disappointment in the Midwest, as well as most other cities in the country, including NYC; to RKO's chagrin, the film's premiere in New York on March 3, 1938 at Radio City Music Hall made only $70,000 and it was pulled after one week in favor of Jezebel with Bette Davis. During its first run, Bringing Up Baby made $715,000 in the U.S. and $394,000 in foreign markets for a total of $1,109,000; its reissue in 1940 and 1941 made an additional $95,000 in the US and $55,000 in foreign markets. Following its second run, the film made a profit of $163,000. Due to its perceived failure, Hawks was released early from his two-film contract with RKO and Gunga Din was eventually directed by George Stevens. Hawks later said the film "had a great fault and I learned an awful lot from that. There were no normal people in it. Everyone you met was a screwball and since that time I learned my lesson and don't intend ever again to make everybody crazy." The director went on to work with RKO on three films over the next decade. Long before Bringing Up Babys release, Hepburn had been branded "box office poison" by Harry Brandt (president of the Independent Theatre Owners of America) and thus was allowed to buy out her RKO contract for $22,000. However, many critics marveled at her new skill at low comedy; Life magazine called her "the surprise of the picture". Hepburn's former boyfriend Howard Hughes bought RKO in 1948, and sold it in 1955; when he sold the company, Hughes retained the copyright to six films (including Bringing Up Baby). Legacy Bringing Up Baby was the second of four films starring Grant and Hepburn; the others were Sylvia Scarlett (1935), Holiday (1938) and The Philadelphia Story (1940). The film's concept was described by philosopher Stanley Cavell as a "definitive achievement in the history of the art of film." Cavell noted that Bringing Up Baby was made in a tradition of romantic comedy with inspiration from ancient Rome and Shakespeare. Shakespeare's Much Ado About Nothing and As You Like It have been cited in particular as influences on the film and the screwball comedy in general, with their "haughty, self-sufficient men, strong women and fierce combat of words and wit." Hepburn's character has been cited as an early example of the Manic Pixie Dream Girl film archetype. The