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His Girl Friday
Average customer rating: 4 out of 5 stars
  • 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: Sony Pictures
ProductGroup: DVD
Binding: DVD

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ASIN: 6305416192
Release Date: 2000-11-21

Amazon.com essential video

The Front Page, 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.

His Girl Friday 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. --Richard T. Jameson

Customer Reviews:

5 out of 5 stars 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

5 out of 5 stars 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 to 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 one that 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 actors had finished their line. 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.

5 out of 5 stars 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.

5 out of 5 stars 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!

4 out of 5 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.
Vampyr
Average customer rating: 3.5 out of 5 stars
  • A story with flour power.
  • To watch late and alone, preferably on Halloween
  • Transfer very good --- but it's not authentic!
  • An amateur takes the winess stand
  • SHADOW DANCING!!!!!!!!
Vampyr
Starring: Julian West , Maurice Schutz , Rena Mandel , Sybille Schmitz , and Jan Hieronimko
Director: Carl Theodor Dreyer , and Wladyslaw Starewicz
Manufacturer: Image Entertainment
ProductGroup: DVD
Binding: DVD

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ASIN: 6305078491
Release Date: 1998-05-13

Amazon.com

In this chilling, atmospheric German film from 1932, director Carl Theodor Dreyer favors style over story, offering a minimal plot that draws only partially from established vampire folklore. Instead, Dreyer emphasizes an utterly dreamlike visual approach, using trick photography (double exposures, etc.) and a fog-like effect created by allowing additional light to leak onto the exposed film. The result is an unsettling film that seems to spring literally from the subconscious, freely adapted from the Victorian short story Carmilla by noted horror author Joseph Sheridan Le Fanu, about a young man who discovers the presence of a female vampire in a mysterious European castle. There's more to the story, of course, but it's the ghostly, otherworldly tone of the film that lingers powerfully in the memory. Dreyer maintains this eerie mood by suggesting horror and impending doom as opposed to any overt displays of terrifying imagery. Watching Vampyr is like being placed under a hypnotic trance, where the rules of everyday reality no longer apply. As a splendid bonus, the DVD includes The Mascot, a delightful 26-minute animated film from 1934. Created by pioneering animator Wladyslaw Starewicz, this clever film--in which a menagerie of toys and dolls springs to life--serves as an impressive precursor to the popular Wallace & Gromit films of the 1990s. --Jeff Shannon

Description

Carl Theodor Dreyer's eerie horror classic stars Julian West as a visitor to a remote inn under the spell of an aged, bloodthristy female vampire. Extremely atmospheric, this rare gem delivers a decided chill.

Customer Reviews:

4 out of 5 stars A story with flour power........2007-07-01

Allan Grey (Julian West) has a fertile imagination and we get to fertile along with him. He is on vacation. He chooses a strange building to vacate in. Its his first night and he hears spooky sounds (mostly in German) which forces him to lock his door. A mysterious man comes into his room any way and delivers a package. It is only to be opened on the stranger's death. Things only get weirder and as with any mystery it is always the last person you suspect. Eventually the story comes to a "Grinding halt."

Well designed "they may be vampires" story. All the elements are there. If you miss the introduction you will be lost in the montage. Actually considering that this film is over 75 years old and has had a rough shelf life, we are lucky to see what there is. Now the question is if this is re-mastered will it lose its patina as rare coins do after a good dose of Bon Ami.

4 out of 5 stars To watch late and alone, preferably on Halloween.......2007-02-07

A must-see, unforgettable German film from 1932, this one is mostly a silent film, with a minimum of audio effects when needed. Loosely derived from Sheridan Lefanu's Carmilla (the original "Lesbian vampire" story), Vampyr is like a surrealist nightmare. Spooky.

3 out of 5 stars Transfer very good --- but it's not authentic!.......2006-08-09

This is my technical review of this version. I HATE IT.
Ok, first of all it's visually superior to other versions I've seen, which have been "over exposed". The audio seems compressed somehow. It's necessary to turn the volume WAY UP to hear it! Another reviewer was dead-on with the subtitles. When they DO use them... they're awful!! Other versions I've seen, use a small, Arial-type font, with NO background. MUCH easier to read. Then there are the opening credits. THESE ARE NOT AUTHENTIC. Again, in other versions, the opening credits are in German, and not produced with computer graphics!! Then there are the scenes in which the actor is reading from a book. The cut-aways on this version to a "bright" screen with that awful computer written text are ridiculous and distracting. Those are the issues I have with this version. I cannot say where you might find a more original copy... my guess would be from "Sinister Cinema". A version I rented some 20 years ago was a public domain release, from some no-name company, which again did not display the contrast that you'll enjoy on this version, but at least had some authenticity to it, and doesn't appear it was doctored by a geek with a mouse!

5 out of 5 stars An amateur takes the winess stand.......2006-07-13

The Gothic Fonts ARE hard to read. The scratchy soundtrack and dark fading-in-and-out pictures with funny squiggles are different from watching MISSION IMPOSSIBLE 3 on DVD -- if I ever do so.
But the fonts are why God made 'pause' buttons. And the human brain is the best filter ever created for squiggles & Rice Crispies soundtracks.
The movie is wonderful.

5 out of 5 stars SHADOW DANCING!!!!!!!!.......2006-03-22

This is a wonderful film,it is a vision of dream like
moments for cobweb eyes. I being a horror fanatic have
always read about this in spooky books,and had to see
what all the hype was. It is not hype but fact. It is
truly a masterpiece in the true sense of the word.
The grain & hair particals on the film just inhance
this even more,you really are in Carl Dreyer's world.
The world of the supernatural.Please when watching it
forget it is 2006 and pretend you are watching it in
1932.What a (trick or)treat it must have been the first
time it was shown.This jewel has everything and to copy
a famous saying it has WALL TO WALL CREEPS AND HOT & COLD
RUNNING CHILLS....THERE'S NO TURNING BACK NOW............
NOTE:IMAGE ENTERTAINMENT PRESENTS THIS BUT UNLIKE THE OLD
DARK HOUSE(1932 MASTERPIECE)THEY COULD HAVE DONE A BETTER
JOB,HOPE CRITERION COLLECTION READS THIS.
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ASIN: B00003ES2M
Release Date: 1999-11-16

Amazon.com essential video

The Front Page, 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.

His Girl Friday 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. --Richard T. Jameson

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.

Includes "Cary Grant On Film" - a documentary, an intro by Tony Curtis, and the trailer for Gunga Din.

Menus: English • Spanish • Chinese • Japanese
Subtitles: Spanish • Chinese • Japanese

B&W/Color
Running Time: 121 min.

Customer Reviews:

5 out of 5 stars 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

5 out of 5 stars 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 to 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 one that 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 actors had finished their line. 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.

5 out of 5 stars 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.

5 out of 5 stars 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!

4 out of 5 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.
Killer Tomatoes Eat France
Average customer rating: 4 out of 5 stars
  • Unwatchable
  • "Killer Tomato is A Smash Hit"
  • Not as terrible as the 3rd one
  • "Who's that Ringing in the Seine?"
  • ALL KILLER TOMATOE MOVIES
Killer Tomatoes Eat France
Starring: John Astin , Eileen Bowman , Costa Dillon , Maxime Dumesnil , and Debi Fares
Manufacturer: 20th Century Fox
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Binding: DVD

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ASIN: B0009X75GA
Release Date: 2005-09-06

Description

The razor-toothed tomatoes return in "Killer Tomatoes Eat France," affectionately known as Part IV of the Tomatoes Trilogy. This time they've developed an appetite for dining a' la Francaise! Filmed in France, the juicy plot unfolds as the evil professor Gangreen (John Astin) and his bungling henchman Igor (Steve Lundquist) create a new strain of tomatoes to devour the country. Only a young American tourist claiming to be Michael J. Fox (Marc Price, Skippy from "Family Ties") and his girlfriend (former Miss Universe, Angela Visser), who's one hot tomato herself, can stop them!

The battle rages from the dungeon of France's newest tourist attraction, "Igor's Really Big Castle," to a Ben Hur-style car chase around the Arc de Triomphe and a heavy metal rock riot at the Louvre.

Customer Reviews:

1 out of 5 stars Unwatchable.......2006-05-16

Silly cornball series, made worse by the addition of some really ugly tomato puppets. Contains every possible French stereotype imaginable. Watch, only if you are in the mood for a low-budget film, with corny puppets. I could not stand it.

1 star.

3 out of 5 stars "Killer Tomato is A Smash Hit".......2006-03-24

I bought this as a joke for my sister.....who is interested in French culture. We have always joked about the Killer Tomatoe Series and It was the perfect "FUN" experience for her birthday.
Of course the film is campy, silly, weird and amusing....Just what we were looking for in crazy, light, entertainment..

3 out of 5 stars Not as terrible as the 3rd one.......2005-10-24

The first two are fantastic. The third one is slightly less fun than filling your underwear with starving badgers. This one doesn't live up to the legend that the first two established, but it is so much better than the third.

5 out of 5 stars "Who's that Ringing in the Seine?".......2005-10-03

The near equal of "Return of the Killer Tomato" and surprisingly good if you like this sort of humor. Gangreen, as a foreign exchange prisoner, is jailed in a French prison where he's found a book containing a prophesy that he hopes to use to his advantage to rule France and then the world. As luck would have it, Gangreen's assistant Igor, played by Steve Lundquist, is a dead ringer for the future king pictured in the book. The true future king of France ("No wonder my last name is Seventeenth"), also played by Steve Lundquist, knows nothing of the prophesy and the story revolves around whether or not the impostor will be discovered in time.

Michael, who's touring France, shanks mare, and Marie, a beautiful French country girl, are the film's romantic interest and also the pair who hope to squash Gangreen's plans of world conquest. Angela Visser, former Miss Universe, plays Marie and is surprisingly good in the role not to mention cute as a bug. The scene where Michael and Marie are sharing dinner with her parents is a riot!

The killer tomatoes themselves now have facial features, fangs and all, which I thought detracted a little from the whimsical absurdity of the concept which, after all, is a good part of the Tomato series' appeal.

Off beat (way off!) satirical humor with sight & sound gags that don't let up make these films work. I don't mean to sound like a prude but the squeaky-clean language and the near total lack of sexual innuendo is a refreshing departure from most current films.

I'm a fan!

5 out of 5 stars ALL KILLER TOMATOE MOVIES.......2002-06-25

THESE ARE THE GREATEST MOVIES DONE OFF THE CUFF THAT YOU COULD POSSIBLY WANT IN YOUR COLLECTION. I DO WISH THAT ALL 4 MOVIES WHERE ON DVD FORMAT SO THAT THEY CAN LAST FOREVER. THEY ARE A TRUE CULT CLASSIC SET AND HAVE A LARGE NUMBER OF FOLLOWERS.
Killer Tomatoes Strike Back
Average customer rating: 3.5 out of 5 stars
  • The first on was great! Why this?
  • Dr. Gang Green strikes again
  • Silly Fun ...with a "Millionaire"
  • Cooooooooool!
  • A stupid sequel...
Killer Tomatoes Strike Back
Starring: Robin Abb , Tom Ashworth , John Astin , Crystal Carson , and Zollo Cortez
Manufacturer: 20th Century Fox
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Binding: DVD

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ASIN: B0009X75HE
Release Date: 2005-09-06

Description

Those vicious Vegetables of Doom bounce back for another go at world domination in this Third installment of the comedy classic "Killer Tomato" series. Tomato mastermind Mortimer Gangreen (The Addams Family's John Astin has concocted a wacky scheme to plunder the planet. Disguised as Jeronahew, the ultimate talk show superstar, he plans to replace "couch potatoes" with "rad tomatoes" --creating a humungous Tomatocracy! (Whatever that is).

Fortunately for us human types, detective Lance Boyle (Rick Rockwell) and voluptuous Tomatologist Kennedi Johnson (Crystal Carson) have other ideas¿and thus begins a wildly improbable (and totally hilarious) adventure that culminates at the awesome Temple of Food - where Kennedi is about to become a bacon, lettuce and human sandwich!

Customer Reviews:

2 out of 5 stars The first on was great! Why this?.......2006-03-30

This movie was awful! The first one was funny, action, and this has nothing good! The actors are bad! This totaly stink!!! Don't buy this crap!

4 out of 5 stars Dr. Gang Green strikes again.......2006-02-13

In a world full of bad news, dirty politicians, and the never ending wars on drugs and terror, there are few things that make life worth living, Killer Tomato movies are one of the few rays of sunshine for this dreary planet.

That's right folks. Dr. Gang Green and his trusty sidekick Igor are at it again trying to take over the world with the deadliest of all fruits (because as we all know, tomatoes technically are fags). This movie starts off with a beautiful blond being chased down by a maniac in a hockey mask. Little do they both know they are both about to be killed by tomatoes wielding chainsaws and wearing hockey masks of their own.

Lt. Finletter is back as the greatest of all tomato fighters. Sam Smith the disguise expert even makes a quick appearance (sort of). The tomatologist, Kennedy Johnyson (who is a heck of a tomato herself) is the eye candy for this flick.

The plot is simple enough. Dr. Gang Green is now trying to use the TV media as the means to which take over. He does a funny Geraldo knock off as a TV talkshow host. Along the way the tomato gags are fast, furious, and hilarious.

It's really simple. If you love one Tomato movie, you'll love them all. If you hate one, well go watch something else and don't bother seeing the other three.

3 out of 5 stars Silly Fun ...with a "Millionaire".......2002-08-04

This is the third movie in the Killer Tomato series. It stars John Astin (Addams Family on TV) and Rick Rockwell (Who Wants To Marry A Millionaire).

This time Dr. Gangreen wants to take over the world by taking over the news media. Of course, his Killer Tomatoes fit into the plans too. Lance is the one who tries to stop him - with some help from Kennedi who is a Tomatologist. (Yep. She studies Tomatoes.)

The jokes are very silly. This is one of those movies you'll think is just dumb or great. It appears to have a bigger budget and stronger script than the original. Although the story might be more developed than the original, I'm not sure if I can say it's a better movie. The original's appeal was in it's very obvious low-budget. The original almost looks home-made. Here the presentation is better, but the script doesn't play out as well. This movie is easier to sit through than the second movie - Return of the Killer Tomatoes (which had most of the actors from the first movie plus George Clooney). Killer Tomatoes Strike Back is about equal to the next movie, Killer Tomatoes Eat France, if you decide you want to see more.

4 out of 5 stars Cooooooooool!.......2000-06-29

This film is just great. It's a bout the evil dr. Ganggren who is trying to brian wash people through his talk show, his evil plan is helped by the evil docters killer tomatoes. It is up to a tomatoeologeist and a cop (a dirty harry spoof) to stop the sinister plan. This is a great film, it has lots of great laughs and is just plane entertaining till the end. The one problem is that if the show situation happened I wouldn't watch the show, cause it seems realy boring. Just don't expect anouther [show] and you'll be fine.

3 out of 5 stars A stupid sequel..........2000-06-12

Following the infamous Tomatoes Attacks movies, this one is a comedy like Top Secret and Airplane. Well saying, it tries to be, 'cause it's much inferior than that, the jokes are extremely stupid. Even so, it has some good gags, like the English-Tomatoe dictionary...
His Girl Friday
Average customer rating: 4 out of 5 stars
  • 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: Alpha Video
ProductGroup: DVD
Binding: DVD

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ASIN: B00005RERL
Release Date: 2002-01-22

Amazon.com essential video

The Front Page, 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.

His Girl Friday 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. --Richard T. Jameson

Customer Reviews:

5 out of 5 stars 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

5 out of 5 stars 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 to 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 s