Walter Burns is a conniving but irresistible newspaper publisher desperate to woo back the paper’s star reporter — who happens to be his estranged wife. She’s tired of the business and is ready to settle down with a new beau. But, as Walter well knows, she has one weakness — she can’t quite resist a juicy scoop. –Inbaseline
Although John Ford—his friend, contemporary, and the director arguably closest to him in terms of his talent and output—told him that it was he, and not Ford, who should have won the 1941 Best Director Academy Award (for Sergeant York (1941)), the great Hawks never won an Oscar in competition and was nominated for Best Director only that one time, despite making some of the best films in the Hollywood canon. The Academy eventually made up for the oversight in 1974 by voting him an honorary Academy Award, in the midst of a two-decade-long critical revival that has gone on for yet another two decades. To many cineastes, Howard Hawks is one of the faces of American film and would be carved on any film pantheon’s Mt. Rushmore honoring America’s greatest directors, beside his friend Ford and Orson Welles (the other great director who Ford beat out for the 1941 Oscar). It took the French “Cahiers du Cinema” critics to teach America to appreciate one of its own masters, and it was… read more
Note to my grandchildren: Much of the humor in this movie depends on antique ideas and technology. In those days people learned about current events by reading a "newspaper" that was printed (like today, but in 2-D) a couple of times each day. People called "reporters" were paid (really!) to collect and write "articles" of interest. To do this they sometimes needed to "call in" the information using telephones connected by wires. Because of the wires, reporters needed to rush to a place were a telephone was and shout the "copy" to someone on the other end of the wire who would use a delightfully steam-punkish machine called a "typewriter" that would mechanically punch one letter at a time onto a piece of paper. Then, through a very complex process, this single copy of the "story" would be combined with many others into and "edition". Many copies of this edition would then be made and taken to various locations. If a person wanted to read the edition they had to go to one of the locations and pay money for a copy. Once read, the copy was useless and simply discarded. Oddly enough, the reporters were considered to be glamorous role-models.
The rapid fire dialogue of Howard Hawks' newspaper satire, HIS GIRL FRIDAY, comes flying out of its actors like machine gun fire. Ferociously skewers the newspaper industry with Cary Grant as an unscrupulous newspaper man who sets out to have his ex-wife's new man arrested for things he didn't do, while a prison break drama unfolds around them. A witty, razor sharp screwball comedy with a terrific script.
Delizioso. Fa ridere davvero, grazie a un Cary Grant più istrionico e simpatico che mai (ed è stata una sorpresa per me, che non l'ho mai amato troppo come attore) e a una Rosaling Russell splendida. Howard Hawks costruisce questa commedia girandola in una manciata di set e lasciando tutto sulle spalle dei due protagonisti. Regia perfetta, pulita. Una fotografia in bianco e nero meravigliosa. Imperdibile.
The critic and filmmaker talks his wonderful new film, which opens in New York on March 1.
Apparently at a Hollywood party Howard Hawks decided to show how the Hecht- MacArthur play ‘The Front Page’ had the best dialogue of any American play ever written, he read the editor and had an actress… read review
The screwball comedy genre of the 1930s and 40s remains one of the most delightful and effervescent genres ever put to celluloid. Hawks was a master, and his particular speciality was speed. That was… read review