Few comedies manage to match the razor-sharp wit and breakneck speed of His Girl Friday, a 1940 screwball classic from Columbia Pictures. Directed by the masterful Howard Hawks, this film isn’t just a funny flick; it’s a masterclass in comedic timing and snappy dialogue. The story revolves around Hildy Johnson, played with tremendous energy by Rosalind Russell, a star reporter who’s trying to quit her newspaper job to marry the somewhat dull Bruce Baldwin, brought to life by Ralph Bellamy. Her ex-husband and editor, Walter Burns, portrayed with a delightful mix of charm and menace by Cary Grant, won’t let her go that easily. He uses all his considerable wiles to get her back on the job, and ideally, back in his life.
Walter lures Hildy into covering one last story, the case of the mild-mannered Earl Williams, played by John Qualen, who is scheduled to be hanged for murder. The events become chaotic, with corrupt politicians, a bungling sheriff, played by Porter Hall, and a lot of fast-talking reporters thrown into the mix. The dynamic between Hildy and Walter is the engine of the film. Their rapid-fire exchanges, often overlapping and cutting each other off, are a marvel to behold. The film’s humor stems from the absurdity of the situations and the characters’ unflappable attitudes, even as things spiral out of control.
The performances are uniformly excellent, but Russell truly shines. She matches Grant’s energy beat for beat, holding her own in a male-dominated world, while delivering her lines with a ferocity that’s both hilarious and inspiring. Her transformation from a woman ready to settle down to a sharp reporter re-awakened by the thrill of the job is a central aspect of what makes the picture work so well. Bellamy provides the perfect foil as the decent but boring Bruce, a necessary contrast to the magnetic and chaotic Grant.
The supporting cast, with their quirky characters and comedic timing, adds even more to the film’s zany atmosphere. The script, adapted from the play “The Front Page,” is a masterpiece of comedic writing. The fast-paced dialogue, full of witty banter and sarcasm, keeps the audience on their toes, and even after many viewings, you can still find new bits of humor buried within the conversations.
This isn’t just a film about a newspaper story. It’s a story about the push and pull of ambition versus domesticity, about the lure of a past relationship, and the thrill of the journalistic chase. Hawks’ direction is seamless, maintaining the frantic pace while ensuring the characters remain engaging and relatable. The camera work moves with the action, further emphasizing the energy of the story. The film doesn’t allow a moment to pause, pulling you right into its world of fast-talking reporters and sensational headlines. The black-and-white cinematography adds a classic touch, perfectly suiting the mood of the story.
The film’s themes of media ethics and political corruption are just as vital even today, showing just how timeless the story is. His Girl Friday stands as a testament to the power of intelligent writing, outstanding performances, and the director’s touch, all combining to make a classic film. It continues to be a source of inspiration and laughter for people that continue to watch it again and again.
His Girl Friday is a Columbia Pictures production.
Release Date: 1940
Director: Howard Hawks
Cast: Cary Grant, Rosalind Russell, Ralph Bellamy, John Qualen, Porter Hall