His Girl Friday (1940)

When I learned about Howard Hawkes screwball comedy "His Girl Friday," one of the biggest attractions, I was told, was the fast-paced/overlapping dialogue. During this time in Hollywood, dialogue would only be spoken by one person at a time. "His Girl Friday" was one of the first films to have characters speaking at the same time, often over one another; this would create an environment that was more realistic, especially in a place such as a newspaper room. Well, if that's what Hawkes was going for, he certainly achieved it.

The best thing about the film IS the dialogue. Characters speak at a break-neck speed, throwing witticisms left and right as if they were candy. Many times, while one is laughing at one joke, they would miss another right after it. That is how quickly the jokes are thrown out in the film. Cary Grant and Rosalind Russell are great at spilling lines out seemingly without any problem. It's a real testament to how professional these two were (along with the rest of the cast) with the amount of verbal meat they had to chew; I can't think of an actor today that could possibly pull of the kind of dialogue that was given in this film.

The problem that I had with the film was that the dialogue was the ONLY great thing about it. Unfortunately, the characters and situations presented in the film had little sympathy and lack of any kind of real depth. The situation with the falsely accused murderer was handled poorly given the context of his predicament; instead of really caring about this person and really trying to help him become cleared of charges, the Grant and Rosalind characters instead used him for their own purposes in getting "the big scoop." Now, of course one can argue that that WAS the reason they treated him the way they did, my issue is that such a serious subject was handled in a supposed "comedic" fashion; as if it was OK that this falsely accused person can be treated in such a horrible way, simply because it handled comedically. The last-second deus ex machina that sealed this person's fate supports the idea that his story wasn't really handled with any kind of importance.

The thing the really hurt the film was the love triangle between the Grant and Rosalind characters, and the Rosalind's character's fiancé. We are told in the beginning of the film that Grant and Rosalind are divorcees, and Rosalind is set to marry her fiancé the very next day in Albany. Of course, in a film like this, we are supposed to root for the Grant and Rosalind characters to get together at the end. the problem is, the Grant character is such a manipulative creep that at the end of the film I found myself actually rooting for the fiancé to the win the girl. Three times in the movie, the Grant character manipulates the situation, causing the fiancé to be thrown in jail, and preventing the would-be married couple from leaving the city. This in turn gives the Grant character enough time to convince Rosalind that she will always be "a newspaperman." The Rosalind character isn't much better either. Throughout the beginning of the film, she keeps explaining to others that she is through with the newspaper business, that she wants to settle down, raise a family, and not have to deal with the daily grind of hunting down a story. Well, does settling down and having a family sound like a bad thing to you? I didn't think so. Every time she tries to leave, she gets bogged down and distracted by the story (many times through the

Fmovies: I did not expect this movie to be the way that it was, but I was blown away! A beautiful, hilarious mix of comedy, drama and heart. Cary Grant and Rosalind Russell were masters of their craft, with a palpable chemistry between their characters due to their proficiency in acting. The side characters were wonderful as well, enhancing the story without taking focus away from the main players or the plot. The cinematography was excellent, they managed to do so much within the newspaper room, where a majority of the movie takes place but it manages to never make the audience feel like they're stuck there. I didn't expect the drama but I think it very much enhanced the film, adding stakes to what was already a seat-gripping story. This truly elevated the screwball comedy genre and both Cary and Rosalind's career to new heights, delivering a sucker-punch of a performance that leaves you breathless.

Whoever had the bright idea to turn the Ben Hecht-Charles MacArthur play, The Front Page into a boy and girl comedy ought to get a Nobel Prize for comedy if such an award had been available at the time.

Of course it helps when one of your two main characters has an ambiguous first name like Hildy. Short for Hildreth when Pat O'Brien plays it, Rosalind Russell is all female in this one. Russell bites off a huge chunk of Katherine Hepburn career woman territory here and she digests it well.

She's the best reporter on the staff of the Morning Post and her editor Cary Grant doesn't want to lose her no way. At one time he even married her, but that didn't take. They're divorced now and Russell is fed up and decides she wants a home and children and security and Ralph Bellamy is going to give her all of that. Plus a home with his mother Alma Kruger for a year in Albany.

As her friendly rival reporter Regis Toomey says, there ain't no way that Russell could ever leave the newspaper game. She proves it when she goes to work on that one last assignment to cover an execution at the state penitentiary.

Even though Howard Hawks did add a romance into The Front Page he did not sacrifice one iota of the biting satire from Hecht and MacArthur. If you watch the either The Front Page or His Girl Friday or even the remake from the eighties Broadcast News you will swear the world is made up of boobs and nitwits and the only smart people around are journalists. Too often however that's proved to be the case.

Poor meek John Qualen who was listening to some radicals speaking and got caught up in the moment and accidentally shot a black police officer. Back then ethnic politics were played to the hilt and a law and order mayor, Clarence Kolb, wants to see Qualen executed. His brother-in-law, sheriff Gene Lockhart means to see the sentence is done.

Cary Grant's paper is against capital punishment at least for this poor schnook. Of course when Qualen escapes all kinds of complication arise and Russell's on the job to report them.

As he was in The Awful Truth, Ralph Bellamy is there to be the slightly befuddled doofus who loses the girl to fast talking Cary. Bellamy's performance is a brilliant piece of work itself. He's so funny because he plays the part absolutely straight and the humor falls around him.

Howard Hawks assembles a really grand cast of memorable character actors. My favorite however, brief though his scenes are is Billy Gilbert who is a messenger from the governor who is delivering a sentence commutation. The poor man gets waylaid and involved in all kinds of intrigue that is all going on over his head. You have to see him to believe how funny he is and he does it without a sneeze.

His Girl Friday successfully combines screwball romantic comedy with biting satire and no seams show it all in the stitching. It's a blueprint on how to do successful cinema comedy.

His Girl Friday fmovies. I know this is considered a classic and all but I couldn't find myself liking it all that much. I don't know but lots of people talking loudly at the same time over each others lines is just not my idea of something funny.

On top of that the movie doesn't really feature any good likable main characters. Despite the fact that I like Cary Grant and he was always able to play a likable scoundrel, his character in this movie just didn't worked out to me. He was more a very selfish character than a funny one really and more annoying than amusing. Same goes for Rosalind Russell, who basically plays the same sort of character as Grant. They really deserved each other.

The movie entirely goes for its screwball comedy elements but it forgets basically everything else. It forgets it has a story with also some romantic as well as dramatic elements in it. Because of this none of the romance and more serious intended moments within the movie just didn't ever worked out.

To be honest, I quite liked the movie in the beginning and in general I'm also fond of these type of movies, especially when they star Cary Grant but about halve way through the movie totally started to loose track and the movie became an huge fast going mess. It's pace becomes incredibly high and lots of character constantly show up and are going away again just as fast as they came. The movie at that point basically becomes more of an annoying one to watch and it doesn't get any more better when it heads toward its ending.

It's not like I hated watching this movie and it certainly does has its moments but for a movie that is considered a true genre classic, it's definitely a disappointing one.

6/10

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Cary Grant and Rosalind Russell make great sparring partners in "His Girl Friday," a remake of "The Front Page." Grant plays the conniving newspaper publisher Walter Johnson, and Rosalind Russell is the reporter Hildy Johnson, a woman this time, and Johnson's ex-wife. She's trying to get remarried, move to Albany, and quit the newspaper business, but Walter can't bear it. He cons her into helping out with a controversial death row case and then makes sure her fiancée (Ralph Bellamy) suffers a series of mishaps - arrest for stealing a watch, arrest for "mashing," arrest for counterfeiting, and the theft of his wallet. This all happens while Hildy interviews Earl Williams, a man due to be hung the next day... and then hides him in a roll-top desk in the courthouse press room when he escapes during a psychiatric evaluation.

It's madcap, all right, and there are no two better people to carry it off than Grant and Russell, who make a great team. It's a hilarious story, with the most rapid-fire, non-stop dialog ever heard anywhere, often with several conversations going on at once. It's exhausting trying to keep up with it.

Strangely, without computers and cell phones, the story of journalists working on a story holds up because the emotions and activities are realistic and still go on. It's as Hildy describes - no set schedule, no normal meals, and long hours. Nothing much has changed.

This is a frenetic comedy, and while the impending hanging of Earl Williams is certainly serious, this plot is more of an excuse to observe the machinations of Hildy and Walter - it's a subplot, though it drives the main story.

"The Front Page" is a favorite of Hollywood's, remade many times - three versions under its original title, a TV series, two TV productions, plus the film "Switching Channels." And of course, "His Girl Friday," possibly the best of all of them.

As if creating one comedic masterpiece with 1938's BRINGING UP BABY was not enough, director Howard Hawks returned to the same genre a scant two years later - and he somehow managed to rival even his own previous masterwork. Nominally a reworking Ben Hecht and Charles MacArthur's play THE FRONT PAGE, HIS GIRL Friday manages to surpass it's classic source material and emerge as one of the screen's finest comedies. The film is also perhaps the perfect example of Hawks' trademarked rapid-fire, overlapping dialogue, which has never been as fast nor as furious anywhere else before or since. This is certainly one of the fastest moving comedies ever filmed, and the whole cast never misses a beat.

Walter Burns, the conniving, self-serving newspaper editor, is a character that could have easily come off as a tyrannical jerk. As portrayed by the suave Cary Grant, however, the pompous, arrogant Burns actually becomes (gasp!) likable! It is a difficult balancing act that Grant must perform as teetering between the two extremes of the character, and he is arguably the only actor imaginable with the skill and charisma to pull such a tricky characterization off this successfully. And the one-and-only Rosalind Russell is every bit his match - full of verve and aplomb, Russell's Hildy is an independent career woman, brimming with intelligence and class, that impressively pre-dates the major feminist movement of the mid-sixties by a good 25 years.

The film's supporting cast is no less impressive, with every single role cast to perfection. This is particularly true of Ralph Bellamy, who (along with his Oscar-nominated performance in 1937's THE AWFUL TRUTH) proves once again that he is the ultimate straight man. The film contains some grim subject matter that may seem like unlikely fodder for a screwball comedy (murder, attempted suicide, and public execution are all touched upon), although the film somehow manages to deal with such topics respectfully and without sacrificing any laughs. In the end, HIS GIRL Friday is an absolutely unbeatable romantic comedy that remains wildly hilarious and comes as close to sheer perfection as any motion picture could ever hope to.