Regie:
Howard HawksKamera:
Joseph WalkerBesetzung:
Cary Grant, Rosalind Russell, Ralph Bellamy, Gene Lockhart, Porter Hall, Ernest Truex, Clarence Kolb, Roscoe Karns, Frank Jenks, Regis Toomey (mehr)Inhalte(1)
Als die Sensationsreporterin Hildy Johnson verkündet, dass sie der Zeitungswelt den Rücken kehren will, um sich mit ihrem langweiligen Verlobten an den heimischen Herd zurückzuziehen, ist ihr ehrgeiziger Chefredakteur und Ex-Mann Walter Burns wild entschlossen, sie zum Bleiben zu überreden – und ihr Herz aufs Neue zu gewinnen. (Verleiher-Text)
(mehr)Kritiken (3)
Erst nach ungefähr zwanzig Minuten wurde mir bewusst, dass ich mir eigentlich die Vorlage vom berühmten Remake von Billy Wilder ansehe. Von dem Moment an hat mir der Film dank des Vergleichs beider Versionen noch mehr Spaß gemacht. Die neuere Männer-Version von Extrablatt gewinnt aber, weil sie vom Anfang bis zum Ende witzig ist und keinen so langwierigen Anfang wie Sein Mädchen für besondere Fälle hat. In dem älteren Film geht es auch um einen Kampf zwischen Mann und Frau (Cary Grant und Rosalind Russell), der aber ziemlich überflüssig ist.
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Apart from the fact that they are spineless, the journalists here are generally likable. However, that doesn’t mean that it would be easy to come across someone other than con-men, thieves, murderers and dolts in the predominant male part of the cast. The presence of the only occasionally calculating female protagonist is thus extremely pleasant and you’ll wish for Hilda to finally make the right decision and give priority to more action-oriented journalism over making the bed. In this respect, the film makes the point that is not revolutionary, but it is rather satisfying from the perspective of both sexes. The filmmakers’ intention was probably to distract viewers from the ongoing war, which is downplayed directly in the dialogue along with other serious issues. On the other hand, the screenplay does not take the liberty of crossing the line of what was considered good taste at the time and some of the scenes are approached very seriously in order to offset the unseriousness. Hawks easily handles this switching back and forth, while masterfully furthering his cause through editing. He uses words as aural accompaniment instead of music. Sudden silence brings about a complete change of mood, making the situation more serious. In terms of the number of words, His Girl Friday ranks among the films in which viewers untrained in speed reading have no chance to read the subtitles and follow the plot on the first attempt. A bonus for English speakers is the number of verbal jokes embedded in the humorous one-liners. The thrilling tempo makes His Girl Friday a clear candidate for the best action comedy of all time, though it takes place in a few rooms and the shots are mostly rather long. But you won’t have a chance to notice such thing, as you will be carried away by the flow (of words). 90%
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A great volley of words, sometimes unbelievable. Cary Grant is once again captivating as always, but Rosalind Russell is an absolutely equal rival and partner to him. Additionally, you're following a story that makes sense and isn't just about the romance between them. An excellently functioning film that stunned me with its eloquence. The screenwriters outdid themselves, but the actors especially show how natural such a game of dialogue can be.
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