When I was a teen, I became drawn to the rich, lush furry patterns of a leopard print. It felt to me very ritzy. It made me feel like royalty. My favorite color of purple fit right in against those spots. I was a hat person as well. The wider the brim the better, but I also loved a tight fitting cloche or beret. These looks must have pierced the theatrical strings across my soul. I was and still am hooked on creating a character merely by a piece of fabric. It says more about who a person is than pages of dialogue.
I remember one of the best shopping days of my past. I found a three-quarter length coat hiding on a rack at Macys. This was incredible especially since it was in Phoenix, Arizona in late summer no less. I snatched it off the hanger. I had to have it, and it came with a special addition…a leopard, beret to match with a pointy tip on top. It was the best shopping day ever. I couldn’t wait for the weather to turn cool. I can’t say the word, cold, because Phoenix is never cold. I wore that coat most every day during “winter” throughout all four years of college. In the warmer months, I projected a hippie look and when it was cooler, I sported a mysterious 40’s style of dress with my wide collar popped up against the back of my neck, my beret in place, and the leopard coat ties pulled tightly around my waist. Oh, I thought I was cool and even imagined a CASABLABLANCA vibe during those final film seconds as Ingrid Bergman left Humphrey Bogart at the airport. I believed I looked hot. I was such a fickle teen at times.
I kept that coat and beret until they fell apart from wearing them so much. My second husband remembers the leopard coat when he first met me in 1993. It was after all a staple to my wardrobe for close to forty years. If that coat could talk…yikes! It always amazed me that my daughter, Ilisa Rae, had a love affair with a leopard print too. Throughout her too short life, she would wear leopard pajamas, big, leopard, furry slippers, carry leopard purses, flash leopard sunglasses, blouses, pants, dresses, and even, loose fitting caftans. But her most prized possession was her short, leopard jacket. She found it one day at a thrift store and had to have it. I totally understood. She said leopard made her feel alive and joyous. I understand that as well.
When I was a young child, my Mom and I watched the crazy, slapstick comedy movie, BRINGING UP BABY. There were not one, but two real leopards starring in the film. Perhaps a seed was planted then for the beginning of my lifelong, leopard infatuation. Who knows? But I do know I did my part in sharing that movie with my daughter whenever it was available on television. Ilisa and I reveled with great delight watching Baby leap across the screen. We would smile broadly, since you know we were both attired in our leopard best.
BRINGING UP BABY got off to a very slow start financially in 1938. The film starred Katharine Hepburn (THE PHILADELPHIA STORY, ON GOLDEN POND) as Susan, and Cary Grant (CHARADE, ARSENIC AND OLD LACE) as David. This was the second of four movies this dynamic duo would make together and Hepburn’s first comedy. Hepburn was rather unsure of herself when it came to comedic roles especially those that bordered in Vaudeville’s lane of physical humor and specific timing. She sought extra advice from others to create the correct path for the eccentric, babbling Susan. Hepburn thought she was a poison pen at the box office, which goes to show how wrong she was about her acting abilities. Actors can be very insecure no matter how many Oscars they have received. Grant had the same insecurities as well. He was not sure how to play the easily befuddled David on screen. Luckily, they were both in the very capable hands of director, Howard Hawks (RIO BRAVO, TO HAVE AND HAVE NOT). He was known for his comedic genius. He told Grant his role was inspired by the silent film legend, Harold Boyd, and he shared to Hepburn that her character was written specifically for her after the writers saw her performance in a John Ford movie. This was all Grant and Hepburn needed to hear. Hawks was able to guide them both through every onsane, zany schtick and gimmick. Yet, BRINGING UP BABY did not receive one Oscar nomination.
The timing was critical for this film. Without an audience in the studio while filming, the entire ensemble had to silently listen and wait for the exact cues to sling their comedic bullseye banter. The pacing was breathless and worked like a charm. Their hurried, frenzied dialogues helped the fight or flee moments especially when dealing with two real leopards on set. Even though the large cat was considered tame, Hawks felt it imperative to film the actors without the 4-legged creature around. Then he would use still photography shots to put Baby in place in each frame. This was done in every car scene and whenever close-up action was necessary. Hawks knew Hepburn was especially fond of the leopard, but didn’t want to take any chances. On the other hand, Grant was extremely nervous around the leopards. It was reported that he ran out of his dressing room trailer hysterically screaming when Hepburn put a stuffed leopard in the air vents. It looked real to Grant, and out the door he went. It was meant to be a practical joke, but not very funny in the end.
The distracted, spontaneous dialogue and action from Susan was the perfect fit for David’s hesitant, Melba toast like demeanor. What audiences might not realize is Susan actually knew what she was doing every step of the way along their character’s romantic journey. Poor David was just a pawn against Susan’s womanly wit and wiles. He never had a chance whether he wore his glasses or not. The scene where Susan’s elegant gown was torn revealing her under garments was an ad-lib moment from Grant. This actually happened to a friend of his in real life, but in BRINGING UP BABY, the chaos was taken to an extreme level of physical comedy. It was sheer perfection as they strutted her back to his front out the restaurant door.
George, the barky terrier, was an adorable asset as well to pump up more, loud, electrifying energy whenever possible. George was played by Asta, the cute pooch featured in THE THIN MAN franchise. He was a pro always hitting his mark every time for the camera. His bark was annoying and unforgettable any time he was on screen.
BRINGING UP BABY is a fine example of a screwball, comedy classic. It brought to the theaters exactly what the public needed at such an intense historical time. The world was sitting on a powder keg. What better way to give the public a few seconds of non-stop laughter. Hawks knew this and it propelled this beloved ridiculous piece of celluloid to penetrate the people’s funny bone. Did it solve the world situation? Of course not, but it allowed everyone to breathe if only for a short moment. Sometimes this is all any of us can do when faced with insurmountable turmoil.
BUB also opened the gates for more unusual love stories to be told. Whenever I watch this film, my brain is constantly triggered by all the leopard spots. I think of my mom and I sitting on our old couch watching late at night together. I think of my cherished coat and beret, but most of all, I remember my dear daughter and her over-the-top anything leopard passion. I see her and I going to the stores in search for more. My eyes might be glistening, but these memories make me smile.
BRINGING UP BABY is available on TCM.
