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.
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