Guess Who's Coming to Dinner (1967)

Christina Drayton: [to her assistant, Hilary, in the driveway] Now I have some instructions for you. I want you to go straight back to the gallery - Start your motor - When you get to the gallery tell Jennifer that she will be looking after things temporarily, she's to give me a ring if there's anything she can't deal with herself. Then go into the office, and make out a check, for "cash," for the sum of $5,000. Then carefully, but carefully Hilary, remove absolutely everything that might subsequently remind me that you had ever been there, including that yellow thing with the blue bulbs which you have such an affection for. Then take the check, for $5,000, which I feel you deserve, and get - permanently - lost. It's not that I don't want to know you, Hilary - although I don't - it's just that I'm afraid we're not really the sort of people that you can afford to be associated with.
[Hilary opens her mouth to say something]
Christina Drayton: Don't speak, Hilary, just... go.

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Tillie: I don't care to see a member of my own race getting above himself.

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Matt Drayton: When I had ice cream before, I had a special kind of flavor that I liked very much but I can't remember what it was.
Carhop: I'll bring you the list, sir.
Matt Drayton: Oh no. You - you must know what it is.
Carhop: Daquiri Ice, Honeycomb Candy, Cocoa, Coconut, Jamocha Almond Fudge, Mocha Jamocha, Peanut Butter & Jelly, Cinnamon, Banana Mint...
Matt Drayton: Must've been some other place.

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This film was instrumental in largely ending the marketing consideration of how films featuring African-American characters and themes were assumed to be likely rejected by mainstream audiences in the Southern States of the USA. In that regard, the film was such a major widespread success throughout the entire USA, including the South, that the marketing factor would never again be considered a major problem for any major film release.
When the movie was conceived and launched by producer-director Stanley Kramer, one of Hollywood's greatest liberal movie-makers, intermarriage between African Americans and Caucasians was still illegal in 14 states. Towards the end of production, the U.S. Supreme Court handed down its decision in Loving v. Virginia. The Loving decision was made on June 12, 1967, two days after the death of star Spencer Tracy, who had played a "phony" white liberal who grudgingly accepts his daughter's marriage to a black man. In Loving, the High Court unanimously ruled that anti-miscegenation marriage laws were unconstitutional. In his opinion, Chief Justice Earl Warren wrote, "Marriage is one of the 'basic civil rights of man,' fundamental to our very existence and survival. To deny this fundamental freedom on so unsupportable a basis as the racial classifications embodied in these statutes, classifications so directly subversive of the principle of equality at the heart of the Fourteenth Amendment, is surely to deprive all the State's citizens of liberty without due process of law. The Fourteenth Amendment requires that the freedom of choice to marry not be restricted by invidious racial discriminations. Under our Constitution, the freedom to marry, or not marry, a person Sidney Poitier, born February 20, 1927; was only 13 years younger than the actor portraying his father, Roy Glenn, born June 3, 1914, and only 7 years younger than the actress portraying his mother, Beah Richards, born July 12, 1920. However, Katharine Houghton, born March 10, 1945 was appropriately age spaced with the actors portraying her parents, Spencer Tracy, born April 5, 1900 (45 years older), and Katharine Hepburn, born May 12, 1907 (38 years older).
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