrs. Medicott's age. Thinking better of such a marriage, she breaks the engagement and Pratt sues. But the reason Sir Arthur is in a tizzy is because when he was a young law student he fell in lovely with a young actress he named Jessie. They were going to be married, but she ran off to become a famous actress. Now she has come back into his life after decades have past, and she has no memory of him whatsoever and thinks he might be suffering from some sort of mental problems every time he tries to jog her memory.
Olivier and Hepburn, who both won Emmys along with director George Cukor, are given rare opportunities to play things broadly and take full advantage of the situation. He is running around all over the place like a teenager in love and she is trying to sail through this difficulty as if she were a ship of state. In court Sir Arthur has to deal not only with his opponent, J.F. Devine (Colin Blakely), but his stubborn client, who refuses to listen to his advice or answer his question when he asks her age (she ignores it because she considers it rude). The "ruins" of the title, of course, are Sir Arthur and Mrs. Medicott (Robert Browning wrote a poem of that title as well), and our long wait for the moment when she finally remembers him, or at least admits to the fact, is well worth it.
"Love Among the Ruins" originally aired on March 6, 1975, and remains as delightful as it was way back then. It is not just because it features two of the greatest actors of the 20th century, but also because it resonates with everyone who remembers their first great love and who would give just about anything if they came back into our lives and admitted we were the great love of their life as well (it is also hard not to watch Olivier and Hepburn together and wonder what it would have been like if they had done something together when they were each in their prime). Beyond that, this movie is utterly charming without devolving into abject cuteness, which is not surprising given the major talents involved.
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20 of 20 people found the following review helpful:
5.0 out of 5 stars
Wonderful, old-fashioned romantic farce with elderly stars., July 27, 2004
From the romantic waltz which opens this delightful comedy (and recurs throughout), to a satisfying conclusion one is more accustomed to seeing with young stars of 1950's musicals, this is classic romantic comedy. The only difference is that the stars here are in their late sixties and the happily-ever-after they dream about may be short-this is, after all, love among the "ruins." Set in 1911, as the Edwardian Period ends, this made-for-TV comedy of manners, directed by George Cukor, features Kathryn Hepburn at her manic and exaggerated best, and Sir Lawrence Olivier as her overwhelmed advocate. Hepburn plays Jessica Medlicott, a wealthy widow whose very young ex-fiancé is suing for breach of promise. Fey, flighty, and fully conscious of her dramatic impact, Hepburn hires Sir Arthur Glanville-Jones (Lawrence Olivier) as her court advocate to defend the lawsuit.
Glanville-Jones has never recovered from his three-day affair with Jessica forty years before, when he was a law student in Toronto and she was an actress. Parting reluctantly, when he had one more year of school, he discovered she had just married a much older, very wealthy, British aristocrat when he graduated. Glanville-Jones has remained true to her memory, but though he recognizes her immediately, she has no recollection of him. As the case evolves, the viewer observes the elderly Glanville-Jones suffering momentary lapses as he recollects his love for Jessica. She, in turn, shows herself to be vulnerable and lonely, but vain enough to want to preserve the aura of youth. Her insistence that she does not know him balances his hopefulness, and offers golden opportunities for Hepburn to work her wiles and for Olivier to fall for false hopes.
No one who has reached senior-citizenhood will be able to resist either the concept or the acting of Olivier and Hepburn, as memories of love and passion are rekindled. "Love is on trial here," Olivier declares, and when he quotes Dr. Johnson, describing love as "the wisdom of the fool and the folly of the wise," we understand him. The climax of the court case, in which Olivier is most passionate, reverses the expectations of the audience at the expense of Hepburn, but we also understand her passionate desire to remain youthfully involved with life. Cukor has elicited commanding performances from his stars, especially Hepburn, and he and writer James Costigan have provided them with a vehicle which reveals that love and passion do not die at age forty. Beautifully photographed, with lovely, repeating musical themes, Love Among the Ruins gives new life to old age. Mary Whipple
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