Helen Gilbert
Average customer rating:
- Helen Mirren, the BEST!
- Prime Suspect 1
- Still Prime!
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- Better acting than television usually offers
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Prime Suspect 3
Starring: Helen Mirren , Peter Capaldi , Michael Shannon , Greg Saunders , and David Thewlis
Director: David Drury
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- Prime Suspect 2
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- Prime Suspect 6 - The Last Witness
ASIN: B0000X2ESS
Release Date: 2004-02-24 |
Description
Helen Mirren is Detective Chief Inspector Jane Tennison and has been transferred to a new station and now has the job of cleaning up the streets of Soho. D.C.I. Tennison takes the team into the underworld of teenage prostitution, pornography and runaways in the third season of Prime Suspect.
Customer Reviews:
Helen Mirren, the BEST!.......2007-03-15
Loved Prime Suspect, Season 2
Wish I had known about this series years ago but so glad I did eventually find out about it! I'll get all seasons eventually. GREAT price!
I don't feel like I'm watching TV. I feel like I'm watching a well made movie!
Prime Suspect 1.......2007-03-08
Beautiful performances by all involved and thrilling to watch. Involves the viewer from the start, great murder mystery. Helen Mirren is excellent!
Still Prime!.......2006-03-18
Get ready to enjoy another installment of the enthralling police crime drama that highlights the talent of Helen Mirren. This deeply disturbing tale of homeless boy prostitutes brings out the dark side of police investigation--at all ranks!
The only one to buy after the first........2004-02-26
The only Prime Suspect installment (other than the original) to be authored by Lynda La Plante, Prime Suspect 3 once again displays the hallmarks of La Plante's journalistic research base for creating fictional characters. In this case, "rent boys" are the fuel: young male prostitutes/street kids, and in particular one heartbreaking interview where a rent boy had told La Plante that he couldn't have AIDS, because he was only 15.
Tennison finds herself investigating the burned body of a murdered rent boy found in a drag queen's flat, and begins to discover criminal ties from a community center that lead up into the highest ranks of the police, and she doesn't know whom to trust. Also, her old nemesis from PS1, Bill Otley, is part of her new team. With the amazing Helen Mirren, and an extraordinary support cast including Tom Bell, Ciaran Hinds, David Thewlis, and Peter Capaldi, this is, after the original, the strongest installment in the series.
Better acting than television usually offers.......2003-03-29
Happy day! All of the Prime Suspect movies have made it to DVD.
I saw these in the early 90s on A&E and was astounded by how good Helen Mirren was, working inside an organization that did not always want her to succeed (apparently she is too good a detective to ignore, but as a woman - and her own woman - her flaws get her in trouble with her superiors).
All the flaws of society and of the police in her part of the UK visit her. Like the rest of us, she tries the best she can to do her job, in this case, to lead a team of detectives and ordinary police to solve the violent crimes she faces in post-Thatcher England.
Riveting stuff. Incredibly well written, but occasional strong language may put some off. (Older DVDs released by PBS had the expletives dubbed over, badly done. I've reordered these in DVD and am hoping it's the original UK version, bad language and all. Hardly gratuitous, though)
For TV, only the Sopranos comes close to the level of these five mini-series (ok, maybe some other Masterpiece Theatre productions are this good, but this one's contemporary).
Some of Mirren's best work is here. See them if you can!
Thank you for doing the right thing, media moguls, and getting these to DVD!
Average customer rating:
- His Girl Friday
- He looks like that film actor
- A classic screwball comedy
- Breathless take on old-style Chicago news hounds with Grant, Russell and Bellamy
- His Girl Friday dvd
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His Girl Friday [Region 99]
Starring: Cary Grant , Rosalind Russell , Ralph Bellamy , Gene Lockhart , and Porter Hall
Director: Howard Hawks
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Similar Items:
- The Philadelphia Story
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- To Catch a Thief (Special Collector's Edition)
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ASIN: 6305416192
Release Date: 2000-11-21 |
Amazon.com essential video
<I>The Front Page</I>, Ben Hecht and Charles MacArthur's classic 1928 newspaper play, has had three official film versions and contributed structural DNA to half the movies ever made about professional camaraderie and fierce love-hate friendships. Lewis Milestone's 1931 movie is well respected (Billy Wilder's 1974 version isn't), but this is one case where the remake towers brilliantined head and blocked shoulders above the original.
Howard Hawks had the inspired notion of making Hildy Johnson--the ace newsman whom demonic editor Walter Burns is trying to keep from quitting and getting married--a she instead of a he. What's more, she's not only Walter's star reporter but also his ex-wife. When Hildy (Rosalind Russell) comes to tell Walter (Cary Grant) she's leaving the newspaper business, he bamboozles her into carrying out one last assignment--a death-row interview with a little nebbish (John Qualen) convicted of killing a policeman. It sounds like a snap, but before you can say screwball comedy, the press room of the Criminal Courts Building has become ground zero for all the lunacy a jailbreak, a shooting, an impromptu suicide, a corrupt city administration, and the most Machiavellian "hero" in the American cinema can supply.
<I>His Girl Friday</I> is one of the, oh, five greatest dialogue comedies ever made; Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Russell, not Hawks's first choice to play Hildy, is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Grant is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. <I>--Richard T. Jameson</I>
Customer Reviews:
His Girl Friday.......2007-06-22
The legendary Howard Hawks directs what may be the fastest film comedy ever. A re-make of "The Front Page", this version's inspired plot twist is that Hildy is a female reporter, formerly wed to loveable scoundrel Burns. The conceit works, as underneath Walter and Hildy's scathing, rapid-fire repartee we sense a strong (though somewhat twisted) animal attraction. Both Grant and Russell are in top form, and all we have to do is keep up with them. A rip-roaring good time, start to finish
He looks like that film actor.......2007-06-14
Right in the middle of one of the most successful three years anybody has ever had, Howard Hawks gave us his new and improved reworking of Ben Hecht's comedic play, The Front Page. He changed the title to His Girl Friday. It was sandwiched in between Only Angels Have Wings in 1939 and Sergeant York in 1941. This amazing string of five classics began with Bringing Up Baby in 1938 and wound up with my personal favorite, Ball of Fire in 1941. WOW, what a run!
Bringing Up Baby and Only Angels Have Wings both starred the irresistible Cary Grant. He was probably the inspiration for Hawks' reworking. Grant owned the role of Walter Burns. It was a role that allowed him to ham to his heart's content. Burns is the freewheeling owner/editor of a big city newspaper that's at odds with its local government.
Originally, the plot revolved around Burns trying to keep his star reporter, Hildebrand "Hildy" Johnson, from quitting his job in order get married. Hawks made a brilliant revision turning Hildebrand into Hildegaard and made her Burns' ex. When she shows up at the paper Walter conceitedly thinks she's there to get her job back but she's actually there to tell him that she's going to live in Albany with her soon to be husband, the nebbish insurance agent Bruce Baldwin beautifully self-parodied by Ralph Bellamy. Walter, unwilling to see his ex and star reporter walk out on him, works the kind of magic only he can work. This results in one of the top ten American comedies of all time and can truly be called madcap.
Hildy is realized in a frenetic performance by not the first nor second or even third choice, Rosalind Russell. Russell was borrowed from MGM after Jean Arthur turned the role down and for whatever reason Irene Dunne and Claudette Colbert also didn't work out. One could only guess their ultimate choice would have been Kate Hepburn but RKO would probably never lend her out to play the part. The stars must have been aligned. Because she was their last choice, Russell played the part with a huge chip on her shoulder, which was just what the role needed. She was so miffed she even felt the script gave Grant the lion's share of good lines and injected her own prewritten adlibs to offset. This did not endear her to Grant and the two never worked together again but once again it worked toward the betterment of the film as this two giant talents rivaled to "one up each other" in scene after scene.
Here is where Hawks developed his trademark style of layering dialog, making actors start their line before the other had finished. This wasn't the first time it was done but in His Girl Friday it was brought to the level of fine art. It was not only practiced by the stars but also perfectly played by the innumerable character actors. The core of pressroom actors did this so well they will always be thought of not as actors but reporters. The pacing is blindingly fast and rarely ever achieved again. The celebrated scene in Broadcast News pales by comparison.
If you've haven't seen this American treasure, I envy you. I wish I could see for the first time again but I can attest to its ability to make you laugh even after twenty viewings.
A classic screwball comedy.......2007-04-19
This movie reminds us what movies used to be: fun.
Carey Grant is handsome and debonair (and all that stuff that drove women crazy) and downright evil sometimes in this movie. He is not above twisting arms (men or women's) to get what he wants and needs, but he does it with such charm that most people just follow him. This is a lesson in alpha-male behavior 101. I won't reveal the storyline or any spoilers (I am sure someone has already done that), but instead I ill say that the movie reeks of another era, which wasn't that long ago chronologically. The witty banter and seemingly endless conflict between the main characters drives the movie forward like a roller coaster that threatens to come off of the tracks at any moment.
This is Howard Hawks' brilliance. The director, the actors, even the lighting all work together seamlessly to create this film. The truest beauty of this film I believe was not the way that Hawks was able to entertain men and women equally in this truly romantic comedy (as compared to the trash that passes for "romantic crap (oops! I mean 'comedy')" today. It was the way this and other films laid down archetypes to aspire to. Cary Grant wasn't just a good looking guy with money - he was a good looking guy with money and a demonic bent and a razor-sharp tongue that he coated with just enough charm to make the poison work all the better. He had an iron will and was Hell bent on getting his way, and not looking like the bad guy in the process. His counterpart, "Hildy Johnson" was his intellectual equal and very sexy, and independent as well. Not the type of woman you would ever get tired of - or bored with.
With characters like this on screen, it became all to easy to imagine that people like that existed somewhere, and that you might get lucky enough to snag one. The characters in this film were not as flat and 2-dimensional as many of the films today, and that is why it stands up so well even though it is shot in black and white, and the actors are long deceased. This is truly a night's worth of great entertainment and a movie *worth* owning, not just viewing.
Breathless take on old-style Chicago news hounds with Grant, Russell and Bellamy.......2007-02-16
This is the 95th review to appear here at Amazon on this movie. As always, it has proved enlightening to read the preceding writers had to say. Most of them loved the film, as was wholly predictable. A goodly number issued dire warnings about the appalling quality of one issue or another, so there is very much a buyer beware factor involved here. A handful didn't care for the film at all, almost always because thedialogueissofasttheycan'tkeepupwithit. That ... is ... a ... real ... shame, especially in this era of the fidgety edit, the sound bite and the five-second commercial.
Many, altogether too many, praised director Howard Hawks to the skies for his brilliant story, his brilliant dialogue, his brilliant re-visioning, his brilliant this, his brilliant that. Now that requires a comment or two.
In the Roaring Twenties, Chicago was the most raffish newspaper town in the world. Reporters who had seen it all--many, many times--covered Prohibition-era beer wars, gangsters several times bigger than life, crooked politicians, lurid scandals of every conceivable stripe, Red scares, repeated labor strife, mesmerizing mouthpieces who reduced juries to tears in order to save thrill killers from their justly deserved dates with public executioners, and any other mad things that turned up by land, sea or air. The pop culture of the day was fascinated by it all and two contemporary plays survive into our time to remind us of those hard-charging times: "Chicago" and "The Front Page." "Chicago," of course, was a hit play, that became a hit movie (and advanced the career of Ginger Rogers), that became a hit Broadway musical, that became a hit retro-movie musical.
"The Front Page" was an even bigger hit on stage in its first go-around. It was written by Ben Hecht and Charles MacArthur who had served time in the news bullpen at the Chicago City Hall and had finally escaped to write for other venues that were no more respectable but paid a whole lot more money. Their subject was Hildy Johnson, a reporter on his last day in the bullpen before escaping into the real world and his boss Walter Burns, an amalgamation of every editor who'd ever run a beady eye over Hecht and MacArthur's deathless prose. I should point out that Hildy Johnson in the play is a man. The reason for that is ... well, because there actually was a Hildy (short for Hilding) Johnson who happened to be a bullpen reporter at the Chicago City Hall. Whatever inclination (if such a thing ever entered their minds at all) that Hecht and MacArthur had to make Hildy Johnson a woman would have promptly fallen by the wayside because the two authors were aware that the real Hildy Johnson would be in the theater on opening night to observe the antics of the fictional Hildy on stage. By all accounts, the real Hildy was a large and formidable Swede, not at all someone H&Mac wished to annoy.
In very short order, the play was faithfully transferred to the movie screen with Pat O'Brien as Hildy and dapper Adolph Menjou as Walter Burns. That film is largely forgotten today, but is well worth watching. It was the first major film of the talkie era in which the old fluid movement of the silent film camera was re-attained. Menjou and O'Brien are both terrific.
More than a decade later, a geologic era of Hollywood time, Howard Hawks set himself to the task of making a remake. He hired Charles Lederer, yet another raffish writer, to make a 1940-ish screenplay out of the 1928 play. He, or Lederer, or both simultaneously succumbed to the psycho-magnetic pull of that name, Hildy. They subjected Johnson to a gender transformation ... which changed the relationship between Burns and Johnson from Mephistopheles and Faust to lovers-separated ... which allowed for the importation of a new character as the temporary impediment to the course of true love ... which yielded a magnificent screenplay that maintained all the cynical energy of the original, but in the context of a romantic comedy.
In the apportioning of credit, so far, I would put writer Lederer far ahead of director Hawks. Hawks racks up points for casting Cary Grant in the unaccustomed role of an authority figure, for casting Roz Russell who was perfectly capable of going toe-to-toe with Grant and always giving as good as she got, and for tossing in the wonderful, but still under-appreciated Ralph Bellamy as hilarious ballast to keep everything on course.
Hawks did one more thing. He rehearsed each scene in long takes, again and again, until the rapid, overlapping rhythm of the words was ingrained in the performers. Then, and only then, did he shoot it.
This film is a masterpiece for its screenplay, for its performers down to the smallest parts (a perfect, Big Studio-era repertory company of players), for Hawks' masterful direction. Sheesh, what more could you want? Of course it's worth five stars!
His Girl Friday dvd.......2007-01-19
Delivery of the item was prompt as promised and the quality of the DVD was as indicated. Completely satisfied with the transaction.
Average customer rating:
- A Shocking Social Commentary
- Especially memorable for Olivia de Havilland's brilliant performance...
- A Movie Before It's Time
- A great oldie!
- PERFECT!
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The Snake Pit
Starring: Olivia de Havilland , Mark Stevens , Leo Genn , Celeste Holm , and Glenn Langan
Director: Anatole Litvak
Manufacturer: 20th Century Fox
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Similar Items:
- The Three Faces of Eve
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ASIN: B0001US78Q
Release Date: 2004-06-01 |
Description
Virginia Cunningham (de havilland) appeared to have had an idyllic life - a nice home, a loving husband and prospects for a sriting career. But, something just wasn't right. Confusion, doubts about her husband's love, even violent outbursts led Virginia to be confined in a mental institution. She is put through a series of brutal treatments, including being forced into close quarters with patients whose disorders far exceed her own. The belief - the shock of the experience will return her to sanity.
Customer Reviews:
A Shocking Social Commentary.......2007-06-21
I just love the old black and white films. This film in particular easily presents a social issue and tells a very entertaining story without any gratuitous nudity, foul language or any of the other needless vile junk that clouds art in the media today. The dialogue is wonderful. it not only tells the story with grace and believability, but evokes many emotions and thoughts. It left me feeling socially perplexed and unresolved even though it has a happy ending. A great classic work of art. I'm so glad they re-released this movie. In my oppinion, a must-see classic. And if you like controversial social commentaries, I also highly recommend the Mysteries of the Universe book. It portrays a frightening and shocking perspective of social trends in todays society. Here's the amazon page link: Mysteries of the Universe: A Revolutionary Commentary on UFOs, Aliens, Angels, Pyramids, Bible Codes, Reincarnation, the Antichrist...
Especially memorable for Olivia de Havilland's brilliant performance..........2007-06-08
The Snake Pit will always be remembered for Olivia de Havilland's outstanding performance as the confused Virginia Cunningham of Mary Jane Ward's best-selling novel. The story depicts various stages of her illness, setbacks and all, as seen from her viewpoint.
Others in the cast register strongly--Mark Stevens as her loyal husband, Leo Genn as a compassionate doctor, Celeste Holm as her good friend (whose ultimate lapse into a straight-jacket was cut from the finished film) and Howard Freeman as an overzealous examiner. Other bits are wonderfully played--Glenn Langan, Betsy Blair, Beulah Bondi, Natalie Schaefer, Ruth Donnelly and Jacqueline DeWitt. And of course, Helen Craig as a jealous nurse in love with Dr. Kik (Leo Genn).
Under Anatole Litvak's superb direction, it emerges as the most intelligent study of insanity Hollywood has ever attempted. De Havilland received the N.Y. Film Critics Award as Best Actress but lost the Oscar to Jane Wyman of Johnny Belinda. If ever there was a year when the winner should have been a tie, it was 1948! Both actresses were superb.
Summing up: Great film is enhanced by Alfred Newman's starkly dramatic Oscar-nominated background score which adds dimension to an already engrossing story that was a brave step forward in film-making, especially during the 1940s.
A Movie Before It's Time.......2007-05-11
This movie was so within its time period. Many Psyche wards were like this, except for having a soda shop to go to. I am well versed in Psychology and the womens inability to even dress, they are not able to brush their hair and they don't care. As these women progress, they begin to care. There is a nurse that dislikes my heroin, Olivia de Havilland who is quite ill, and she is out to get her. Nurses are people too and working in that environment are under a great deal of strain. At one point, a head nurse has a mental break and winds up in a ward that is considered to be the sickest ward. This too can happen. The way that my heroin gets better is quite novel for its time. It is thought in those days that only shock treatment in most cases of "crazy people" was the only way. This movie takes place in a state hospital and the quickest way to move them out is shock treatment, but they are not really better. It still happens today. There is never enough money for proper treatment. A particular Dr tries an unconventional way, for its day, and my heroin becomes well and happy. Her husband, waiting and supporting his wife in any way he can. This too is a rarity, especially then, but today as well. It was a great chance taken for showing the callous doctors who only want to move them out, the unkind head nurse and the new way a person can be made really well. I was so impressed.
A great oldie!.......2007-02-15
I first saw "Snake Pit" when it was a first-run movie in the late 1940's. This movie may have led to the popularization of the medical specialty of psychiatry. It created greater public understanding of severe mental illness and the new treatment available. Powerful performances of very difficult roles! A must-see that really should be re-released in theaters for the general public.
PERFECT!.......2007-01-13
I couldn't find this video anywhere and it was for an older friend of mine who really wanted this video. Amazon had it, I can find anything I need here and the movie was in perfect condition...with Amazon you can't go wrong!
Average customer rating:
- His Girl Friday
- He looks like that film actor
- A classic screwball comedy
- Breathless take on old-style Chicago news hounds with Grant, Russell and Bellamy
- His Girl Friday dvd
|
His Girl Friday
Starring: Cary Grant , Rosalind Russell , Ralph Bellamy , Gene Lockhart , and Porter Hall
Director: Howard Hawks
Manufacturer: Good Times Video
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ASIN: B00006RCLG
Release Date: 2002-10-01 |
Amazon.com essential video
<I>The Front Page</I>, Ben Hecht and Charles MacArthur's classic 1928 newspaper play, has had three official film versions and contributed structural DNA to half the movies ever made about professional camaraderie and fierce love-hate friendships. Lewis Milestone's 1931 movie is well respected (Billy Wilder's 1974 version isn't), but this is one case where the remake towers brilliantined head and blocked shoulders above the original.
Howard Hawks had the inspired notion of making Hildy Johnson--the ace newsman whom demonic editor Walter Burns is trying to keep from quitting and getting married--a she instead of a he. What's more, she's not only Walter's star reporter but also his ex-wife. When Hildy (Rosalind Russell) comes to tell Walter (Cary Grant) she's leaving the newspaper business, he bamboozles her into carrying out one last assignment--a death-row interview with a little nebbish (John Qualen) convicted of killing a policeman. It sounds like a snap, but before you can say screwball comedy, the press room of the Criminal Courts Building has become ground zero for all the lunacy a jailbreak, a shooting, an impromptu suicide, a corrupt city administration, and the most Machiavellian "hero" in the American cinema can supply.
<I>His Girl Friday</I> is one of the, oh, five greatest dialogue comedies ever made; Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Russell, not Hawks's first choice to play Hildy, is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Grant is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. <I>--Richard T. Jameson</I>
Customer Reviews:
His Girl Friday.......2007-06-22
The legendary Howard Hawks directs what may be the fastest film comedy ever. A re-make of "The Front Page", this version's inspired plot twist is that Hildy is a female reporter, formerly wed to loveable scoundrel Burns. The conceit works, as underneath Walter and Hildy's scathing, rapid-fire repartee we sense a strong (though somewhat twisted) animal attraction. Both Grant and Russell are in top form, and all we have to do is keep up with them. A rip-roaring good time, start to finish
He looks like that film actor.......2007-06-14
Right in the middle of one of the most successful three years anybody has ever had, Howard Hawks gave us his new and improved reworking of Ben Hecht's comedic play, The Front Page. He changed the title to His Girl Friday. It was sandwiched in between Only Angels Have Wings in 1939 and Sergeant York in 1941. This amazing string of five classics began with Bringing Up Baby in 1938 and wound up with my personal favorite, Ball of Fire in 1941. WOW, what a run!
Bringing Up Baby and Only Angels Have Wings both starred the irresistible Cary Grant. He was probably the inspiration for Hawks' reworking. Grant owned the role of Walter Burns. It was a role that allowed him to ham to his heart's content. Burns is the freewheeling owner/editor of a big city newspaper that's at odds with its local government.
Originally, the plot revolved around Burns trying to keep his star reporter, Hildebrand "Hildy" Johnson, from quitting his job in order get married. Hawks made a brilliant revision turning Hildebrand into Hildegaard and made her Burns' ex. When she shows up at the paper Walter conceitedly thinks she's there to get her job back but she's actually there to tell him that she's going to live in Albany with her soon to be husband, the nebbish insurance agent Bruce Baldwin beautifully self-parodied by Ralph Bellamy. Walter, unwilling to see his ex and star reporter walk out on him, works the kind of magic only he can work. This results in one of the top ten American comedies of all time and can truly be called madcap.
Hildy is realized in a frenetic performance by not the first nor second or even third choice, Rosalind Russell. Russell was borrowed from MGM after Jean Arthur turned the role down and for whatever reason Irene Dunne and Claudette Colbert also didn't work out. One could only guess their ultimate choice would have been Kate Hepburn but RKO would probably never lend her out to play the part. The stars must have been aligned. Because she was their last choice, Russell played the part with a huge chip on her shoulder, which was just what the role needed. She was so miffed she even felt the script gave Grant the lion's share of good lines and injected her own prewritten adlibs to offset. This did not endear her to Grant and the two never worked together again but once again it worked toward the betterment of the film as this two giant talents rivaled to "one up each other" in scene after scene.
Here is where Hawks developed his trademark style of layering dialog, making actors start their line before the other had finished. This wasn't the first time it was done but in His Girl Friday it was brought to the level of fine art. It was not only practiced by the stars but also perfectly played by the innumerable character actors. The core of pressroom actors did this so well they will always be thought of not as actors but reporters. The pacing is blindingly fast and rarely ever achieved again. The celebrated scene in Broadcast News pales by comparison.
If you've haven't seen this American treasure, I envy you. I wish I could see for the first time again but I can attest to its ability to make you laugh even after twenty viewings.
A classic screwball comedy.......2007-04-19
This movie reminds us what movies used to be: fun.
Carey Grant is handsome and debonair (and all that stuff that drove women crazy) and downright evil sometimes in this movie. He is not above twisting arms (men or women's) to get what he wants and needs, but he does it with such charm that most people just follow him. This is a lesson in alpha-male behavior 101. I won't reveal the storyline or any spoilers (I am sure someone has already done that), but instead I ill say that the movie reeks of another era, which wasn't that long ago chronologically. The witty banter and seemingly endless conflict between the main characters drives the movie forward like a roller coaster that threatens to come off of the tracks at any moment.
This is Howard Hawks' brilliance. The director, the actors, even the lighting all work together seamlessly to create this film. The truest beauty of this film I believe was not the way that Hawks was able to entertain men and women equally in this truly romantic comedy (as compared to the trash that passes for "romantic crap (oops! I mean 'comedy')" today. It was the way this and other films laid down archetypes to aspire to. Cary Grant wasn't just a good looking guy with money - he was a good looking guy with money and a demonic bent and a razor-sharp tongue that he coated with just enough charm to make the poison work all the better. He had an iron will and was Hell bent on getting his way, and not looking like the bad guy in the process. His counterpart, "Hildy Johnson" was his intellectual equal and very sexy, and independent as well. Not the type of woman you would ever get tired of - or bored with.
With characters like this on screen, it became all to easy to imagine that people like that existed somewhere, and that you might get lucky enough to snag one. The characters in this film were not as flat and 2-dimensional as many of the films today, and that is why it stands up so well even though it is shot in black and white, and the actors are long deceased. This is truly a night's worth of great entertainment and a movie *worth* owning, not just viewing.
Breathless take on old-style Chicago news hounds with Grant, Russell and Bellamy.......2007-02-16
This is the 95th review to appear here at Amazon on this movie. As always, it has proved enlightening to read the preceding writers had to say. Most of them loved the film, as was wholly predictable. A goodly number issued dire warnings about the appalling quality of one issue or another, so there is very much a buyer beware factor involved here. A handful didn't care for the film at all, almost always because thedialogueissofasttheycan'tkeepupwithit. That ... is ... a ... real ... shame, especially in this era of the fidgety edit, the sound bite and the five-second commercial.
Many, altogether too many, praised director Howard Hawks to the skies for his brilliant story, his brilliant dialogue, his brilliant re-visioning, his brilliant this, his brilliant that. Now that requires a comment or two.
In the Roaring Twenties, Chicago was the most raffish newspaper town in the world. Reporters who had seen it all--many, many times--covered Prohibition-era beer wars, gangsters several times bigger than life, crooked politicians, lurid scandals of every conceivable stripe, Red scares, repeated labor strife, mesmerizing mouthpieces who reduced juries to tears in order to save thrill killers from their justly deserved dates with public executioners, and any other mad things that turned up by land, sea or air. The pop culture of the day was fascinated by it all and two contemporary plays survive into our time to remind us of those hard-charging times: "Chicago" and "The Front Page." "Chicago," of course, was a hit play, that became a hit movie (and advanced the career of Ginger Rogers), that became a hit Broadway musical, that became a hit retro-movie musical.
"The Front Page" was an even bigger hit on stage in its first go-around. It was written by Ben Hecht and Charles MacArthur who had served time in the news bullpen at the Chicago City Hall and had finally escaped to write for other venues that were no more respectable but paid a whole lot more money. Their subject was Hildy Johnson, a reporter on his last day in the bullpen before escaping into the real world and his boss Walter Burns, an amalgamation of every editor who'd ever run a beady eye over Hecht and MacArthur's deathless prose. I should point out that Hildy Johnson in the play is a man. The reason for that is ... well, because there actually was a Hildy (short for Hilding) Johnson who happened to be a bullpen reporter at the Chicago City Hall. Whatever inclination (if such a thing ever entered their minds at all) that Hecht and MacArthur had to make Hildy Johnson a woman would have promptly fallen by the wayside because the two authors were aware that the real Hildy Johnson would be in the theater on opening night to observe the antics of the fictional Hildy on stage. By all accounts, the real Hildy was a large and formidable Swede, not at all someone H&Mac wished to annoy.
In very short order, the play was faithfully transferred to the movie screen with Pat O'Brien as Hildy and dapper Adolph Menjou as Walter Burns. That film is largely forgotten today, but is well worth watching. It was the first major film of the talkie era in which the old fluid movement of the silent film camera was re-attained. Menjou and O'Brien are both terrific.
More than a decade later, a geologic era of Hollywood time, Howard Hawks set himself to the task of making a remake. He hired Charles Lederer, yet another raffish writer, to make a 1940-ish screenplay out of the 1928 play. He, or Lederer, or both simultaneously succumbed to the psycho-magnetic pull of that name, Hildy. They subjected Johnson to a gender transformation ... which changed the relationship between Burns and Johnson from Mephistopheles and Faust to lovers-separated ... which allowed for the importation of a new character as the temporary impediment to the course of true love ... which yielded a magnificent screenplay that maintained all the cynical energy of the original, but in the context of a romantic comedy.
In the apportioning of credit, so far, I would put writer Lederer far ahead of director Hawks. Hawks racks up points for casting Cary Grant in the unaccustomed role of an authority figure, for casting Roz Russell who was perfectly capable of going toe-to-toe with Grant and always giving as good as she got, and for tossing in the wonderful, but still under-appreciated Ralph Bellamy as hilarious ballast to keep everything on course.
Hawks did one more thing. He rehearsed each scene in long takes, again and again, until the rapid, overlapping rhythm of the words was ingrained in the performers. Then, and only then, did he shoot it.
This film is a masterpiece for its screenplay, for its performers down to the smallest parts (a perfect, Big Studio-era repertory company of players), for Hawks' masterful direction. Sheesh, what more could you want? Of course it's worth five stars!
His Girl Friday dvd.......2007-01-19
Delivery of the item was prompt as promised and the quality of the DVD was as indicated. Completely satisfied with the transaction.
Average customer rating:
- Sweet Old Fashioned movie
- Great Entertainment
- The Best from the Past
- Don't by the DVD it has important missing scenes
- DVD version is magnificent and seems complete
|
Little Lord Fauntleroy (1936) (B&W)
Starring: Freddie Bartholomew , Dolores Costello , C. Aubrey Smith , Guy Kibbee , and Henry Stephenson
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ASIN: B00006L918
Release Date: 2002-09-24 |
Customer Reviews:
Sweet Old Fashioned movie.......2007-04-10
My husband and I aren't nearly old enough to have seen this when it first came out in the movies. We saw most of the movie on Turner Classic Movies but missed the ending, so we bought the DVD. It was well worth the money - both of us cried. I recommend this to all age groups.
Great Entertainment.......2007-01-22
This is good old fashioned enjoyable movie. Freddie Bartholomew plays the character of Fauntleroy with a great deal of maturity. Wonderful to see Mickey Rooney as the the character of Dick (the shoe shine lad) it is marvelous to know that Mickey is still making movies to this day, and long may he, he would be about 16 in this, but my he looks about 14 at the most. Basically it is the story of how the goodness of a little boy melts the heart of his grandfather and earns the respect of his elders. Along the way are a few twists and turns and a very enjoyable storyline.
The Best from the Past.......2006-11-04
The movie is old but well thought out & wonderfully portrayed. The DVD retains all the vision & passion, not to mention the struggles & joys of the original film. It is a classic! Such an item deserves a place in ANY ncollection & needs to be watched from time ti time with affection.
Don't by the DVD it has important missing scenes.......2006-05-29
I bought the VHS awhile back and loved it. So when the DVD came out I wanted to get than thinking that it would be a cleaner picture. To my dismay there were some scenes missing. These scenes were important to the character development of Ceddie. I recommend that you wait until they come up with a DVD version that has all of the scenes in it.
DVD version is magnificent and seems complete.......2006-02-28
First reading the reviews for this product, I chose the VHS version believing the transfer would be better and the VHS would contain scenes not available in the DVD version. The VHS arrived without audio, so I returned it and decided to purchase the DVD-- even though reviewers said the DVD version was edited and transferred unsatisfactorily.
When the DVD came, I was most pleased with the transfer. The picture is very clean and crisp and the audio portion is so superior that I am able to hear dialogue clearly which I had missed previously. Missing scenes? No. In fact, there are some small scenes in the DVD version which I had not seen before in the other versions I have viewed (for example, the dining room table scene with Ceddie and the Earl of Dorincourt).
All this aside, I love this movie for its portrayal of the redeeming power of love. My children benefit from watching it because Lord Fauntleroy is a powerful example of courage, respect and virtue. I have often wondered what it would be like to have a child without sin (only Jesus qualifies), but "Ceddie" as Little Lord Fauntleroy is perhaps the closest approximation to come from earthly minds. His mother, also, is a woman of admirable strength, wisdom and grace. Most inspiring.
I have no reservations recommending this film in DVD format.
Average customer rating:
- His Girl Friday
- He looks like that film actor
- A classic screwball comedy
- Breathless take on old-style Chicago news hounds with Grant, Russell and Bellamy
- His Girl Friday dvd
|
His Girl Friday/Cary Grant on Film: A Biography
Starring: Cary Grant , Rosalind Russell , Ralph Bellamy , Gene Lockhart , and Porter Hall
Director: Howard Hawks
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ASIN: B00003ES2M
Release Date: 1999-11-16 |
Amazon.com essential video
<I>The Front Page</I>, Ben Hecht and Charles MacArthur's classic 1928 newspaper play, has had three official film versions and contributed structural DNA to half the movies ever made about professional camaraderie and fierce love-hate friendships. Lewis Milestone's 1931 movie is well respected (Billy Wilder's 1974 version isn't), but this is one case where the remake towers brilliantined head and blocked shoulders above the original.
Howard Hawks had the inspired notion of making Hildy Johnson--the ace newsman whom demonic editor Walter Burns is trying to keep from quitting and getting married--a she instead of a he. What's more, she's not only Walter's star reporter but also his ex-wife. When Hildy (Rosalind Russell) comes to tell Walter (Cary Grant) she's leaving the newspaper business, he bamboozles her into carrying out one last assignment--a death-row interview with a little nebbish (John Qualen) convicted of killing a policeman. It sounds like a snap, but before you can say screwball comedy, the press room of the Criminal Courts Building has become ground zero for all the lunacy a jailbreak, a shooting, an impromptu suicide, a corrupt city administration, and the most Machiavellian "hero" in the American cinema can supply.
<I>His Girl Friday</I> is one of the, oh, five greatest dialogue comedies ever made; Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Russell, not Hawks's first choice to play Hildy, is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Grant is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. <I>--Richard T. Jameson</I>
Description
This hilarious re-working of The Front Page teams Grant and Rosalind Russell. This version adds the twin lures of sex and romance. Undoubtedly Grant's greatest comedic role. <P>Includes "Cary Grant On Film" - a documentary, an intro by Tony Curtis, and the trailer for Gunga Din. <P>Menus: English Spanish Chinese Japanese<BR> Subtitles: Spanish Chinese Japanese <P>B&W/Color<BR> Running Time: 121 min.
Customer Reviews:
His Girl Friday.......2007-06-22
The legendary Howard Hawks directs what may be the fastest film comedy ever. A re-make of "The Front Page", this version's inspired plot twist is that Hildy is a female reporter, formerly wed to loveable scoundrel Burns. The conceit works, as underneath Walter and Hildy's scathing, rapid-fire repartee we sense a strong (though somewhat twisted) animal attraction. Both Grant and Russell are in top form, and all we have to do is keep up with them. A rip-roaring good time, start to finish
He looks like that film actor.......2007-06-14
Right in the middle of one of the most successful three years anybody has ever had, Howard Hawks gave us his new and improved reworking of Ben Hecht's comedic play, The Front Page. He changed the title to His Girl Friday. It was sandwiched in between Only Angels Have Wings in 1939 and Sergeant York in 1941. This amazing string of five classics began with Bringing Up Baby in 1938 and wound up with my personal favorite, Ball of Fire in 1941. WOW, what a run!
Bringing Up Baby and Only Angels Have Wings both starred the irresistible Cary Grant. He was probably the inspiration for Hawks' reworking. Grant owned the role of Walter Burns. It was a role that allowed him to ham to his heart's content. Burns is the freewheeling owner/editor of a big city newspaper that's at odds with its local government.
Originally, the plot revolved around Burns trying to keep his star reporter, Hildebrand "Hildy" Johnson, from quitting his job in order get married. Hawks made a brilliant revision turning Hildebrand into Hildegaard and made her Burns' ex. When she shows up at the paper Walter conceitedly thinks she's there to get her job back but she's actually there to tell him that she's going to live in Albany with her soon to be husband, the nebbish insurance agent Bruce Baldwin beautifully self-parodied by Ralph Bellamy. Walter, unwilling to see his ex and star reporter walk out on him, works the kind of magic only he can work. This results in one of the top ten American comedies of all time and can truly be called madcap.
Hildy is realized in a frenetic performance by not the first nor second or even third choice, Rosalind Russell. Russell was borrowed from MGM after Jean Arthur turned the role down and for whatever reason Irene Dunne and Claudette Colbert also didn't work out. One could only guess their ultimate choice would have been Kate Hepburn but RKO would probably never lend her out to play the part. The stars must have been aligned. Because she was their last choice, Russell played the part with a huge chip on her shoulder, which was just what the role needed. She was so miffed she even felt the script gave Grant the lion's share of good lines and injected her own prewritten adlibs to offset. This did not endear her to Grant and the two never worked together again but once again it worked toward the betterment of the film as this two giant talents rivaled to "one up each other" in scene after scene.
Here is where Hawks developed his trademark style of layering dialog, making actors start their line before the other had finished. This wasn't the first time it was done but in His Girl Friday it was brought to the level of fine art. It was not only practiced by the stars but also perfectly played by the innumerable character actors. The core of pressroom actors did this so well they will always be thought of not as actors but reporters. The pacing is blindingly fast and rarely ever achieved again. The celebrated scene in Broadcast News pales by comparison.
If you've haven't seen this American treasure, I envy you. I wish I could see for the first time again but I can attest to its ability to make you laugh even after twenty viewings.
A classic screwball comedy.......2007-04-19
This movie reminds us what movies used to be: fun.
Carey Grant is handsome and debonair (and all that stuff that drove women crazy) and downright evil sometimes in this movie. He is not above twisting arms (men or women's) to get what he wants and needs, but he does it with such charm that most people just follow him. This is a lesson in alpha-male behavior 101. I won't reveal the storyline or any spoilers (I am sure someone has already done that), but instead I ill say that the movie reeks of another era, which wasn't that long ago chronologically. The witty banter and seemingly endless conflict between the main characters drives the movie forward like a roller coaster that threatens to come off of the tracks at any moment.
This is Howard Hawks' brilliance. The director, the actors, even the lighting all work together seamlessly to create this film. The truest beauty of this film I believe was not the way that Hawks was able to entertain men and women equally in this truly romantic comedy (as compared to the trash that passes for "romantic crap (oops! I mean 'comedy')" today. It was the way this and other films laid down archetypes to aspire to. Cary Grant wasn't just a good looking guy with money - he was a good looking guy with money and a demonic bent and a razor-sharp tongue that he coated with just enough charm to make the poison work all the better. He had an iron will and was Hell bent on getting his way, and not looking like the bad guy in the process. His counterpart, "Hildy Johnson" was his intellectual equal and very sexy, and independent as well. Not the type of woman you would ever get tired of - or bored with.
With characters like this on screen, it became all to easy to imagine that people like that existed somewhere, and that you might get lucky enough to snag one. The characters in this film were not as flat and 2-dimensional as many of the films today, and that is why it stands up so well even though it is shot in black and white, and the actors are long deceased. This is truly a night's worth of great entertainment and a movie *worth* owning, not just viewing.
Breathless take on old-style Chicago news hounds with Grant, Russell and Bellamy.......2007-02-16
This is the 95th review to appear here at Amazon on this movie. As always, it has proved enlightening to read the preceding writers had to say. Most of them loved the film, as was wholly predictable. A goodly number issued dire warnings about the appalling quality of one issue or another, so there is very much a buyer beware factor involved here. A handful didn't care for the film at all, almost always because thedialogueissofasttheycan'tkeepupwithit. That ... is ... a ... real ... shame, especially in this era of the fidgety edit, the sound bite and the five-second commercial.
Many, altogether too many, praised director Howard Hawks to the skies for his brilliant story, his brilliant dialogue, his brilliant re-visioning, his brilliant this, his brilliant that. Now that requires a comment or two.
In the Roaring Twenties, Chicago was the most raffish newspaper town in the world. Reporters who had seen it all--many, many times--covered Prohibition-era beer wars, gangsters several times bigger than life, crooked politicians, lurid scandals of every conceivable stripe, Red scares, repeated labor strife, mesmerizing mouthpieces who reduced juries to tears in order to save thrill killers from their justly deserved dates with public executioners, and any other mad things that turned up by land, sea or air. The pop culture of the day was fascinated by it all and two contemporary plays survive into our time to remind us of those hard-charging times: "Chicago" and "The Front Page." "Chicago," of course, was a hit play, that became a hit movie (and advanced the career of Ginger Rogers), that became a hit Broadway musical, that became a hit retro-movie musical.
"The Front Page" was an even bigger hit on stage in its first go-around. It was written by Ben Hecht and Charles MacArthur who had served time in the news bullpen at the Chicago City Hall and had finally escaped to write for other venues that were no more respectable but paid a whole lot more money. Their subject was Hildy Johnson, a reporter on his last day in the bullpen before escaping into the real world and his boss Walter Burns, an amalgamation of every editor who'd ever run a beady eye over Hecht and MacArthur's deathless prose. I should point out that Hildy Johnson in the play is a man. The reason for that is ... well, because there actually was a Hildy (short for Hilding) Johnson who happened to be a bullpen reporter at the Chicago City Hall. Whatever inclination (if such a thing ever entered their minds at all) that Hecht and MacArthur had to make Hildy Johnson a woman would have promptly fallen by the wayside because the two authors were aware that the real Hildy Johnson would be in the theater on opening night to observe the antics of the fictional Hildy on stage. By all accounts, the real Hildy was a large and formidable Swede, not at all someone H&Mac wished to annoy.
In very short order, the play was faithfully transferred to the movie screen with Pat O'Brien as Hildy and dapper Adolph Menjou as Walter Burns. That film is largely forgotten today, but is well worth watching. It was the first major film of the talkie era in which the old fluid movement of the silent film camera was re-attained. Menjou and O'Brien are both terrific.
More than a decade later, a geologic era of Hollywood time, Howard Hawks set himself to the task of making a remake. He hired Charles Lederer, yet another raffish writer, to make a 1940-ish screenplay out of the 1928 play. He, or Lederer, or both simultaneously succumbed to the psycho-magnetic pull of that name, Hildy. They subjected Johnson to a gender transformation ... which changed the relationship between Burns and Johnson from Mephistopheles and Faust to lovers-separated ... which allowed for the importation of a new character as the temporary impediment to the course of true love ... which yielded a magnificent screenplay that maintained all the cynical energy of the original, but in the context of a romantic comedy.
In the apportioning of credit, so far, I would put writer Lederer far ahead of director Hawks. Hawks racks up points for casting Cary Grant in the unaccustomed role of an authority figure, for casting Roz Russell who was perfectly capable of going toe-to-toe with Grant and always giving as good as she got, and for tossing in the wonderful, but still under-appreciated Ralph Bellamy as hilarious ballast to keep everything on course.
Hawks did one more thing. He rehearsed each scene in long takes, again and again, until the rapid, overlapping rhythm of the words was ingrained in the performers. Then, and only then, did he shoot it.
This film is a masterpiece for its screenplay, for its performers down to the smallest parts (a perfect, Big Studio-era repertory company of players), for Hawks' masterful direction. Sheesh, what more could you want? Of course it's worth five stars!
His Girl Friday dvd.......2007-01-19
Delivery of the item was prompt as promised and the quality of the DVD was as indicated. Completely satisfied with the transaction.
Average customer rating:
- His Girl Friday
- He looks like that film actor
- A classic screwball comedy
- Breathless take on old-style Chicago news hounds with Grant, Russell and Bellamy
- His Girl Friday dvd
|
His Girl Friday
Starring: Cary Grant , Rosalind Russell , Ralph Bellamy , Gene Lockhart , and Porter Hall
Director: Howard Hawks
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Similar Items:
- The Philadelphia Story
- Bringing Up Baby (Two-Disc Special Edition)
- To Catch a Thief (Special Collector's Edition)
- Arsenic and Old Lace
- Charade
ASIN: B00008G8B7
Release Date: 2002-11-26 |
Amazon.com essential video
<I>The Front Page</I>, Ben Hecht and Charles MacArthur's classic 1928 newspaper play, has had three official film versions and contributed structural DNA to half the movies ever made about professional camaraderie and fierce love-hate friendships. Lewis Milestone's 1931 movie is well respected (Billy Wilder's 1974 version isn't), but this is one case where the remake towers brilliantined head and blocked shoulders above the original.
Howard Hawks had the inspired notion of making Hildy Johnson--the ace newsman whom demonic editor Walter Burns is trying to keep from quitting and getting married--a she instead of a he. What's more, she's not only Walter's star reporter but also his ex-wife. When Hildy (Rosalind Russell) comes to tell Walter (Cary Grant) she's leaving the newspaper business, he bamboozles her into carrying out one last assignment--a death-row interview with a little nebbish (John Qualen) convicted of killing a policeman. It sounds like a snap, but before you can say screwball comedy, the press room of the Criminal Courts Building has become ground zero for all the lunacy a jailbreak, a shooting, an impromptu suicide, a corrupt city administration, and the most Machiavellian "hero" in the American cinema can supply.
<I>His Girl Friday</I> is one of the, oh, five greatest dialogue comedies ever made; Hawks had his cast play it at breakneck speed, and audiences hyperventilate trying to finish with one laugh so they can do justice to the four that have accumulated in the meantime. Russell, not Hawks's first choice to play Hildy, is triumphant in the part, holding her own as "one of the guys" and creating an enduring feminist icon. Grant is a force of nature, giving a performance of such concentrated frenzy and diamond brilliance that you owe it to yourself to devote at least one viewing of the movie to watching him alone. But then you have to go back (lucky you) and watch it again for the sake of the press-room gang--Roscoe Karns, Porter Hall, Cliff Edwards, Regis Toomey, Frank Jenks, and others--the kind of ensemble work that gets character actors onto Parnassus. <I>--Richard T. Jameson</I>
Description
This hilarious re-working of The Front Page teams Grant and Rosalind Russell. This version adds the twin lures of sex and romance. Undoubtedly Grant's greatest comedic role. <P>Includes "Cary Grant On Film" - a documentary, an intro by Tony Curtis and the trailer for Gunga Din. <P>Menus: English Spanish Chinese Japanese<BR> Subtitles: Spanish Chinese Japanese <P>B&W/Color<BR> Running Time: 133 min.
Customer Reviews:
His Girl Friday.......2007-06-22
The legendary Howard Hawks directs what may be the fastest film comedy ever. A re-make of "The Front Page", this version's inspired plot twist is that Hildy is a female reporter, formerly wed to loveable scoundrel Burns. The conceit works, as underneath Walter and Hildy's scathing, rapid-fire repartee we sense a strong (though somewhat twisted) animal attraction. Both Grant and Russell are in top form, and all we have to do is keep up with them. A rip-roaring good time, start to finish
He looks like that film actor.......2007-06-14
Right in the middle of one of the most successful three years anybody has ever had, Howard Hawks gave us his new and improved reworking of Ben Hecht's comedic play, The Front Page. He changed the title to His Girl Friday. It was sandwiched in between Only Angels Have Wings in 1939 and Sergeant York in 1941. This amazing string of five classics began with Bringing Up Baby in 1938 and wound up with my personal favorite, Ball of Fire in 1941. WOW, what a run!
Bringing Up Baby and Only Angels Have Wings both starred the irresistible Cary Grant. He was probably the inspiration for Hawks' reworking. Grant owned the role of Walter Burns. It was a role that allowed him to ham to his heart's content. Burns is the freewheeling owner/editor of a big city newspaper that's at odds with its local government.
Originally, the plot revolved around Burns trying to keep his star reporter, Hildebrand "Hildy" Johnson, from quitting his job in order get married. Hawks made a brilliant revision turning Hildebrand into Hildegaard and made her Burns' ex. When she shows up at the paper Walter conceitedly thinks she's there to get her job back but she's actually there to tell him that she's going to live in Albany with her soon to be husband, the nebbish insurance agent Bruce Baldwin beautifully self-parodied by Ralph Bellamy. Walter, unwilling to see his ex and star reporter walk out on him, works the kind of magic only he can work. This results in one of the top ten American comedies of all time and can truly be called madcap.
Hildy is realized in a frenetic performance by not the first nor second or even third choice, Rosalind Russell. Russell was borrowed from MGM after Jean Arthur turned the role down and for whatever reason Irene Dunne and Claudette Colbert also didn't work out. One could only guess their ultimate choice would have been Kate Hepburn but RKO would probably never lend her out to play the part. The stars must have been aligned. Because she was their last choice, Russell played the part with a huge chip on her shoulder, which was just what the role needed. She was so miffed she even felt the script gave Grant the lion's share of good lines and injected her own prewritten adlibs to offset. This did not endear her to Grant and the two never worked together again but once again it worked toward the betterment of the film as this two giant talents rivaled to "one up each other" in scene after scene.
Here is where Hawks developed his trademark style of layering dialog, making actors start their line before the other had finished. This wasn't the first time it was done but in His Girl Friday it was brought to the level of fine art. It was not only practiced by the stars but also perfectly played by the innumerable character actors. The core of pressroom actors did this so well they will always be thought of not as actors but reporters. The pacing is blindingly fast and rarely ever achieved again. The celebrated scene in Broadcast News pales by comparison.
If you've haven't seen this American treasure, I envy you. I wish I could see for the first time again but I can attest to its ability to make you laugh even after twenty viewings.
A classic screwball comedy.......2007-04-19
This movie reminds us what movies used to be: fun.
Carey Grant is handsome and debonair (and all that stuff that drove women crazy) and downright evil sometimes in this movie. He is not above twisting arms (men or women's) to get what he wants and needs, but he does it with such charm that most people just follow him. This is a lesson in alpha-male behavior 101. I won't reveal the storyline or any spoilers (I am sure someone has already done that), but instead I ill say that the movie reeks of another era, which wasn't that long ago chronologically. The witty banter and seemingly endless conflict between the main characters drives the movie forward like a roller coaster that threatens to come off of the tracks at any moment.
This is Howard Hawks' brilliance. The director, the actors, even the lighting all work together seamlessly to create this film. The truest beauty of this film I believe was not the way that Hawks was able to entertain men and women equally in this truly romantic comedy (as compared to the trash that passes for "romantic crap (oops! I mean 'comedy')" today. It was the way this and other films laid down archetypes to aspire to. Cary Grant wasn't just a good looking guy with money - he was a good looking guy with money and a demonic bent and a razor-sharp tongue that he coated with just enough charm to make the poison work all the better. He had an iron will and was Hell bent on getting his way, and not looking like the bad guy in the process. His counterpart, "Hildy Johnson" was his intellectual equal and very sexy, and independent as well. Not the type of woman you would ever get tired of - or bored with.
With characters like this on screen, it became all to easy to imagine that people like that existed somewhere, and that you might get lucky enough to snag one. The characters in this film were not as flat and 2-dimensional as many of the films today, and that is why it stands up so well even though it is shot in black and white, and the actors are long deceased. This is truly a night's worth of great entertainment and a movie *worth* owning, not just viewing.
Breathless take on old-style Chicago news hounds with Grant, Russell and Bellamy.......2007-02-16
This is the 95th review to appear here at Amazon on this movie. As always, it has proved enlightening to read the preceding writers had to say. Most of them loved the film, as was wholly predictable. A goodly number issued dire warnings about the appalling quality of one issue or another, so there is very much a buyer beware factor involved here. A handful didn't care for the film at all, almost always because thedialogueissofasttheycan'tkeepupwithit. That ... is ... a ... real ... shame, especially in this era of the fidgety edit, the sound bite and the five-second commercial.
Many, altogether too many, praised director Howard Hawks to the skies for his brilliant story, his brilliant dialogue, his brilliant re-visioning, his brilliant this, his brilliant that. Now that requires a comment or two.
In the Roaring Twenties, Chicago was the most raffish newspaper town in the world. Reporters who had seen it all--many, many times--covered Prohibition-era beer wars, gangsters several times bigger than life, crooked politicians, lurid scandals of every conceivable stripe, Red scares, repeated labor strife, mesmerizing mouthpieces who reduced juries to tears in order to save thrill killers from their justly deserved dates with public executioners, and any other mad things that turned up by land, sea or air. The pop culture of the day was fascinated by it all and two contemporary plays survive into our time to remind us of those hard-charging times: "Chicago" and "The Front Page." "Chicago," of course, was a hit play, that became a hit movie (and advanced the career of Ginger Rogers), that became a hit Broadway musical, that became a hit retro-movie musical.
"The Front Page" was an even bigger hit on stage in its first go-around. It was written by Ben Hecht and Charles MacArthur who had served time in the news bullpen at the Chicago City Hall and had finally escaped to write for other venues that were no more respectable but paid a whole lot more money. Their subject was Hildy Johnson, a reporter on his last day in the bullpen before escaping into the real world and his boss Walter Burns, an amalgamation of every editor who'd ever run a beady eye over Hecht and MacArthur's deathless prose. I should point out that Hildy Johnson in the play is a man. The reason for that is ... well, because there actually was a Hildy (short for Hilding) Johnson who happened to be a bullpen reporter at the Chicago City Hall. Whatever inclination (if such a thing ever entered their minds at all) that Hecht and MacArthur had to make Hildy Johnson a woman would have promptly fallen by the wayside because the two authors were aware that the real Hildy Johnson would be in the theater on opening night to observe the antics of the fictional Hildy on stage. By all accounts, the real Hildy was a large and formidable Swede, not at all someone H&Mac wished to annoy.
In very short order, the play was faithfully transferred to the movie screen with Pat O'Brien as Hildy and dapper Adolph Menjou as Walter Burns. That film is largely forgotten today, but is well worth watching. It was the first major film of the talkie era in which the old fluid movement of the silent film camera was re-attained. Menjou and O'Brien are both terrific.
More than a decade later, a geologic era of Hollywood time, Howard Hawks set himself to the task of making a remake. He hired Charles Lederer, yet another raffish writer, to make a 1940-ish screenplay out of the 1928 play. He, or Lederer, or both simultaneously succumbed to the psycho-magnetic pull of that name, Hildy. They subjected Johnson to a gender transformation ... which changed the relationship between Burns and Johnson from Mephistopheles and Faust to lovers-separated ... which allowed for the importation of a new character as the temporary impediment to the course of true love ... which yielded a magnificent screenplay that maintained all the cynical energy of the original, but in the context of a romantic comedy.
In the apportioning of credit, so far, I would put writer Lederer far ahead of director Hawks. Hawks racks up points for casting Cary Grant in the unaccustomed role of an authority figure, for casting Roz Russell who was perfectly capable of going toe-to-toe with Grant and always giving as good as she got, and for tossing in the wonderful, but still under-appreciated Ralph Bellamy as hilarious ballast to keep everything on course.
Hawks did one more thing. He rehearsed each scene in long takes, again and again, until the rapid, overlapping rhythm of the words was ingrained in the performers. Then, and only then, did he shoot it.
This film is a masterpiece for its screenplay, for its performers down to the smallest parts (a perfect, Big Studio-era repertory company of players), for Hawks' masterful direction. Sheesh, what more could you want? Of course it's worth five stars!
His Girl Friday dvd.......2007-01-19
Delivery of the item was prompt as promised and the quality of the DVD was as indicated. Completely satisfied with the transaction.
Average customer rating:
- Never Wave at a Wave - Refreshing & Undemanding
|
Rosalind Russell Double Feature (B&W)
Starring: Cary Grant , Rosalind Russell , Ralph Bellamy , Gene Lockhart , and Porter Hall
Director: Howard Hawks , and Norman Z. McLeod
Manufacturer: Critic's Choice
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