The classic actor Katharine Hepburn called “awfully good”
Combing through the history books of Hollywood, Katharine Hepburn emerges as a distinctive, pivotal figure. Hepburn’s trajectory in the cinematic world was a blend of rebellion and unique charm, adopting pants in an era when skirts were de rigueur and adamantly preserving her autonomy in a system that frequently sought to control its luminaries. Her career, which unfolded over 60 years, was marked by four Academy Awards for ‘Best Actress’, a testament to her prevailing power on screen.
Hepburn’s roles often mirrored her fiery, independent spirit, such as portraying the strong-willed Tracy Lord in The Philadelphia Story or the fiercely independent Rose Sayer in The African Queen. Her ability to delve into her characters brought them vibrantly to life, contributing significantly to the films that continue to be celebrated today. Despite her unequivocal success, there remained a contemporary, a peer, who could match her in both talent and star power: Bette Davis.
With a career that spectacularly paralleled Hepburn’s, Davis also walked through Hollywood, leaving indelible footprints. Her roles often showcased a complex, strong-willed woman, culminating in riveting and compelling performances today, such as the fearless yet deeply complex Margo Channing in All About Eve. However, there was a pervasive narrative constructed by media and fans alike during their careers, much like the beef between Joan Crawford and Davis, which suggested a rivalry between the two actors.
In stark contrast to that classic tale, however, Hepburn’s own words tell a different story. During a conversation on The Dick Cavett Show, when prompted by the host about her thoughts on Davis, she simply offered, “She’s awfully good”. This succinct and genuine praise from one Hollywood legend to another, given Hepburn’s straightforward nature, provided a glimpse into the mutual respect possible – despite the attempts of the press to suggest otherwise.
Davis’s foray through the cinematic world was similarly impressive. Her journey witnessed iconic roles in films such as Jezebel and Whatever Happened to Baby Jane? – accruing accolades and establishing herself firmly as a powerful performer who could carry a movie on her shoulders and set an example for leading ladies for decades to come.
Davis earned ten Academy Award nominations, securing two wins during her acting tenure. Both actors continued to work in their twilight years, demonstrating a dedication to their craft that never waned. Hepburn’s final screen appearance was in 1994’s Love Affair, while Davis graced the screen for one last time in 1989 for Larry Cohen’s Wicked Stepmother.
Unlike many other prolific performers of their era, Hepburn and Davis both forged paths that felt inherently singular to them, unapologetically fierce and unwavering in their dedication, without the spectacle of public disdain for one another. Their final films, understated exits from a world they once dominated, serve as humble adieus to illustrious careers – but not goodbyes to the legacies that endure.
