It never ceases to amaze me how one can see a film about politics made in the '30s, '40s, '50s - doesn't matter when it was made, it always seems like it was made yesterday. "State of the Union," a 1941 Frank Capra film, is another political film that comes off as very fresh. A plain speaking, likable man, Grant Matthews (Spencer Tracy) is convinced to run for President by the publisher of a newspaper, Kay Thorndyke (Angela Lansbury) who is also his mistress, and before he knows it, his words and intentions are no longer his own. Because he wants to win, he compromises and lies down with the dogs. When he stands up, he's got fleas.

Katharine Hepburn costars as Grant's wife Mary in a role intended for Claudette Colbert, and she's excellent. She got the part by sheer happenstance - she was with Tracy when Capra called to say that Colbert was out. Colbert wanted to be filmed from the left only and didn't want to work after 5. Because the studio wanted the film out before the actual 1948 Presidential election, there wasn't the time or budget to accommodate her.

All the performances in this film are marvelous. Van Johnson is very funny and charming as a newspaperman who becomes Grant's campaign manager. Adolphe Menjou is perfect as Kaye's mouthpiece who wants to go after the money people and court big business and the union heads. Lansbury is fantastic as the ambitious, cutthroat Kaye, who took over the paper from her father and knows how to use and abuse power.

By today's standards, "State of the Union" is probably too talky - Capra often has big monologues in his films, but they're always delivered powerfully. Here is no exception. A rousing film about the breakdown of idealism before political realities.

One understandably expects a lot from 'State of the Union'. Really like to love most of Frank Capra's films, with 'It's a Wonderful Life' being an all-time favourite. Have always considered Katharine Hepburn and Spencer Tracy extrenely talented actors and their pairing was deservedly legendary and one of the most famous cinematic pairings. The involvement of Adolphe Menjou and Angela Lansbury also promises a lot.

'State of the Union' may not be one of Capra's all time best, but it doesn't deserve to be merely known as a minor Capra. It is also a shame that it is one of the lesser known Tracy and Hepburn films (with them doing nine between 1942 and 1967, starting with 'Woman of the Year' and ending with 'Guess Who's Coming to Dinner' just before Tracy's death),when to me it is actually one of their best. If asked which one is my favourite, it would be 'Adam's Rib' followed by 'Guess Who's Coming to Dinner', while their weakest 'The Sea of Grass' was still watchable despite being heavily problematic. While not considering 'State of the Union' a classic as such, it is very interesting and very good still with an awful lot in its favour.

It is not the most refined of films on a technical level with some instances of uncharacteristically choppy editing.

Maybe it emphasises its points a little too much at times, so subtlety is not always there. The warmth present in other Capra films is not as strong here, though that is a comparison nit-pick.

Hepburn and Tracy however are both superb, Tracy being nicely understated but always engaged while Hepburn attacks her more interesting character without ever losing interest or going too shrill. Their chemistry really fires on all cylinders in a film that is something of a chemistry master-class. They are terrifically supported by the rest of the cast, with Angela Lansbury coming close to stealing the show in a more mature role for her at that time and never coming over as too lightweight. Menjou is his usual never less than solid self, and any tension behind the scenes between him and Hepburn doesn't come over in the film. Van Johnson stretches his comedic chops and is amusing while Lewis Stone brings dignity to his role.

Capra directs with his usual distinctive touch, never letting the film falling into corn or schmaltz though the film may lack the "warmth" of some of his other films. The story is always engaging and at its best enthralling, and the performances and the chemistry helps enormously in it coming alive. This coming alive feel is even more apparent in the clever script that crackles in wit and dazzles in sophistication, with enough insightful moments and some emotionally powerful ones, Tracy's climactic speech for one.

Overall, very good. 8/10 Bethany Cox

Lindsay and Crouse wrote this very topical play for 1946 involving the upcoming race for President. Harry Truman was thought to be a dead duck, but he crossed everyone up in 1948. The story involves the race for the Republican nomination and the current political names like Dewey, Taft, Vandenberg, Stassen, etc. are dotted throughout the film. You have to have some knowledge of American history to appreciate some of the lines and issues that are being talked about.

Spencer Tracy plays Grant Matthews, a character based loosely on Wendell Wilkie, the Republican dark horse candidate from 1940 and Katherine Hepburn his estranged wife who reconciles with him for the sake of his White House run which is being quarterbacked by Adolphe Menjou, a Republican political operative and Angela Lansbury a powerful newspaper publisher who is Tracy's mistress.

Frank Capra said that the one thing about this film that stood out was that MGM gave him a lavish budget and spared no expense. It shows and I think Capra spent it on the cast which has some very familiar movie faces and there isn't a sour note in the group.

Dated though the story is, there is one scene in it that is probably my favorite Spencer Tracy scene. It's where he's sitting down to a hamburger with Adolphe Menjou and explaining the kind of speech he wants to make that night. The speech is the views he holds and the things he wants done as President. It's pure Tracy, simple, direct, profound and it should be both required viewing for aspiring actors and politicians both. I only wish that someone with Grant Matthews ideals does run for President from some party. Ironically what he talks about are issues that are as relevant today as in 1946. That part of the film is timeless.