All the films from all the editions, including those subsequently removed, presently totalling 1154. 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).
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 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.
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 HAVE FOUND MY HAPPY SPACE!!!!!!!!!!!!!!!!!
*exhales and twirls and somersaults off into the sunset*
Going into finally seeing this classic screwball comedy for the first time ever, I knew I was in for fast-paced dialogue and endlessly fresh verbal wit. The film certainly didn't disappoint on those fronts. Rarely have I seen a movie so brilliantly demonstrate the possibility of dialogue as pedal-to-the-metal action; I'm still reeling from having all that overlapping dialogue blast into my face for such a sustained period of screen time, especially in its second half!
I hadn't, however, expected its cynicism to be so wounding. This is hardly a sentimental glorification of journalism as a noble line of work where the rewards are worth the personal risks (basically, it's everything Ron Howard's 1994 The Paper was not). If anything,…
Is it possible for dialogue to be too fast and snappy? I feel like this film is so up my alley and yet I'm still not crazy about it.
There's a lot to be said positively about His Girl Friday, such as the lovely (surprisingly subtle) comedic performance from Roz Russell, the insanely fast dialogue that stays fresh throughout, and the surprisingly in depth commentary on journalism that shines through throughout the film. But for some reason I could never quite break through the artificiality of the whole affair, which while amusing also felt a bit stilted and planned out for me. It just didn't always come together organically for me, especially due to Cary Grant, whose performance feels too calculated and mapped out for me. Still, this is very fun and not at all bad, I just hold a few reservations about it.
Holy fast talking, Lorelai Gilmore ain't got nothing on Hildy Johnson.
"Whenever you think you've got the Morning Post licked, it's time for you to get out of town."
As a little girl, I decided I wanted to be a newspaper journalist. Although I've volleyed from career choice to career choice over the years, I've always come back to some form of journalism. Because of my love for the career (I've read countless books and watched numerous movies about journalism), and frankly, my love of Cary Grant, I honestly can't believe I've never seen His Girl Friday before.
It's the tale of a Hildy Johnson (Rosalind Russell), soon-to-be ex-journalist and ex-wife of Walter Burns (Cary Grant), the editor-in-chief of the Chicago Morning Post. After getting engaged to Bruce Baldwin (Ralph Bellamy),…
"The last man who said that to me was Archie Leach just a week before he cut his throat."--Archie Leach, AKA Cary Grant, as Walter Burns in "His Girl Friday."
What gets me every time time I watch this movie is its sheer audacity. Howard Hawks changed the all-male leads of "The Front Page" to a separated couple, had them race verbally at a steady 100mph (audiences had to fight to keep up, or risk being dumped on the side of the road Bruce Baldwin-style), and spotlighted a strong female character during an era that didn't have many. The dialogue is exquisite, rapid-fire, brutal, scathing, and still electric today. But none of it works without two perfect lead performances. For…
Dated terribly badly. I did laugh at a few dialogues but the movie wasn't able to get my ribs tickling like crazy like it was intending to.
Possibly the greatest of the 40s mad cap comedies. Rosalind Russell was never better and Cary Grant is the perfect partner - they can both handle the incredibly snappy dialogue and look gorgeous doing it. Ralph Bellamy is the perfect hapless victim for their incisive wit - bewildered and innocent in a whirlwind of sophisticated badinage that leaves the viewer breathless and delighted. Chock full of superb character actors - Billy Gilbert, Gene Lockhart, John Qualen, Abner Biberman - a joy to watch as they seamlessly deliver the goods.
This is a film I can watch over and over and take as much pleasure in the 40th viewing as I did in the first.
Howard Hawks' classic comedy certainly was momentous for promoting a strong feminine figure in Rosalind Russell's Hildy Johnson as she certainly held her own in the prison's media center, seemingly get the grasp of news-reporting much better than her male contemporaries.
Not knowing the source material, it was quite evident that this was adapted from a stage play with the locations well defined as the various scenes in the play.
However it also afforded the players to bounce off one another in quick-witted and boisterous manner and every single performance was tuned to level 11 for it, including the side characters.
Cary Grant & Russell certainly hit a real gem of a banter from their constant crossfires; I was amazed how…
5 hours worth of dialogue crammed into 90 minutes. Genius.
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