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.
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