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No i haven't, do you recommend anything ??
Dr. Jekyll and Mr. Hyde
Design for Living another Ernst Lubitsch film.
Barbary Coast a Howard Hawks film
Classic Comedy Hall of Fame
Dr. Jekyll and Mr. Hyde
Design for Living another Ernst Lubitsch film.
Barbary Coast a Howard Hawks film
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She’s great in Dr. Jekyl and Mr. Hyde.
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Nothing Sacred (1937)
I've always been a big Carole Lombard fan. She was gorgeous and had a natural flare for comedy. It was one of the great Hollywood tragedies that she was killed at aged 33 in a 1942 plane crash.
This film might be described as a mild to moderate screwball comedy. Lombard and Frederic March do commendable jobs with their interaction, but the comedy writing is not as imaginative or as appealing as other films such as Lombard's Twentieth Century (1934) or My Man Godfrey (1936). Here the comedy is not so much in the funny lines or the repartee, but in Lombard's ability for humorous facial expressions and in her reactions. Having done dozens of silent films, she knew how to express her character's thoughts without dialogue.
March does a nice job against Lombard, but IMO he was first a dramatic actor, second at comedy. Most of his great roles were as a serious dramatic actor. He has that kind of presence that evokes sincerity and importance. It seems to me that good comedic actors can do good dramatic acting (Berle, Rickles, Lewis, R. Williams), but good dramatic actors tend to have trouble with comedy.
On the surface this had the ingredients for a great film. Directed by William Wellman, screenplay by Ben Hecht, co-written by Selznik, Moss Hart, George S. Kaufman, Ring Lardner and others, it sounds like a dream team. Perhaps this was a production that suffered from creative over-kill. But be that as it may, Nothing Sacred is an enjoyable and important comedy.
~Doc
I've always been a big Carole Lombard fan. She was gorgeous and had a natural flare for comedy. It was one of the great Hollywood tragedies that she was killed at aged 33 in a 1942 plane crash.
This film might be described as a mild to moderate screwball comedy. Lombard and Frederic March do commendable jobs with their interaction, but the comedy writing is not as imaginative or as appealing as other films such as Lombard's Twentieth Century (1934) or My Man Godfrey (1936). Here the comedy is not so much in the funny lines or the repartee, but in Lombard's ability for humorous facial expressions and in her reactions. Having done dozens of silent films, she knew how to express her character's thoughts without dialogue.
March does a nice job against Lombard, but IMO he was first a dramatic actor, second at comedy. Most of his great roles were as a serious dramatic actor. He has that kind of presence that evokes sincerity and importance. It seems to me that good comedic actors can do good dramatic acting (Berle, Rickles, Lewis, R. Williams), but good dramatic actors tend to have trouble with comedy.
On the surface this had the ingredients for a great film. Directed by William Wellman, screenplay by Ben Hecht, co-written by Selznik, Moss Hart, George S. Kaufman, Ring Lardner and others, it sounds like a dream team. Perhaps this was a production that suffered from creative over-kill. But be that as it may, Nothing Sacred is an enjoyable and important comedy.
~Doc
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Nothing Sacred (1937)
I've always been a big Carole Lombard fan. She was gorgeous and had a natural flare for comedy. It was one of the great Hollywood tragedies that she was killed at aged 33 in a 1942 plane crash.
This film might be described as a mild to moderate screwball comedy. Lombard and Frederic March do commendable jobs with their interaction, but the comedy writing is not as imaginative or as appealing as other films such as Lombard's Twentieth Century (1934) or My Man Godfrey (1936). Here the comedy is not so much in the funny lines or the repartee, but in Lombard's ability for humorous facial expressions and in her reactions. Having done dozens of silent films, she knew how to express her character's thoughts without dialogue.
March does a nice job against Lombard, but IMO he was first a dramatic actor, second at comedy. Most of his great roles were as a serious dramatic actor. He has that kind of presence that evokes sincerity and importance. It seems to me that good comedic actors can do good dramatic acting (Berle, Rickles, Lewis, R. Williams), but good dramatic actors tend to have trouble with comedy.
I've always been a big Carole Lombard fan. She was gorgeous and had a natural flare for comedy. It was one of the great Hollywood tragedies that she was killed at aged 33 in a 1942 plane crash.
This film might be described as a mild to moderate screwball comedy. Lombard and Frederic March do commendable jobs with their interaction, but the comedy writing is not as imaginative or as appealing as other films such as Lombard's Twentieth Century (1934) or My Man Godfrey (1936). Here the comedy is not so much in the funny lines or the repartee, but in Lombard's ability for humorous facial expressions and in her reactions. Having done dozens of silent films, she knew how to express her character's thoughts without dialogue.
March does a nice job against Lombard, but IMO he was first a dramatic actor, second at comedy. Most of his great roles were as a serious dramatic actor. He has that kind of presence that evokes sincerity and importance. It seems to me that good comedic actors can do good dramatic acting (Berle, Rickles, Lewis, R. Williams), but good dramatic actors tend to have trouble with comedy.
I like what you said about comic actors being able to do drama especially well. Besides all the examples you listed I'll add: John Candy in Oliver Stone's JFK, Jerry Lewis in The King of Comedy, and so many more. Even Carole Lombard in the early days of sound film did dramatic roles and was good at them. I have to say I had a hard time watching the scene when she was on the plane to NYC, I was thinking in a few years she would be gone after that tragic plane crash in 1942
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I like what you said about comic actors being able to do drama especially well. Besides all the examples you listed I'll add: John Candy in Oliver Stone's JFK, Jerry Lewis in The King of Comedy, and so many more. Even Carole Lombard in the early days of sound film did dramatic roles and was good at them. I have to say I had a hard time watching the scene when she was on the plane to NYC, I was thinking in a few years she would be gone after that tragic plane crash in 1942
I like what you said about comic actors being able to do drama especially well. Besides all the examples you listed I'll add: John Candy in Oliver Stone's JFK, Jerry Lewis in The King of Comedy, and so many more. Even Carole Lombard in the early days of sound film did dramatic roles and was good at them. I have to say I had a hard time watching the scene when she was on the plane to NYC, I was thinking in a few years she would be gone after that tragic plane crash in 1942
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Did you happen to pick up that the Morning Star's editor, played by the memorable character actor Walter Connolly, was named Oliver Stone?..
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Glad to see a review on Nothing Sacred. I'll have a double to post reviews on; True Confession and Kind Hearts and Coronets
Also, agree on how a lot of comedic actors do well in dramatic roles while a lot of dramatic actors have trouble doing comedy.
Also, agree on how a lot of comedic actors do well in dramatic roles while a lot of dramatic actors have trouble doing comedy.
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Duck Soup
This is by and far my favorite Marx Brothers film, and it is probably the best political satire film ever made aside from Dr. Strangelove. It's so entertaining, so funny, so brilliant. Every scene and line is just a jewel, expertly crafted. Yes, there are moments where perhaps there is dialogue only for the sake of setting up a punch line which isn't even all that great and sounds kind of forced. But even besides that dated humor, we get some modern and interesting messages and themes on the political situation that is even relevant in today's bizarre political atmosphere. The musical numbers are just great too, and the film knows how stupid it is, and makes fun of that.
This is by and far my favorite Marx Brothers film, and it is probably the best political satire film ever made aside from Dr. Strangelove. It's so entertaining, so funny, so brilliant. Every scene and line is just a jewel, expertly crafted. Yes, there are moments where perhaps there is dialogue only for the sake of setting up a punch line which isn't even all that great and sounds kind of forced. But even besides that dated humor, we get some modern and interesting messages and themes on the political situation that is even relevant in today's bizarre political atmosphere. The musical numbers are just great too, and the film knows how stupid it is, and makes fun of that.
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True Confession (1937)
I hate to admit it, but after watching True Confession I found that it was even better than I had remembered It's a good example of the 1930s screwball comedy. After watching a screwball comedy if you find yourself saying, 'this didn't seem real, people wouldn't act that way in real life'....Well, that's what makes it a screwball comedy...it's farcical with nutty unhinged characters driving the story forward with their zany behavior.
There weren't many screwball comedies made, having only been mainly popular during the 1930s. Situational comedies took over in the 1940s and are more familiar to people today. So unless one is use to watching these 30s screwball comedies (and not all comedies in the 30s are screwball), they can be hard for people to relate to. But if you still have a hard time believing the antics of Carole Lombard, just ask yourself what would Lucy do? or Bart Simpson? People readily accept that Bart Simpson has been in the 4th grade for 29 years and that Homer readily attempts to strangle his own son every other week. Screwball comedies are screwy! Realism isn't what they aim for.
True Confession has an dynamic energy to it, that moves the story along at a quick pace. That's established right at the get-go in the opening scene with Carole rushing home, racing up a flight of stairs in a tither, frantically taking off her gloves and hat (because women always wore hats and gloves back then!) and hurriedly grabbing the phone so she can excitedly tell her lawyer husband about her hair-brained scheme to help him get a client and make some money, as their broke (money and poverty themes often figure into screwballs). Only her husband is the quintessential straight-man and is so strict about being honest (an honest lawyer is as funny now, as it was in the 30s!) So of course he won't have any part of defending a guilty man in court. That opening scene then sets the pace and the story tone for the rest of the movie.
Geez I've already wrote more than I had planned...So I'll wrap this up by saying Carole Lombard is precious in this role. There's very few actresses that could pull off such a scattered brain, lying-cutie role as Carole did. Katharine Hepburn did it in Bringing Up Baby and Ginger Rogers and Lucille Ball could do it too. Carole is the movie. Her side kick Una Merkel is a long time fav of mine, and she added a lot. As did John Barrymore. At first I wondered what was up with Barrymore's character, of course the clue is it's a screwball comedy...and he's plenty screwy...and oh so good at delivery those thespian styled lines too.
I thought Fred MacMurray was the perfect 'foil' for his ditzy wife's lying shenanigans. I loved the scene at the end when he's leaving her and she tells him that she will name their child after him, ha! That made me laugh out loud. And I laughed a lot at True Confession, but more importantly it brought me joy...and that's always a good thing
It's a good example of the 1930s screwball comedy. After watching a screwball comedy if you find yourself saying, 'this didn't seem real, people wouldn't act that way in real life'....Well, that's what makes it a screwball comedy...it's farcical with nutty unhinged characters driving the story forward with their zany behavior. There weren't many screwball comedies made, having only been mainly popular during the 1930s. Situational comedies took over in the 1940s and are more familiar to people today. So unless one is use to watching these 30s screwball comedies (and not all comedies in the 30s are screwball), they can be hard for people to relate to. But if you still have a hard time believing the antics of Carole Lombard, just ask yourself what would Lucy do? or Bart Simpson? People readily accept that Bart Simpson has been in the 4th grade for 29 years and that Homer readily attempts to strangle his own son every other week. Screwball comedies are screwy! Realism isn't what they aim for.
True Confession has an dynamic energy to it, that moves the story along at a quick pace. That's established right at the get-go in the opening scene with Carole rushing home, racing up a flight of stairs in a tither, frantically taking off her gloves and hat (because women always wore hats and gloves back then!) and hurriedly grabbing the phone so she can excitedly tell her lawyer husband about her hair-brained scheme to help him get a client and make some money, as their broke (money and poverty themes often figure into screwballs). Only her husband is the quintessential straight-man and is so strict about being honest (an honest lawyer is as funny now, as it was in the 30s!) So of course he won't have any part of defending a guilty man in court. That opening scene then sets the pace and the story tone for the rest of the movie.
Geez I've already wrote more than I had planned...So I'll wrap this up by saying Carole Lombard is precious in this role. There's very few actresses that could pull off such a scattered brain, lying-cutie role as Carole did. Katharine Hepburn did it in Bringing Up Baby and Ginger Rogers and Lucille Ball could do it too. Carole is the movie. Her side kick Una Merkel is a long time fav of mine, and she added a lot. As did John Barrymore. At first I wondered what was up with Barrymore's character, of course the clue is it's a screwball comedy...and he's plenty screwy...and oh so good at delivery those thespian styled lines too.
I thought Fred MacMurray was the perfect 'foil' for his ditzy wife's lying shenanigans. I loved the scene at the end when he's leaving her and she tells him that she will name their child after him, ha! That made me laugh out loud. And I laughed a lot at True Confession, but more importantly it brought me joy...and that's always a good thing
Last edited by Citizen Rules; 04-18-19 at 04:37 PM.
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True Confession (1937)
Another screwball comedy in the general vein of Nothing Sacred, True Confession had more elements typical of the better screwball comedies. Both films were released at the end of 1937, only a month apart, and both starring Carole Lombard as a ditzy gal who is caught up in a hoax.
In this film Lombard gets to play the harebrain to full effect, and has oodles of laughs, along with the use of an interesting physical leitmotif that literally puts her tongue in her cheek before she is about to tell a lie-- even while treading water in Lake Martha (Lake Arrowhead).
As usual Lombard is the central character of interest, and she is hypnotically attractive here. Fred MacMurray does a good job as her straight man, and has a number of laugh lines himself. It's hard to imagine what they were thinking by giving him a gigolo mustache. It looked out of place, even for the 1930s, and made him look rather silly. A common straight across, above-the-lip mustache would have been preferable.
John Barrymore has a good portrayal of a shady character who seems to know about the crime and hoax, but the role seems forced, or added on to thicken the story. The character's addition tends to confuse rather than embellish.
It must have been a heck of a coincidence to have two screwball films from different studios with major similarities and the same comedy actress starring in both, coming out a month apart. Of the two IMO True Confession was the zanier and funnier.
Hollywood must have been confident of Lombard's appeal and box office regardless of who was her male counterpart. Yet it takes a distinct personality to mesh with her brand of comedy. Her funniest films might be with John Barrymore (Twentieth Century 1934), William Powell (My Man Godfrey 1936), and Jack Benny (To Be or Not To Be 1942). One of the highest paid actresses in Hollywood, she deserved every penny of it.
~Doc
Another screwball comedy in the general vein of Nothing Sacred, True Confession had more elements typical of the better screwball comedies. Both films were released at the end of 1937, only a month apart, and both starring Carole Lombard as a ditzy gal who is caught up in a hoax.
In this film Lombard gets to play the harebrain to full effect, and has oodles of laughs, along with the use of an interesting physical leitmotif that literally puts her tongue in her cheek before she is about to tell a lie-- even while treading water in Lake Martha (Lake Arrowhead).
As usual Lombard is the central character of interest, and she is hypnotically attractive here. Fred MacMurray does a good job as her straight man, and has a number of laugh lines himself. It's hard to imagine what they were thinking by giving him a gigolo mustache. It looked out of place, even for the 1930s, and made him look rather silly. A common straight across, above-the-lip mustache would have been preferable.
John Barrymore has a good portrayal of a shady character who seems to know about the crime and hoax, but the role seems forced, or added on to thicken the story. The character's addition tends to confuse rather than embellish.
It must have been a heck of a coincidence to have two screwball films from different studios with major similarities and the same comedy actress starring in both, coming out a month apart. Of the two IMO True Confession was the zanier and funnier.
Hollywood must have been confident of Lombard's appeal and box office regardless of who was her male counterpart. Yet it takes a distinct personality to mesh with her brand of comedy. Her funniest films might be with John Barrymore (Twentieth Century 1934), William Powell (My Man Godfrey 1936), and Jack Benny (To Be or Not To Be 1942). One of the highest paid actresses in Hollywood, she deserved every penny of it.
~Doc
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True Confession
Daisy McClure: Helen, if you think you can hold down a job six days a week without Ken knowing it...
Helen Bartlett: It's five days a week.
Daisy McClure: Well, all right, five. I still say that...
Helen Bartlett: And 50 dollars a week. And three hours a day. And guess what I am.
Daisy McClure: No, thanks.
It would be incredibly easy to simply quote both @Citizen Rules and @GulfportDoc at a number of spots and simply end with: "Yeah, what they said."
Both describe Lombard's talent and beauty in this role with apt affection and respect befitting the lady. I, myself, have been quite limited in my viewings of her movies and have been lucky enough to discover some prime roles within these HoFs. Previously with Virtue which allowed me to see a more cagey, clever lady of experience(s) than what I had seen her in such films as My Man Godfry and while there are similarities in this film, there is also a quick thinking, almost diabolical nature that is so d@mn adorable it is no wonder that even such a straight arrow as MacMurray's character; knowing full well what a liar she is and HOW MUCH he hates liars, can not, will not, leave her.
Nor do we blame him.
Along with MacMurray's matching, so much be said about her best friend, played with saavy by Una Merkel who gets to knock out quite a number of clever lines of dialogue as well as some great facial and body reactions to Lombard's antics.
There was also a very neat little cameo bit by Fritz Feld playing the butler whom I grew up knowing as the man with the mouth popping --
With seeing Lombard in this it has met my expectations at getting to see her in an unknown film and makes me even more excited to watch her in Nothing Sacred.
Last edited by edarsenal; 04-19-19 at 12:43 AM.
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Kind Hearts and Coronets
Louis Mazzini: I shot an arrow in the air; she fell to earth in Berkeley Square.
On a more elegant, high collared realm of witticism that one may consider is inspired by Oscar Wilde along with the very plot itself; we visit Mazzini (played by Dennis Price) within his jail cell the night before his hanging. Writing his memoirs of the murders he has committed. All of which from the same family. All of which played by Alec Guinness with the aplomb and skill of the gentleman himself.
Having been snubbed by his mother's family by snubbing her for marrying his father, an Italian singer, Louis decides to claim his birthright by taking out the family and becoming Duke.
A merry little jaunt as Louis devises and carries out taking out the long list of the Ascoyne
family. The film is wonderfully entrenched with dry humor, pithy dialogue and a subterfuge hidden beneath courteous behavior.
Some of the best examples of this is between Dennis Price and Joan Greenwood where their polite behavior with one another masks the more darker, baser individuals that are attracted to one another.
A subtle, delicate and delicious addition to this HoF.
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there's also a great streaming site with a secondary site that has a fantastic list of oldies where I watched this and will be watching several others from this, so I can supply links as well. INCLUDING Nothing Sacred and True Confession!!
@edarsenal, Would you please PM me the link for the site with Nothing Sacred and True Confession? Thank you.
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@edarsenal, Would you please PM me the link for the site with Nothing Sacred and True Confession? Thank you.
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True Confession
For a while into this movie, I really really enjoyed it. There were some funny moments, and the acting is fantastic, especially from Lombard. But after/during the trial, the whole thing got a lot less enjoyable and more laborious to watch. I can't quite put my finger on what it was - maybe how the interesting characters that had been developed now just seemed to be acting for greater comedic affect of the audience? Or maybe simply that there was less humor? Anyways, after watching my thoughts were basically that I enjoyed watching this movie, nothing more, nothing less.
For a while into this movie, I really really enjoyed it. There were some funny moments, and the acting is fantastic, especially from Lombard. But after/during the trial, the whole thing got a lot less enjoyable and more laborious to watch. I can't quite put my finger on what it was - maybe how the interesting characters that had been developed now just seemed to be acting for greater comedic affect of the audience? Or maybe simply that there was less humor? Anyways, after watching my thoughts were basically that I enjoyed watching this movie, nothing more, nothing less.
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Kind Hearts and Coronets (1949)
I first heard of this movie when it made the MoFo 1940's Top 100 Countdown. It came in at #26, which is pretty impressive. It's been on my watch-list since then. I'm glad it was nominated as my watch list is longer than a politician's nose.
I love British films about nobility set in the 19th century. Pride and Prejudice & Jane Eyre are two that come to mind. And Kind Hearts and Coronets reminded me of those British melodramas that deliver human interest stories set inside the world of upper crust 1800s England. Some might call them soap opera style, like it was a bad thing, which it's not when done well, and Kind Hearts and Coronets was done very well...With it's personal story of one poor man's rise into the world of rich nobility, as told by his first person narrative...in that way it reminded me of another great film Barry Lyndon.
I thought the main lead Louis (Dennis Price) was well suited for his role, and his love interest Sibella (Joan Greenwood) was interesting. She had this way of talking than made her sound a bit sinister without even trying. She was real good too. And yes Alec Guinness played a bunch of different roles and did a good job of it. So the movie totally worked as a drama for me, but I would never have guessed this was a comedy. I'm not sure what the comedy was suppose to be? Perhaps Alec Guinness in all those disguises? Maybe it was the language barrier that stopped me from laughing as there were times I couldn't understand what some of the secondary characters were saying and no subs on the DVD either.
But I think the reason the humor elements didn't work for me was that the style was British dry humor and some of the references I just didn't get. Not the films fault of course, I'm sure in Britain in 1949 the audiences totally got it. I appreciated the film sets, which were richly detailed with many different shooting locations. And the drama and story was to my liking. But I'm not sure how to judge this as a comedy as I seen it first and foremost as a drama.
Last edited by Citizen Rules; 04-19-19 at 01:00 PM.
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Harvey
The Taxi Driver: After this he'll be a perfectly normal human being. And you know what stinkers they are!
While this isn't a film that causes you to laugh out loud, I must say, having seen this film so many many times, over extremely ample amounts of time, it does bring a warm, pleasant sigh to the heart as the final scene wraps up.
They say Stewart states that this is his favorite role and, of course, his warmth, courteous charm and civility is delightful. Though, the stand out for me is Jospehine Hull, playing his sister with such frantic worry. She has so many amusing lines that burst through whether she wishes them to or not.
Now, I do enjoy her performance a little more in Arsenic & Old Lace, but still, her frayed composure is an excellent contrast to Stewart's lucid, carefree attitude.
I chose this as my second nomination when I saw that it just fit into the 1951 limit and knew this may be the only chance for such a classic to make an HoF appearance.
::aside:: "Yes, yes, yes, I'll tell them."
Harvey felt the same way as well.
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Originally my plan was to comment on the films in order, but having skipped over the Fields and Marx Bros. titles, I re-watched Kind Hearts and Coronets for the first time in many years, which was even better than memory recalled.
Billed as a black comedy, the narrative is certainly a satire which skewers the exaggerated upper class behavior of Edwardian England, with its embellished, almost theatrical manners and "ever so" affected speech. With these elements, satire becomes nearly effortless.
Dennis Price as Louis D'Ascoyne Mazzini was a perfect choice to play the foppish cad, and was impressive at sustaining his character throughout. Alec Guinness played with near perfection portrayals of 8 different D'Ascoyne individuals, with only the Lady Agatha part seeming less than perfect. Most of his other roles might have been unrecognizable to someone not realizing that Guinness was playing multiple roles. The gorgeous Valerie Hobson played the stoic Edith D'Ascoyne, while Mazzini's intermittent carnal interest, Sibella, is nicely done by Joan Greenwood.
The heavy adultery themes were pretty racy for 1949, as was some of the dialogue from Reverend D'Ascoyne. And the "Eenie, meenie, miney, moe..." sequence was of note. There were also some impressive technical effects. In one frame, 6 of Guinness's characters were shown simultaneously. It's remarkable that they were able to do that in 1949.
Apart from it's comedic aspects (there were only a few laugh-out-loud lines), "Coronets" was a very well done film, with a refreshing story and amusing dialogue. The BFI Top 100 British Films has it rated at number 6.
~Doc
Billed as a black comedy, the narrative is certainly a satire which skewers the exaggerated upper class behavior of Edwardian England, with its embellished, almost theatrical manners and "ever so" affected speech. With these elements, satire becomes nearly effortless.
Dennis Price as Louis D'Ascoyne Mazzini was a perfect choice to play the foppish cad, and was impressive at sustaining his character throughout. Alec Guinness played with near perfection portrayals of 8 different D'Ascoyne individuals, with only the Lady Agatha part seeming less than perfect. Most of his other roles might have been unrecognizable to someone not realizing that Guinness was playing multiple roles. The gorgeous Valerie Hobson played the stoic Edith D'Ascoyne, while Mazzini's intermittent carnal interest, Sibella, is nicely done by Joan Greenwood.
The heavy adultery themes were pretty racy for 1949, as was some of the dialogue from Reverend D'Ascoyne. And the "Eenie, meenie, miney, moe..." sequence was of note. There were also some impressive technical effects. In one frame, 6 of Guinness's characters were shown simultaneously. It's remarkable that they were able to do that in 1949.
Apart from it's comedic aspects (there were only a few laugh-out-loud lines), "Coronets" was a very well done film, with a refreshing story and amusing dialogue. The BFI Top 100 British Films has it rated at number 6.
~Doc
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Just like my review for Arsenic & Old Lace, I have found that my previous review from the Second 40s HoF equals my enjoyment of rewatching this film. . .
His Girl Friday
Don't blink, or you WILL miss dialogue!!
It's kinda funny that the SPEED of the words being said out weighs almost everything else that this movie has to offer when it comes to people talking about this film. Which it DOES have a lot to offer.
The speed never really bothered me. Just as long as there were no distractions around me so that I could keep my full attention to this movie and truly enjoy all that it had to offer.
EDIT: In fact, on this go around, I found myself able to keep pace quite easily with the break neck banter even more so than previously.
There are some great comedic bits in this. In particular, the side remarks among the other reporters stationed out at the prison. While at the same time it WAS a bit of a scary mirror to hold up to what the news was allowed to do without little to no responsibility or repercussions. But dwelling on such things is a bit counter productive for the film itself and its wit and speedy deliveries. So, enough of that.
This is one of the few films that I've been able to see a young Rosalind Russell and always knew her as Auntie Mame which she is truly great in; so it was a great pleasure to see her in this. Going toe to toe with Cary Grant for savvy and quick thinking. Making a great and very diabolical team.
I must say, I really felt sorry for Bellamy's character who played the nice, understanding guy very well.
Another stand out enjoyment was this rotund messenger in the photo above. LOVED his scenes.
A very, very fun film and equally funny on a rewatch!
His Girl Friday
Don't blink, or you WILL miss dialogue!!
It's kinda funny that the SPEED of the words being said out weighs almost everything else that this movie has to offer when it comes to people talking about this film. Which it DOES have a lot to offer.
The speed never really bothered me. Just as long as there were no distractions around me so that I could keep my full attention to this movie and truly enjoy all that it had to offer.
EDIT: In fact, on this go around, I found myself able to keep pace quite easily with the break neck banter even more so than previously.
There are some great comedic bits in this. In particular, the side remarks among the other reporters stationed out at the prison. While at the same time it WAS a bit of a scary mirror to hold up to what the news was allowed to do without little to no responsibility or repercussions. But dwelling on such things is a bit counter productive for the film itself and its wit and speedy deliveries. So, enough of that.
This is one of the few films that I've been able to see a young Rosalind Russell and always knew her as Auntie Mame which she is truly great in; so it was a great pleasure to see her in this. Going toe to toe with Cary Grant for savvy and quick thinking. Making a great and very diabolical team.
I must say, I really felt sorry for Bellamy's character who played the nice, understanding guy very well.
Another stand out enjoyment was this rotund messenger in the photo above. LOVED his scenes.
A very, very fun film and equally funny on a rewatch!
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