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Stanley Kramer’s morality play about mixed marriage and tolerance is as dated as a 40-year-old movie can get. And not only the theme seems stale in an age where mixed-race families raise hardly an eyebrow. The picture’s dialog, sexual prudery, and visual style (including an overdependence on rear projection, made necessary by Spencer Tracy’s ill health) must have seemed old-fashioned in 1967. But while Guess Who’s Coming to Dinner no longer works as entertainment or moral lesson, it now holds considerable interest as a relic–a preserved piece of Hollywood, and America, in transition.