Compare and Contrast Guess Who’s Coming to Dinner and Guess Who
It was in the year 1967 when Stanley Kramer directed the socially relevant film Guess Who’s Coming to Dinner. He casted acting legends like Katharine Hepburn, Spencer Tracey, Sidney Poitier. The film delved deep into the racial issues which haunted the times, catered with a pinch of humor and drama. It was a time when social issues like misogyny and racial discrimination were being denounced through massive social movements. The film is an artistic expression in favor of equality and promotes conscientious thought through the story and the characters.
The film portrays the story of John, a black doctor, and Joanna, a frivolous white lady who fall in love and decide to tie the knot with the benediction of their parents. The films then goes on to show the reactions of their parents to the decision of the duo and thus comments on the notions and prejudices that impede the societal progression. The adverse reaction of Joanna’s parents testifies the prevalent inequality in the American society at the time. If only John was not well-educated, he would have never been accepted as Joanna’s prospective spouse. The film addresses the issues of racism and intolerance in the course of events. Education is a compensatory factor for John’s color and John seeks to marry a frivolous immature girl. Thus, the director endeavors to create equilibrium in Guess Who’s Coming to Dinner.
Another important aspect which the film brought forth was the conception of the black people about themselves. John’s parents unsuccessfully try to pursue him in believing that he should not get married to a white girl because of the history of discretion and slavery. John tactfully and correctly counters saying, “You think of yourself as a colored man, I think of myself as a man.” (Kramer) Tillie, the black servant at the white household, reminds John of his color. Strikingly, even the blacks see themselves as different from the white in these two incidents. This is an inquiry into the notion of self-identity among the black people of America.
Although women are portrayed as figures of power in the film, the final decision regarding the marriage rests on the shoulders of the male folk of the two families. This echoes the patriarchal norms which aim to keep the female folk in immanence by their subjugation in front of the transcendence of the male.
Guess Who (2005) is a remake of the film Guess Who’s Coming to Dinner. The film is directed by Kevin Rodney Sullivan and it swaps the situation portraying the aspiring husband, played by Ashton Kutcher, as a white person who wishes to betroth Theresa, a black lady. As in the previous film, here Percy, Theresa’s father, although liberal, is taken aback on knowing the racial identity of her daughter’s boyfriend.
Percy and Simon go on to share their views on love and life in the film. The two even compete on the race course only to crash through the barriers understanding that true love transcends the discrimination of color and is actually the purest of emotion humans are endowed with. Just as it was shown in the previous film, the women in Guess Who are projected as strong and independent individuals who are in no way the reflections of their male counterparts.
The movie banteringly escalates to the conversation of its paramount message of equality and humanity. Simon’s quitting his job for marrying Theresa is a quintessential example of the commitment true love comes with. Percy is sensible enough to understand the sacrifice which has been made by Simon for his love and he brings him back, thereby reconciling the couple in a happy marriage.
Both the films are commentaries on the stigma which looms over the society and aim to expose the futility of such prejudices. Guess Who, although not released at a time of tumultuous racial discrimination, mirrors the American society. Sarcasm and humor are disguises used to point at the shortcomings of the individual identity. The messages in both the films express the omnipotence of humanity and equality. The portraiture of women characters document the contemporary societal pedestal where the women folk are placed. In their similarities and differences, Guess Who’s Coming to Dinner and Guess Who talk of grave social issues and present the ray of hope for a better society and future.
Works Cited
Guess Who’s Coming to Dinner. Dir. Stanley Kramer. Perf. Katharine Hepburn, Spencer Tracey,
Sidney Poitier. Columbia Pictures, 1967. Film.
Guess Who. Dir. Kevin Rodney Sullivan. Perf. Ashton Kutcher, Bernie Mac. Regency
Enterprises, 2005. Film.
