如果有人批评这部电影在一开始冒了很大的风险之后，却过于保守，这是完全可以理解的，因为这样一来，故事不仅变得越来越公式化;但这些角色似乎都是模式化的，最糟糕的是，他们自相矛盾，前后矛盾。也就是说，这里的表演无疑足以克服这些问题并弥补它们，不，完全证明发生在一些角色身上的这些看似无意义的变化和改变是合理的，最显著的是马特和克里斯蒂娜·德雷顿。我看过很多伟大的表演，他们能够提升角色，甚至整个电影。但是，坦白地说，我从未见过任何表演，不管它有多出色，能让我相信我所认为的明显的重大缺陷。让我特别欣赏这部电影的表演的是，它打开了我的眼睛，让我看到了电影故事中隐藏的一些潜在主题，这是正确理解电影的基础。如果电影中令人难以置信的真实和真诚的表演并没有给你带来同样的感受，我建议你在看电影的时候找出一些关键的主题。两个最重要的主题是;继承下来的可怕的传统和信仰，以及未被发现的伪善，都在最近卷土重来。是的，这就是这部看似简单的电影的深刻之处! Of course, the shift in Matt Drayton's attitude could have been executed way more smoothly and maturely; but the abrupt nature of the changes could be fairly, if not quite easily, taken as a reflection of the character's disorder. Spencer Tracy, in his final role, gave, for lack of a better word, a mature performance that made his character surprisingly believable despite its outwardly incompatible attitudes that made the character of Matt Drayton seem to be immensely problematic. Sidney Poitier's performance, as the handsome African-American Dr. John Prentice, is solid, steady, committed, engaging and relatable at the same time. Katharine Houghton captured the rebelliousness, impetuousness, and also the innocence of her character, Joey, so perfectly. She reminded me quite a bit of another Katharine; Katharine Ross as Elaine Robinson in The Graduate, which was, also coincidentally, released at the same year, 1967. But it's Katharine Hepburn who stole the show here with her Oscar-winning performance that I personally consider as one of the best low-key performances in a leading female role I've ever seen in film! I would be lying if I said that I found the second half of the movie half as entertaining and riveting. Nevertheless, the dialogue was much better at the second half (the final monologue is simply remarkable!) as it was at the first, which is noticeably elevated by, once again, the incredible acting. The movie is decidedly filled with stereotypical characters, but the only one that bothered me is the maid, Tillie, whom I didn't find to be funny at all; actually she is quite annoying. Her character's motivations and attitudes are justified, though. Guess Who’s Coming to Dinner is an essential classic 1960s film, and one of the best films that examine prejudice and racism; it tackles its weighty themes with surprising depth, humor and breeziness. It's also very relevant nowadays. And there is no doubt that it has major influences on hundreds of movies that came after it, especially today's. (8.5/10)
