His Girl Friday

It's the kind of thing I would have attempted when bored and 16 but I kind of treasure it. It quotes lots of the reviews too (classifying them into 'good' 'bad' and 'mixed'. Good place to see Kael etc's views all side by side. There's some guy (someone Simon? I'm thinking Neil Simon but that must be wrong) who seems to have never written a good review.

Anyway, Tookey expressed surprise at 'His Girl Friday' topping it, but it was one of those films that no one seemed to take exception to, and would perhaps win ILE's A film that everyone likes and everyone's seen thread if it weren't for the first bit. I've never seen it, for example..

General thought on HGF: "Why did such a consummate Movie Man as Hawks make a film [albeit adapated from a play] that eventually succumbs so heavily to Staginess?" The answer might be a path beyond auteurism.

That's him - 'thug critic'. I like that. Who are the thug critics of ILX?

Theater and film critic for various publications in the 1960s who became known as the "critic you love to hate" because of his often vitriolic but always entertaining (and usually intelligent) attacks both on filmmakers and on other critics. He is also noted for his frequent hostile verbal attacks on performers' physical characteristics.

      While Andrew Sarris championed the auteur/director and Pauline Kael raised the anti-auteur, pro-star, all-American banner in opposition to that foreign theory, Simon castigated both from a broader, older cultural perspective. Their battles were news in the 1960s and 70s and helped to form a new film culture in the US.  

Maybe he was America's Leslie Halliwell.

Hawks actually studied engineering at Cornell, I believe. He built and raced cars all his life. I think this training comes through in the utilitarian quality of his films' style--unshowy, unfussy, but perfectly to the point. That is, smoothly engineered.

He got into pictures almost by accident, like a lot of filmmakers of his generation (even Ford sort of stumbled into it thanks to his actor brother). I think he started as an assistant but I can't be sure (he discusses this in one of Peter Bogdanovich's interview books). Hawks was pretty self-effacing. He would occasionally say which of his films turned out to his liking but was famously hesitant to discuss details, thinking them boring. (His reticence didn't have the edge that Ford's had, because I don't think the more-patrician Hawks had a lot of insecurities about the value of his life's work.)

Anyways, if you like His Girl Friday you will adore Twentieth Century--similar style, even more perfectly executed. My favorite Hawks comedy though is Gentleman Prefer Blondes.

And you gotta love "I cloooooooooose the iron door on you!"

is there a more heartless movie

?

that's a compliment!

Oh, totally. But the movie seems v aware of the callousness of the main pairing and i'm not sure in an approving way.

Waiting for darraghmac to weigh in on The Awful Truth.

capn save a Bellamy

Pretty sure it is in an approving way. Screwball loves that type.

you know that in the play it was two men, right?

In her autobiography, Life Is A Banquet,[7] Russell wrote that she thought her role did not have as many good lines as Grant's, so she hired her own writer to "punch up" her dialogue. With Hawks encouraging ad-libbing on the set, Russell was able to slip her writer's work into the movie. Only Grant was wise to this tactic and greeted her each morning saying, "What have you got today?"

Awesome.

premiered 75 years ago today

http://thefilmexperience.net/blog/2015/1/11/excuuuuuuuze-me-will-ya-im-talking-to-him.html

Reminds me that I should resurrect that '30s film poll I started years ago.

Oh wait, this was 1940.

Well. I should still resurrect that poll.

eh by some standards 1940 was part of the 1930s. one of the best movies -- or the best anythings -- ever done.

Imagine opening a movie w/ big director/stars on January 11 today

Was just reading a David Thomson piece where he compares That Obscure Object of Desire to a Hawks movie and calls the Bunuel His Girls Friday, which made me smile.

is there a more heartless movie?

May I recommend the newly digitized 1931 first filming of The Front Page? Merely first-rate where HGF is a stone classic, its supporting cast is just a hairsbredth behind the Hawks (Edward Everett Horton, Frank McHugh, Mae Clarke, Slim Summerville), and Lewis Milestone works in some 180- and 360-degree dolly shots. Also has some pre-Code delights from the play, which Hawks couldn't do. With Pat O'Brien as Hildy and Adolphe Menjou as Burns ("Now listen, tramp!").

when i watched this most recently i did find myself thinking about the heartlessness of it. like, there's something deeply off about their interactions with the killer guy, and about how he sits rather awkwardly with the remarriage plot. i will watch the front page, i guess

i saw The Front Page staged at Lincoln Center 25+ years ago and John Lithgow was a super Walter Burns.

in the '31 film, the sheriff hands one of the journos a press release and asks "Aren't you gonna use it?" The guy says "Sure" as he walks into the toilet.

there's a Broadway revival of The Front Page this fall starring John Slattery and Nathan Lane; like me, you may instantly wonder, TWO Walter Burnses...?

Lane is playing Burns, Slattery Hildy (too old). I hope they keep all the ethnic/racial invective of the original. John Goodman and Robert Morse are also in the cast.

Just saw yr rec of nine months ago, will check out thks

Saw this today, in a 35mm double-feature with Notorious. Grant city! This was so great though, man what amazing dialogue and timing from both of the leads. One of those things where you just get lost in the repartee because if you actually paused to consider what the characters are doing and trying to accomplish, they all turn out to be kind of, yes, heartless cynical monsters. That's charming when they're just chasing scoops, but it gets really weird when a couple of sympathetic (but vaguely-sketched) supporting characters' lives are at stake and over the course of things it becomes clearer that our heroes treat them as pawns (rather than, as we expect, discovering that they both really have hearts).

None of that was as distracting and disappointing as the two pointless jolts of racism tossed in, one of which figures directly in the core of the plot: the original crime of the white defendant is killing a black police officer, which is a political football because of the importance of the "colored vote" but not because anybody actually sincerely cares whether the guy's legitimately guilty or legitimately insane. The dead man is never mentioned again. I gather that the whole thing is just taken wholesale from the original Broadway Front Page, but while they were making Hildy into a woman they might have also changed this really unfortunate premise. Sigh.

not in 1938 they wouldn't

it is true to the era and the tabloid ethos, as Hecht & MacArthur intended

i believe the language is a lot worse in the play and the '31 film

Yeah, my limited Googling backs up that last point.

Criterion essays on HGF and the '31 Front Page (packaged together in the new release):

https://www.criterion.com/current/posts/4380-his-girl-friday-the-perfect-remarriage

https://www.criterion.com/current/posts/4382-the-front-page-stop-the-presses

Sragow on TFP:

Now it’s possible to appreciate this movie’s colloquial punch and showbiz razzmatazz without having to make allowances for dead spots or busted tempos. As a fan of the play, I had always wondered why “Pocahontas” became “Lady Godiva” in a riff about a Peeping Tom, why a male doctor dubbed the Electric Teaser for treating wives with a jolt of electricity became a Swedish masseuse doing the same for husbands, and why New York newsmen were not called “lizzies” but instead said to “use lipstick.” (As it turns out, one bizarre, witless vulgarity—a gentleman of the press giving the middle finger to the mayor—appeared only in the general foreign version.)

What’s most elating about Milestone’s preferred cut is not merely the restitution of more authentic language but the reclamation of more vibrant rhythms and images. Mark Twain said, “The difference between the almost right word and the right word is really a large matter—’tis the difference between the lightning-bug and the lightning.” The same goes for visual compositions. In this Front Page, the right shots take the place of the almost right shots—and the result is galvanizing. When the lens takes in a two-shot of opposing journalists instead of a wide shot of the entire company, or when a star reporter who’s “going New York” spits out his new address to his colleagues, then writes it on the wall in one unbroken move—instead of delivering his speech in a flat profile—it’s not just great “filmed theater,” it’s also a real live movie.

Billy Gilbert!

https://www.criterion.com/current/posts/6226-the-funny-man-with-the-pardon-billy-gilbert-in-his-girl-friday

Rewatched las night, Gold (though I do prefer the ending (and last line) of The Front Page.