All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
His Girl Friday
She learned about men from him!
Hildy Johnson has divorced Walter Burns and visits his office to tell him that she is engaged to another man and that they are going to get married the day after. Walter Burns can't let that happen and frames the other man, Bruce Baldwin, for a lot of stuff getting him into trouble all the time, while he tries to steer Hildy back into her old job as his employee (editor of his newspaper).
Howard Hawks' "His Girl Friday" is a whirlwind of dialogue, memorable characters, and crackling comic energy. Hilarious and exhausting, the film is a robust and quick-witted piece of entertainment that has not only stood the test of time but has proved itself as one of Hollywood's greatest-ever comedies.
The plot involves a well-shaken potion of divorce, marriage, reporters, and convicts. In the middle of it all, Rosalind Russell's Hildy Johnson and Cary Grant's Walter Burns navigate the narrative as the now-separated couple can not escape one another's magnetism. The story skewers the newspaper business, crime films, and relationships while reveling in its characters and their personalities.
As the two lead personalities, Russell and Grant are excellent. Russell offers a strong…
His Girl Friday combines all of my favorite movie things like it was made just for me:
• Ex-lover drama
• Strong female character
• Biting satire
• Witty dialogue
• Lovable and multi-dimensional minor characters
• Emotional honesty
Absolute perfection. His Girl Friday has charm and happiness coming out of its eyeballs and I want to watch it every day for the rest of my life. Unfortunately that isn't possible because my watchlist has almost 300 films on it. A girl can dream...
Thanks for recommending this to me on my classics recommendations list Antonomasia, JW Hendricks, Lise, and Noetic Hatter!
It doesn't get much better than this. The snappy dialogue is funny, smart and quick. And I mean quick. It makes The Social Network look taciturn.
Cary Grant is at his best as news editor Walter Burns who wants his ex-wife and former journalist back. Rosalind Russell is pure perfection as Hildy Johnson who wants nothing to do with her ex or the newspaper business. She wants to go live in Albany and have children with her new fiance. Walter will stop at nothing to prevent Hildy from leaving. He will be cunning, sly and play dirty if it is required.
The film also serves as a critique of the newspaper industry, showing newspaper men misquoting and outright inventing stories…
I HAVE FOUND MY HAPPY SPACE!!!!!!!!!!!!!!!!!
*exhales and twirls and somersaults off into the sunset*
Walter, you're wonderful, in a loathsome sort of way.
Howard Hawks' adaptation of the Broadway play The Front Page is best described as a piece of dialogue heaven, thanks in no small part to screenwriter Charles Lederer. It was their first collaboration together and it turned out to not only be their best, but the best film adapted from the play. No small task considering that it wasn't the first, and it would go on to be adapted in two more TV movies, a series and a feature film directed by Billy Wilder no less.
I will say this: I am pretty sure that Rosalind Russell's Hildy Johnson is why I love Lois Lane. Lois was invented before this portrayal, but every version of Lois after it wants to be Hildy Johnson chasing a source down the street -- and taking him down with a flying tackle to the legs. (Well, apart from the airheaded 50's "Superman's Girlfriend" Lois who kept dreaming about marrying Superman -- but even then we got Phyllis Coates and Noel Neill.)
Also, any film that portrays newspapermen as conniving, backstabbing, lying cheats and still sends you off wanting to be one of them has got to be doing something right.
Magic. Pure magic.
Screwball comedies are known for their insanely quick dialogue, but "His Girl Friday" takes the notion of non-stop verbiage to an entirely different level. It's peerless in its constant hilarity, the spot-on performances from its cast matching the supreme level of craftsmanship of the bitingly satirical, demigod-esque writing; a masterpiece and a classic part of American cinema.
I almost didn't watch this film. I thought that Screwball comedies were for chicks and old people. I like my Howard Hawks hard-boiled, where stunning 18 year old women lust after short, ugly, well and truly middle aged men with funny voices. But I am glad I gave it a go, I had a lot of fun.
Love is war. Walter Burns and Hildy Johnson used to be married. He also used to be her boss, she was a star reporter and he the chief editor of a top newspaper. We first meet Hildy shen she returns from a long furlough after their divorce and she comes to pay Walter a visit at the office. Straight away the verbal jousting…
Yaks a mile a minute does not necessarily equal comedic gold. Sure, Cary Grant is in peak form here, but he's underused, and something tells me Irene Dunne could have carried the Riotous Reporter Moll even further that Rosalind Russell. Howard Hawks's best comedy is probably Bringing Up Baby; he took his time to make sure every punch-line delivered and was given appropriate beats. I'd much prefer its semi-patient lunacy to His Girl Friday's outright vocal insanity. Still, it's funny as hell and well worth your time.
Also, I'm frankly disturbed by the blase manner in which the characters deal with one of the character's suicide. We get it Hawks; you're trying to skewer "soulless" reporters. But there's these words…
Guess this is what people mean by "they don't make 'em like they used to." Can't think of anything in recent years where the dialogue has this much wit and sparkle, or of any pair of actors that could pull off what Grant and Russell do here. (If you'll forgive the phrasing, this is pretty much the definition of an OTP.) Their first meeting alone in the newspaper office is just an amazing mix of old-Hollywood charisma and writing that's nothing short of miraculous. And the dialogue. This might be the fastest talking film I've ever seen, and scarcely does a line not land. While the comic virtues of the film are plain to see, it's perhaps easy to…
The rapid-fire dialogue was one of my favorite things about this film. It was so fast that I had to turn on the subtitles to keep up and I'm glad I did because I would have missed some of the details of the exchanges between Hildy and Walter. Such as when he asks her, "What do you think I am, a crook?" To which Hilty just bluntly responds, "Yes." I can't really imagine Hildy's role being played by a man as in the original play.
Even though the story revolves around the upcoming hanging of a potentially innocent man, the the film avoids being dark or upsetting - largely through the delivery of the dialogue. It's difficult to dwell too much on imagining Earl Williams' fears and the reality of the horror of death by hanging when Hildy and Walter and the other reporters are bantering amongst themselves.
Rosalind Russell is amazing. Carey Grant is the worst.
What a roller-coaster of a movie! Gives the phrase "talking a mile a minute" a whole new meaning. Such a whirlwind of dialogue, characters, exposition, anterior motives, and humor.
But during the film as I was watching it... I started to consider some real significant/meaningful questions.... Like, How is this film cut together to ensure narrative continuity? How does the film make use of the four dimensions of film editing to ensure that the spectator remains oriented in the film space?
Man I was perplexed by these seemingly random questions. But luckily, I could just passively attempt to answer them, knowing my effort or answers don't really matter.
Overall a very fast, fun, enjoyable movie that holds up today.
Una vez que se le metió esa idea a Hawks de los personajes hablando uno sobre otro nunca la dejo ir. Incluso en las escenas en las que Hildy está sola en pantalla, está hablando con dos o tres personas por teléfono, interpolando conversaciones. La cámara, por supuesto, la sigue sin interrupciones mientras se mueve de teléfono a teléfono, como en una misma conversación.
Esa velocidad con la que los personajes hablan marca el ritmo en His Girl Friday y cambia el tono de las escenas cuando se empieza a alejar de la comedia, algo que hace un par de veces. Y ni me meto en su comedia, algunos de sus chistes siguen siendo de los mejores chistes en el…