Bringing Up Baby (The Criterion Collection) [Blu-ray]

(8 reviews)
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4.8 out of 5.0
(8 reviews)
  • Matt

    09-08-2025

    good comedy

  • The Batman

    09-08-2025

    "Bringing Up Baby" is another feather in the Cap of The Criterion Collection and a perennial favorite here in our home. I purchased two copies, one for us and another for a family member! I have been buying Criterion Collection films since they were in Laser Disc and this one is without a doubt worthy of being a part of your collection!

Technical Specifications

    Screwball sparks fly when Cary Grant and Katharine Hepburn let loose in one of the fastest and funniest films ever made—a high-wire act of invention that took American screen comedy to new heights of absurdity. Hoping to procure a million-dollar endowment from a wealthy society matron for his museum, a hapless paleontologist (Grant) finds himself entangled with a dizzy heiress (Hepburn) as the manic misadventures pile up—a missing dinosaur bone, a leopard on the loose, and plenty of gender-bending mayhem among them. Bringing Up Baby’s sophisticated dialogue, spontaneous performances, and giddy innuendo come together in a whirlwind of comic chaos captured with lightning-in-a-bottle brio by director Howard Hawks.BLU-RAY SPECIAL EDITION FEATURESNew, restored 4K digital transfer, with uncompressed monaural soundtrackAudio commentary from 2005 featuring filmmaker Peter BogdanovichNew video essay on actor Cary Grant by author Scott EymanNew interview about cinematographer Russell Metty with cinematographer John BaileyNew interview with film scholar Craig Barron on special-effects pioneer Linwood DunnNew selected-scene commentary about costume designer Howard Greer with costume historian Shelly FooteHoward Hawks: A Hell of a Good Life, a 1977 documentary by Hans-Christoph Blumenberg featuring the director’s last filmed interviewAudio interview from 1969 with GrantAudio excerpts from a 1972 conversation between Hawks and BogdanovichTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by critic Sheila O’Malley