A final look at His Girl Friday

There's so much that's good about His Girl Friday. From the script to the great pairing of Cary Grant and Rosalind Russell, this film really turns out to be such a memorable screwball comedy.

Like all great screwballs, and really all films in general, the opening scene is key to the success of a good film. This film sets the tone and pace of the story by creating deadlines, much like in the world of journalism, plus the sense of urgency. The pace is quick, which allows for mayhem that is sure to entertain all.

There's also the great teaming of Grant and Russell. It's funny to read that she was actually quite nervous about her role because she does such a flawless job throughout the film. She keeps up with Grant and is obviously a great match for him. Both of them react well to one another, kinda like finishing each other's lines.

The dialogue is another strength here. While there's plenty of it, the dialogue is orchestrated in a way so that it's smooth, funny, and rolling along. Never does the dialogue slow the story down. There's a great handling of exposition by making the dialogue funny and entertaining for the viewer.

Now there is one difference in this film from other screwballs in that there isn't the usual emphasis of the rich vs. the working class. Instead here's a journalism satire. But it manages to work as a screwball comedy because it evolves the genre due to the changing times. It's only appropriate that the focus switches but more particularly that the screwball can be adapted to poke fun at other areas and not just societal classes. Even still, while this film is in the world of journalism, there is still a love story at the center and a screwball hero pulling all sorts of tricks to get his girl back.

Considering the time passing, you would think that the screwball was retiring, but with His Girl Friday it's quite apparent that the genre is still alive in 1940. Howard Hawks helmed a memorable screwball comedy by using all the ingredients necessary for the genre but also by taking it a step forward and molding it to a screwball more suitable for the times. It's a wonderful and hilarious screwball comedy all around.

Reading His Girl Friday

This screenplay is one of those that runs long and you hope it's all dialogue and little action writing. But I was optimistic going in to read a draft of His Girl Friday. The script I read is close to 200 pages long, and the film turned out to be quite faithful to the script, but as with most scripts there were differences. The length for one was cut, but the dialogue itself changed a bit from page to screen, leaving a much sharper and quicker product in the end.

While the script is incredibly long for what turned out to be an hour and a half film, it's not all the running dialogue that makes it long. It trips you up in a sense, the dialogue because you're used to hearing it at such a fast pace when in reality it's quite a mouthful. What turns out to make the script long and dragged-out a bit is the extra scenes, and even the different ending. One of the things that did stand out for me in this film is that there is so much exposition, but I found myself quite entertained in spite of the endless backstory. In the script, this exposition remains, but along with the exposition that explains what's going on concurrently, we get to see the scenes acted out, which are scenes mostly with Bruce and his mother.

Looking back, perhaps because I may have confused it with The Awful Truth, I was surprised to realize that Bruce's mother doesn't show up until about two-thirds into the film. In the script though, she gets her own big scene with Louie and the car crash. Bruce we barely see throughout except when he's either with Walter or Hildy, and I think it works better this way. In the script though, we see Bruce out on his own in the city, getting accused of stealing with Louie pointing the finger at him. We see him in jail, arguing with the cops, all scenes that just took up time and really weren't that necessary to show. One could argue if it's done really well, really standout and downright funny, then it's worth to include, but for whatever reason these scenes aren't included in the film, and it helps speed up the story.

The dialogue is another noticeable difference from script to film. While I had suspected and then confirmed when I read up on the film that a good chunk of the dialogue had been improvised, this proved to be quite true upon reading the script. The truth of it is that the best lines in the film were completely made on the day of shooting. You'll still find some memorable lines in the script, Walter calling Bruce's mother a cock-eyed liar is one that comes to mind, but even dialogue like when Walter tells Hildy that she practically proposed to him with her googoo eyes, the "Oh Walter" bit isn't in the script, nor is any of the action.

The other thing about the dialogue that I've already mentioned is that it's a mouthful. So you sit and read it and you don't get the same effect as when you watch it. There's plenty of dialogue and one of the things that Howard Hawks did here brilliantly is have the actors talk on top of one another. There's one bit when Walter and Hildy are both talking on different phones to different people. It's not smooth to read and follow but it's pretty much verbatim as to what is seen on screen, and Hawks directed this so well so that it seems authentic as how you'd expect the newspapermen to be while on the phone, and it speeds it up too. Sure, half the time you might be like, what happened here? But you get the gist of it and you get the jokes, so you're entertained in the end.

But the big difference between the screenplay and the finished film is the ending. And to be honest, the film's ending is so much better. I think the problem with the script is that it did drag on too much, and nothing shows this more than the ending. You actually get to see Hildy make a conscious decision to stay and leave Bruce behind, write the story, get the byline, and then have a shotgun wedding with Walter that didn't seem quite funny to me. The script's ending didn't just slow things down, it seemed to change the tone as well. If you look at the film's ending, Hildy starts to cry when she realizes Walter never had any intention of letting her go once she learns Bruce is in jail for handling counterfeit money. Hildy wipes her tears and tells Walter to get Louie down there so they can bail Bruce out, knowing after everything they've gone through she isn't the woman for Bruce. Walter calls up Duffy and then proposes to Hildy by telling Duffy that he and Hildy are getting married. The tone here does go soft but then with Walter getting on the phone, the mood's changed and everything's more upbeat, and even as the film fades out, you see Walter his usual self, making Hildy carry her own luggage, and just not being that ideal man and husband Hildy said she wanted. This is more realistic and funny than the script which finds Walter telling Hildy he wants to be a father so that he can have someone follow in his footsteps. It just didn't work for me. The film's ending is not only funnier and quicker, but it's more immediate, continuing with the sense of urgency that's prevalent throughout the film.

Quite long with some extra scenes, but with some great dialogue, the screenplay of His Girl Friday sets a great story out that satirizes just about anyone and anything. While the film focuses more on just the relationship between Hildy and Walter and journalism, the script deviates for a bit, looking at Bruce and his mother for some comic relief that doesn't turn out to be that essential to show. The dialogue was memorable and if anything set off a starting point for the actors to improvise on the finished film, while the ending fell a little flat. In the end, this script is a good working draft that was perfected while shooting and enabled the players and crew to deliver a great screwball comedy.

A change in the screwball comedy

With His Girl Friday, the screwball comedy had clearly changed. I’m not even sure if purists would identify it as a screwball or not, although besides some minor details, the film is pretty much a basic screwball. But here it’s clear that the genre has evolved. The screwball’s rich vs. poor storyline is changed and instead we have a journalism satire with screwball leads.

With this story Howard Hawks and Charles Lederer have taken the screwball to the 1940s and done a gender change so that it goes from a basic satire to a hybrid satire/screwball comedy for a new audience. This is different from say My Man Godfrey, which clearly parodies the lifestyles of the rich, a common characteristic of the genre. In this film, there aren’t any rich people, but instead we have the working class from government employees to insurance workers, but most importantly the journalists.

I think, as with The Philadelphia Story, the times were changing and ten years after the first screwballs had come into common fashion, the genre needed a change. Although this script had been written in the 1920s, Hawks uses this satire to update the screwball by changing Hildy's gender and thus making this a romantic comedy. So Hawks takes the screwball and changes it here from mocking the rich to mocking journalism and local government. Now while the filthy rich are nowhere in sight, we still have an object of ridicule in the government officials and journalists.

To compare this film with My Man Godfrey, just like Irene Bullock isn't a conniving debutante like her sister Cornelia, Hildy isn't the careless journalist who writes anything just to get a story, kind of like her other colleagues. She's ambitious, she's a journalist, but she has a heart, a fact Walter takes advantage of. And Hildy, along with Walter, is the one who outsmarts the mayor in the end when the reprieve from the governor comes through and the mayor comes out looking crooked in front of two journalists. The underdog rises to the top after some hard-earned worked and lots of laughs.

And while there are some changes, here the one thing that remains the same is the screwball lead. In particular here we have the screwball hero who will go to all lengths to keep his lady, and all under the pretext of journalism. Walter makes it clear to Duffy that Hildy is gonna stay at the paper only she doesn't it know it yet. And he schemes his way by lying and appealing to Hildy and Bruce's moral judgment. But Hildy can see right through Walter every time and stays one step ahead of him. So much so that in the end when she starts crying that she thought Walter was really letting her go and turned out he wasn't, I thought she was gonna start laughing and say, gotcha! These two are perfect for one another, driving each other crazy and obviously inseparable. And Hildy realizes halfway through she can't turn her back on a story, and who does she call when Earl Williams escape? No one else but Walter. She all but ignores Bruce when he tries to get her to join him. Hildy's in her own world when she's writing and it's obvious it's a world she can only share with Walter.

It's been quite interesting watching His Girl Friday and trying to figure out, is it or isn't it a screwball. I think as the time passes the screwball obviously changed but while the criticism of the rich is absent in this film, there's still a group to criticize. That along with the romantic storyline makes this film as close to a screwball as you can get with the changing times, which makes for a fascinating update to the genre.

The writing of His Girl Friday

One of the many things that stands our the most in His Girl Friday is how well-written it is. It’s tight, concise, never meandering off into some vague subplot. Everything serves a purpose, all dialogue and plot points add up to payoffs. I think even if you’re not paying attention to these details, it all makes for successful storytelling and part of what makes this film memorable.

The opening scene pretty much establishes everything you need to know about the film, but part of its strong point is how it handles backstory. This isn’t just done through dialogue, it’s also done through action. One of the best examples of this is Hildy’s reaction to Bruce doting on her. She’s simply not used to be treated nicely. And this isn’t just because she’s a female journalist and essentially one of the guys, this is mostly because of how Walter has always treated her in the past. It’s a nice set up that pays off when Hildy and Walter have some alone time in his office. He never offers her a cigarette or a light, when they both exit his office he dashes off ahead of her, never takes his hat off, and the list goes on. In fact his entire treatment of her shows plenty of what kind of marriage they had without Hildy needing to rehash it for our sake. Even still, not all backstory can be implied.

Another strength of this film is the handling of exposition, much of which is handled in the first scene, but not only there. Hildy and Walter haven’t seen each other in weeks and right there it’s an excuse to talk about the past, in particular their recent divorce. These details, along with that of their marriage and working relationship is all retold in such an entertaining way. The execution of these scenes has as much to do with the writers as it does with the actors. The chemistry between Cary Grant and Rosalind Russell is hot and together they egg each other on, they’re equals and compelling to watch. But the exposition isn’t only here. With the film taking place in less than a day, characters come and go with a history already in place, and for our benefit it’s explained. When the reporters in the press room of the criminal courts building are all gathered around and playing cards, they all start to talk about Walter and Hildy, none of them sure Walter will let her go and then they begin to recall his ruthless tactics. But these antics of Walter throwing in jail the last reporter who left the Post color a comical picture of Walter, adding to the already humorous impression of him and the story. You don’t care that you’re being told so many things because you’re getting a laugh out if it, especially the way the reporters tell it.

One more great strength is how the stakes are raised throughout the film. There’s nothing more exciting and pressing when watching a film than when the stakes are constantly raised. Makes it much sweeter in the end when the protagonist is able to overcome the obstacles. In this case, the opening scene alone raises the stakes a few times. We know right away that the obstacle Walter must overcome is to get Hildy to stay at the Post and with him. But soon enough he finds out she’s going to get married. Not more than a couple of minutes pass by when he finds out that she’s getting married the next day. Immediately, Walter has to improvise and the wheels seem to be spinning from the look on his face. In the following scene, he finds out that she’s leaving on the four o’clock train to Albany, further winding down the timeline for Walter. Along with this is the subplot that holds Hildy back, a story for the Post on Earl Williams who’s about to be hanged. More deadlines are set, and this continues throughout the film as more developments occur, keeping you on the edge of your seat. Most importantly though, when Walter finally gets his way, it makes it much more triumphant for him having to overcome everything in such a short timeframe. It’s very well thought out and executed.

Taking a closer look at His Girl Friday, you’re able to appreciate the different things that make this such a great film. The writers also manage to make this all look so effortless, with the help of the cast. The film is never dull although it very well could be. Instead you find yourself laughing through this quick film that surprises you with its developments. There’s a solid structure in this film that makes for enjoyable storytelling.

At The Morning Post

The opening sequence of His Girl Friday is one of the best I’ve seen. It’s quick and sharp and manages to establish plenty in about fifteen minutes while entertaining you at the same time. From this scene alone, you know exactly what kind of film you’re in for, the players, the stakes, and even the subplot.

If I remember correctly, the introduction was put in there as a way to appease the Hays Office. The film states that the story is set in the dark ages and none of the characters resemble real reporters, so once upon time …. Right there a certain tone is set. That the scene opens up at the paper tells you the world we’re inhabiting with deadlines and a sense of urgency because of it. All of this in under a minute and without dialogue.

Rosalind Russell appears soon enough as Hildy Johnson, and right by her side is Ralph Bellamy as her fiancé Bruce Baldwin. Like I’ve said, this film has great dialogue with so much subtext. What I love is how much is revealed without blatantly pointing it out to you. When Bruce tells Hildy ten minutes is a long time to be away from her, Hildy is shocked and asks him to repeat it. This is a woman who isn’t used to getting regular affection from a man. Now, she is used to compliments on her work. She struts down the newsroom like she’s the queen in her court, saluting her people as she makes it down to the king of the universe.

It’s great when both leads are introduced right away, and especially in the way that Russell and Cary Grant handle each other. But before the two are left alone to talk, the driving force that moves the characters into motion is set in place. There’s a death town inmate who hasn’t been given a reprieve, and The Morning Post is pushing that he gets it before the inmate is executed later on. This is talked about quickly, almost as an aside sort of way, but its implications affect the storyline further on down.

When Grant an Russell finally have alone time, you get to see the two in one of the funniest exchanges ever filmed. Grant as Walter Burns is obviously a man driven by story. He doesn’t care how but he has to get the story. And in his treatment of Hildy is when you finally see why she was shocked at hearing Bruce tell her ten minutes is a long time to wait. Walter lights up a cigarette without offering her one or even a match. When they talk about their marriage and subsequent divorce he puts all the blame on her, as in it’s her fault that she made googly eyes at him that forced him to propose and when he did she should’ve been the better man and not have kept Walter to his word. When she filed for divorce, he blamed her for making it so permanent and leaving him feeling unwanted. All of this and all the while you’re laughing, you’re truly entertained. So much backstory is established here and you forgive the exposition because it’s so well written and executed, but mostly, you’re simply enjoying yourself.

When Hildy finally gets around to tell Walter she’s getting married, things quiet down. But the pace never slows down because all the while Walter is thinking. You can see the wheels running in his head. But here, the stakes are raised. Hildy tells Walter not only that she's getting married but that it'll be tomorrow. This makes Walter take a further step back. More wheels turning. I think narrowing the timeframe brings further urgency to the story and makes it quicker, and that it's done within the first fifteen minutes is great.

Rounding up the scene, Walter tells Hildy he wishes her the best, but before things get too sappy he's back to his old self, insisting to meet him and wondering why this paragon would want anything to do with Hildy. His confusing encounter with Bruce adds to the tension while at the same time setting up Bruce to be quite a simpleton. There are some more laughs and then they're off to have lunch at his insistence, to which Hildy says through gritted teeth that whatever it is, it won't work.

It's always great to look back at a film carefully and see what makes it great. This opening scene is flawless and without effort it seems. I think that's what makes it perfect, how natural it comes off. But of course, I admire most the writing, and not so much the dialogue, of which overall throughout the film I believe a fair amount was improvised, but the set up, the outlining of how the plot would develop; it's quite admirable. It's part of why His Girl Friday is so memorable.

His Girl Friday (1940)

Yet again I found myself with another film I hadn’t seen in ages. And when I sat down to watch it I realized it had been too long. Howard Hawks’ His Girl Friday—take on the play The Front Page—is one of the fastest-talking and funniest comedies made. So much fun and lots of good laughs. The best part is the banter between Cary Grant and Rosalind Russell, constant dialogue upon dialogue, talking on top of each other. It’s almost like a carefully choreographed dance only with words instead. And much like with the two previous films, I’m seeing a change in the genre, only in this film there’s more loyalty to the screwball comedy.

There’s a great opening here, establishing the background between the two leads with funny dialogue. Exposition can be so unbearable but you find yourself enjoying it here because it’s hilarious to watch Grant and Russell fight back and forth. Grant is already, hands down, the screwball king, and here we have Russell who can meet him eye to eye without flinching once. She gives it right back to him every time and you find yourself remembering The Awful Truth. Of course Ralph Bellamy reprising a role his familiar with as the wrong guy is also a huge reminder. The thing I like more about him in this film is that his Bruce doesn’t suffer as much from an Oedipal complex. It made it more realistic that Hildy would want to marry him.

While Grant’s Walter can be a complete jerk, you can’t help but like him. I blame Grant’s charming smile. Walter can be so irritating and manipulative. He’s completely the screwball hero in this case, going to all ends to make Hildy stay, even if she doesn’t it yet. And Hildy is painted completely relatable, but most of all she’s not stupid. This is where you see how the genre is changing and not focusing so much on parodying people. Hildy is a female reporter, a working woman, and when Walter tries to pass one past her, she always catches on and calls him on it. She’s one step ahead of Walter at all times and makes it harder for him to get what he wants in the end. As a female it’s refreshing to see a girl who doesn’t have to compromise her brains in order to get with the guy at the end.

This film focuses more on poking fun at journalism rather than the social classes. Ben Hecht wrote the original play, along with Charles MacArthur, of which Charles Lederer adapted to a screenplay. Hecht also wrote Nothing Sacred, which I’ve made no secret that I found it to be a bit of a mess, but with this film he succeeds in making fun of the journalism world. So there are no Park Avenue brats here, but there is the zaniness of the journalist and political corruption.

Watching His Girl Friday after so much time was really a delight, mostly to watch Grant and Russell. I should confess though that I quite admired the seamless way all the characters talked on top of one another. There's great editing here but there also must've been some careful rehearsing before film rolled because it's done impeccably. Hawks directed a film here that was quick and funny with memorable performances.