The film follows two showgirls who both go on a cruise to Paris after one of them deals with an engagement with another man is halted because of his father where they hope to find a rich man. It is a film with a simple premise as it plays into these two showgirls who are best friends despite their different personalities as they go on a cruise to Paris in the hopes of getting rich and meeting men as one of them prefers to find a good looking man no matter if he is wealthy. Charles Lederer’s screenplay is straightforward as it plays into the adventures of Lorelei Lee (Marilyn Monroe) and Dorothy Shaw (Jane Russell) as they’re both showgirls who are hoping to get a financial break as the former is engaged to Gus Esmond Jr. (Tommy Noonan) who is smitten with Lee though his father (Taylor Holmes) is convinced that Lee is a gold-digger.
Esmond Sr. hires a private detective in Ernie Malone (Elliott Reid) to tail Lee and Shaw as the two go on a cruise to Paris with Gus’ money as well as credit they would get from Gus upon arriving in Paris. Malone would bump into Shaw as the two would fall for each other despite Malone doing his job where he would catch Lee flirting with Sir Francis “Piggy” Beekman (Charles Coburn) who owns a diamond mine where Lee’s interactions with him would lead to trouble. Even as Piggy’s wife Lady Beekman (Norma Varden) is carrying a priceless tiara that Lee wants as their arrival to Paris would lead to chaos.
Howard Hawks’ direction is lavish in not just some of the set pieces but it is also filled with gorgeous imagery in its overall presentation. Shot on location at the studio backlot of 20th Century Fox in Los Angeles, Hawks uses a lot of wide and medium shots for some of the film’s set pieces whether it’s the dining area in the cruise ship as well as the pool room in the cruise where a group of American Olympians are training. Notably as he would let the camera move around during a musical performance in a scene where Shaw sings where Hawks allows the camera to capture as much space but also follow Shaw every time she moves. There are also moments when Hawks does maintain some intimacy in the medium shots and close-ups as it relates to characters interacting with one another or in a conversation. It adds to not just some of the humorous moments but also in the drama where both Lee and Shaw deal with their respective situations upon their arrival to Paris in the film’s third act. Especially as the former has gained possession of something that would later get her and Malone in trouble though she got it through a misunderstanding.
Hawks’ direction also maintain this sense of humor as there is that element of misdirection as it plays into some of the drama while the big musical number where Lee sings Diamonds Are a Girl’s Best Friend has so much happening. Largely due to the work of choreographer Jack Cole who would direct the sequence as there is a lot of attention to detail in the compositions and the rhythm of the music. It adds to some of the dramatic suspense over Lee’s moral position and what she does want and how Shaw is willing to help her as long as she gets something out of it. Overall, Hawks crafts an exciting and lively film about two women trying to find love and happiness with some diamonds along the way.
Cinematographer Harry J. Wild does brilliant work with the film’s Technicolor photography in creating vibrant colors for many of its interior scenes including some of the musical set pieces along with some additional photographic visual effects by Ray Kellogg for a few exterior scenes on the cruise ship. Editor Hugh S. Fowler does amazing work with the editing as it has this air of fluidity in the musical numbers as well as some rhythmic cuts for some of the film’s comedic moments. Art directors Lyle R. Wheeler and Joseph C. Wright, along with set decorator Claude E. Carpenter, do excellent work with the look of the cruise ship interiors including its rooms, dining hall, and indoor pool room as well as the stage shows for some of the musical performances. Costume designer Travilla does incredible work with the design of the gowns that the women wear including the iconic pink gown that Lee wears for her big performance.
The makeup work of Ben Nye and Alan Snyder do terrific work with the look of the women in their musical numbers as well as the look of Piggy. The sound work of Roger Heman Sr. and E. Clayton Ward is superb as it play into the atmosphere of some of the locations as well as how things sound from afar in some scenes. The film’s music by Hoagy Carmichael, Harold Adamson, Jule Styne, and Leo Robin is wonderful for its sumptuous orchestral score as well as the songs that are performed in the film as it is a major highlight of the film.
The film’s marvelous ensemble cast feature some notable small roles from Steven Geray as the hotel manager in Paris, Marcel Dalio as a magistrate in Paris, Taylor Holmes as Gus’ father Esmond Sr., Norma Varden as Lady Beekman who doesn’t like Lee, and George Winslow as a young heir that Lee hoped to pursue only to realize that something is wrong. Tommy Noonan is fantastic as Gus Esmond Jr. as Lee’s boyfriend who is smitten with her as well as funding her trip to Paris as he tries to deal with his father who objects to their relationship. Elliott Reid is excellent as Ernie Malone as this private detective who tails Lee while falling for Shaw where it creates some conflict for him despite the fact that he is hired by Esmond Sr. to do his job. Charles Coburn is amazing as Sir Francis “Piggy” Beekman as this diamond mine owner who is smitten with Lee to the point that he would later put her and Shaw in trouble.
Finally, there’s the duo of Marilyn Monroe and Jane Russell in tremendous performances in their respective roles as Lorelei Lee and Dorothy Shaw. Monroe brings a sense of charisma and wit to her performance as Lee who seems like this foolish showgirl who isn’t smart but she uses it as a front as someone who is way more clever while being entertaining figure with Marni Nixon providing some vocal dubs in Diamonds Are a Girl’s Best Friend. Russell’s performance as Shaw is fun to watch with some of the zingers she brings in as she is the smarter of the two women when it comes to planning but is also someone who is less interested in getting a rich man but rather a strong and caring man. Monroe and Russell together are a joy to watch in the way they use their different personalities together while being these lively performers who also bring in a lot of fun and comedic timing.
Gentlemen Prefer Blondes is a spectacular film from Howard Hawks that features great leading performances from Marilyn Monroe and Jane Russell. Along with its supporting ensemble cast, simple yet effective premise, gorgeous visuals, and an amazing music soundtrack with some incredible musical numbers. It is a film that is full of humor but it is also about female friendship while they go on a quest for men and diamonds. In the end, Gentlemen Prefer Blondes is a sensational film from Howard Hawks.
Howard Hawks Films: (The Road to Glory) - (Fig Leaves) - (Cradle Snatchers) - (Paid to Love) - (A Girl in Every Port (1928 film)) - (Fazil) - (The Air Circus) - (Trent’s Last Case (1929 film)) - (The Dawn Patrol (1930)) - (The Criminal Code) – Scarface (1932 film) - (The Crowd Roars (1932 film)) - (Tiger Shark) - (Today We Live) - (The Prizefighter and the Lady) - (Viva Villa!) - (Twentieth Century) - (Barbary Coast) - (Ceiling Zero) - (The Road to Glory) - (Come and Get It) – Bringing Up Baby - (Only Angels Have Wings) - (His Girl Friday) - (Sergeant York) - (Ball of Fire) - (Air Force) - (To Have and Have Not) - (The Big Sleep (1946 film)) - (The Outlaw) – Red River - (A Song is Born) - (I Was a Male War Bride) - (The Big Sky) - (Monkey Business) - (O Henry’s Full House) - (Gentlemen Prefer Blondes) - (Land of the Pharaohs) – Rio Bravo - (Hatari!) - (Man’s Favorite Sport?) - (Red Line 7000) - (El Dorado) - (Rio Lobo)
© thevoid99 2023
The film revolves around the series of misadventures involving an engaged paleontologist who meets a dizzying heiress who puts him in a lot of crazy situations that also includes a leopard named Baby (Nissa). It is a film that explores a mild-mannered man who is about to be married to a colleague while awaiting a rare bone that he needs to complete a four-year project involving a brontosaurus but also money that he needs for the museum. Yet, his encounter with this woman who plays to the beat of her own drum and is always running around would shake up his world as he finds himself in these crazy situations that would also involve a leopard. The film’s screenplay by Hagar Wilde and Dudley Nichols is filled with a lot of offbeat dialogue that comes from the heiress Susan Vance (Katharine Hepburn) as well as the paleontologist David Huxley (Cary Grant). The former is this man that seems content with his life as he’s to be married to a colleague in Alice Swallow (Virginia Walker) yet needs this million dollar donation from Elizabeth Random (May Robson) who is considering as he tries to convince her lawyer Alexander Peabody (George Irving).
While golfing with Peabody, Huxley bumps into Vance who is also playing yet causes trouble by stealing his car believing it belongs to her while they would bump into each other at a posh restaurant where they both endure some mishaps. Vance is a woman who is often absent-minded where she takes things not knowing it doesn’t belong to her while is often moving around as she is the complete opposite of Huxley who is all about order and organization. On the day he is to marry Swallow, Vance asks for his help involving this leopard named Baby and he drives her to Connecticut from New York City to bring the leopard to her aunt and a lot of mayhem occur. Even as Huxley learns who her aunt is and things don’t go as planned for him as the script is definitely filled with chaos and confusion as it would later involve Constable Slocum (Walter Catlett) and other locals where Baby and a dog named George (Skippy) just stir things up.
Howard Hawks’ direction definitely play up into the air of chaos that occurs throughout the film while also creating some unique compositions to play into the scope of a setting that adds to the film’s humor. Shot on various locations in Southern California with some areas shot in studio backlots at 20th Century Fox Studios, Hawks’ direction is largely straightforward in terms of the compositions he creates where he does a lot with the wide and medium shots to show the interactions between Vance and Huxley and the surroundings they’re in. Hawks also uses close-ups to play into some of the reaction from the characters but also in the scenes with Baby along with some of the medium shots adding to a scene where there are these small moments that Vance does unaware that she’s putting herself in trouble yet she often bullshits her way to get out of a situation that includes a hilarious scene late in the film where she talks as if she was from the mob.
Hawks’ direction also has a lot of innuendo and such that were quite edgy for its time but also in things that were ahead of its time such as a scene at the home of Vance’s aunt where Huxley is wearing a bathrobe and says something that is really funny as it relates to not just his situation but also in what he was wearing. Hawks’ approach to staging the humor such as a scene where Huxley is watching George and following him because of the brontosaurus bone that belonged to Huxley as George had hidden it. It would then lead to some misadventures in the second act involving Huxley and Vance as well as a dinner guest in Major Horace Applegate (Charles Ruggles) who is a big-game hunter that knows how to do animal sounds as it adds to the humor. The third act that also involves trying to retrieve Baby due to a series of mishaps also play into this air of absurdity but it also features that air of naturalism in the humor as if they’re making it up as they go along which adds to the energy of the comedy. Overall, Hawks crafts an exhilarating yet hilarious comedy about a paleontologist’s time with a dizzying heiress and her new pet leopard.
Cinematographer Russell Metty does excellent work with the film’s black-and-white photography as it is largely straightforward with some unique lighting schemes for many of the film’s exterior scenes in the forest at night. Editor George Hively does terrific work with the editing as it is largely straightforward with some transitional dissolves and rhythmic cuts to help play into the humor. Art director Van Nest Polglase does amazing work with the look of the interiors of the home of Vance’s aunt as well as some of the places Vance and Huxley go to. Costume designer Howard Greer does fantastic work with the costumes from the gowns and clothes that Vance wears as well as some of the clothes that Huxley wears including some clothes that he would wear in acts of humility.
The special effects work of Vernon L. Walker is superb for scenes involving the animals as it adds to the sense of realism but also the humor for scenes involving the humans and animals. Sound recordist John L. Cass does nice work with the sound as it help play into the atmosphere of scenes as well as how a leopard would sound to a mating call. The film’s music by Roy Webb is wonderful for its playful and upbeat orchestral score while Webb also handles the film’s soundtrack which featured a lot of the standards of the time including a song that Baby likes in I Can’t Give You Anything but Love, Baby that is written by Dorothy Fields and Jimmy McHugh.
The film’s incredible ensemble cast feature some notable small roles from D’Arcy Corrigan as a professor in the film’s first scene, Billy Bevan as a bartender teaching Vance a trick, John Kelly as Constable Slocum’s assistant Elmer, Tala Birell as Mrs. Lehman, Leona Roberts as Mrs. Random’s maid Hannah Gogarty, Barry Fitzgerald as Mrs. Random’s alcoholic gardener Aloysius Gogarty who thinks he’s seeing things upon seeing Baby, Virginia Walker as Huxley’s fiancée Alice Swallow who is baffled by Huxley’s involvement with Vance, George Irving as Mrs. Random’s attorney Alexander Peabody whom Huxley tries to win over, and Fritz Feld as Dr. Lehman as a man whom Huxley and Vance bring trouble to involving Baby as he is a psychiatrist who believes that they’re both crazy. Walter Catlett is fantastic as Constable Slocum as a local police official who is baffled by Vance’s appearance and the trouble she causes in his town as well as the chaos she and Huxley create.
Charles Ruggles is excellent as Major Horace Applegate as a dinner guest of Mrs. Ransom who is this big-game hunter that also can do animal mating calls as he is baffled by the behavior of Huxley as well as what he would encounter in Baby. May Robson is brilliant as Elizabeth Carlton Random as a rich woman who is considering in giving a million dollar donation as she is baffled by some of Huxley’s activities that involve Vance as she is fun to watch as a straight woman. The performances of Skippy and Nissa in their respective roles as the dog George and the leopard Baby are a joy to watch in the way they help add to the humor of the film as Skippy brings a lot of energy and chaos while Nissa is just relaxed and doesn’t do much to create chaos.
Finally, there’s the performances of Katharine Hepburn and Cary Grant in tremendous performances in their respective roles as Susan Vance and Dr. David Huxley. Grant’s performance is straightforward for much of the film’s first act as he is this great straight man in someone who is put into these crazy situations and then starts to act out due to his encounters with Vance as Grant just adds a lot of wit and energy to his role. Hepburn’s performance is just this whirlwind as this heiress who is often doing things unaware that she doesn’t own them as she also does things to get out of a bad situation. Hepburn and Grant together are fun to watch in the way they play off each other as it adds to their chemistry as they are major highlight of the film.
Bringing Up Baby is a spectacular film from Howard Hawks that features iconic performances from Katharine Hepburn and Cary Grant. Along with its ensemble cast, gorgeous visuals, a fun music soundtrack, and its inventive usage of live animals. It is a comedy that isn’t afraid to be absurd or be a little edgy while it is also this unconventional romantic-comedy of sorts between two people who are total opposites yet bring out the best in each other. In the end, Bringing Up Baby is a sensational film from Howard Hawks.
Howard Hawks Films: (The Road to Glory) - (Fig Leaves) - (Cradle Snatchers) - (Paid to Love) - (A Girl in Every Port (1928 film)) - (Fazil) - (The Air Circus) - (Trent’s Last Case (1929 film)) - (The Dawn Patrol (1930)) - (The Criminal Code) – Scarface (1932 film) - (The Crowd Roars (1932 film)) - (Tiger Shark) - (Today We Live) - (The Prizefighter and the Lady) - (Viva Villa!) - (Twentieth Century) - (Barbary Coast) - (Ceiling Zero) - (The Road to Glory) - (Come and Get It) - (Only Angels Have Wings) - (His Girl Friday) - (Sergeant York) - (Ball of Fire) - (Air Force) - (To Have and Have Not) - (The Big Sleep (1946 film)) - (The Outlaw) – Red River - (A Song is Born) - (I Was a Male War Bride) - (The Big Sky) - (Monkey Business) - (O Henry’s Full House) - Gentlemen Prefer Blondes - (Land of the Pharaohs) – Rio Bravo - (Hatari!) - (Man’s Favorite Sport?) - (Red Line 7000) - (El Dorado) - (Rio Lobo)
© thevoid99 2022
Based on the short story by B.H. McCampbell, Rio Bravo is the story of a town sheriff who finds himself facing off against a local rancher as he seeks the help of a cripple, a drunk, and a young gunfighter to deal with the rancher and his men. Directed by Howard Hawks and screenplay by Jules Furthman and Leigh Brackett, the film is about a sheriff protecting his town as he angers a local rancher for arresting the man’s brother. Starring John Wayne, Dean Martin, Ricky Nelson, Angie Dickinson, Walter Brennan, John Russell, and Ward Bond. Rio Bravo is a compelling yet enthralling film from Howard Hawks.
Set in a small town of Texas known as Rio Bravo, the film revolves a sheriff who has arrested the brother of a local rancher for murder as the brother wants him back leading to a battle of wits and wills between the sheriff and rancher. It’s a film that is about a man trying to uphold the law and do good for this little town as he has two deputies to help him despite the fact that they’re both flawed as one of them is a drunk struggling with being sober while the other is an old man with a bum leg. They’re later joined by a young gunfighter who observes from afar after his boss had been killed by one of the men working for the rancher as it’s revealed he’s paying men to do his dirty work. The film’s screenplay by Jules Furthman and Leigh Brackett doesn’t just explore the game of wits between this sheriff and rancher but also the life of a town that is just trying to live their lives in peace but the power of the rancher just causes problems after a man is killed at a bar by the rancher’s brother who had already killed numerous people in the past.
The town sheriff John T. Chance (John Wayne) is a no-nonsense man that is willing to listen but he has his job to do as he wants no one causing trouble. Yet, Joe Burdette (Claude Akins) would be the one to cause trouble and humiliate Chance’s deputy Dude (Dean Martin) who hasn’t had a drink of liquor in two years as he’s struggling to maintain his sobriety as he accidentally knocks out Chance. After Joe is arrested for killing a man at the saloon and be arrested at the saloon where Burdette’s men are, the trouble begins where Chance tries to smooth things down and not cause trouble despite the target on his head from the men who work for Nathan Burdette (John Russell). Chance, with Dude and the old man with a bum leg in Stumpy (Walter Brennan) who watches over the jailed Joe, as they all figure out what to do. Adding to the complication that Chance is dealing with is the arrival of a mysterious woman in Feathers (Angie Dickinson) who is suspected of being a cheating gambler while a young gunslinger named Colorado (Ricky Nelson) arrives wanting to help after a friend of Chance in Pat Wheeler (Ward Bond) is shot by one of Burdette’s hired guns.
The script also showcase Dude’s struggles as he was once a skilled gunslinger but years of alcoholism has made him feel diminished yet Chance keeps him on knowing he still has something left when he’s motivated. The script also play into Chance’s relationship with Feathers who is quite like him in the fact that she doesn’t take shit from him or anyone as she is asked to leave but she prefers to stay as it causes this unlikely attraction between the two. When Colorado joins Chance in stopping Burdette’s men, he is someone that is quite smart for someone that is young as well as very skilled as he’s also know where his place is as he immediately gains Chance’s respect. Especially in the film’s climatic showdown that involves a game of chance and wit with guns and dynamite.
Howard Hawks’ direction is definitely entrancing due to the visuals he creates while also emphasizing in simple compositions and moments to create a mood for the film. Notably the opening sequence as it doesn’t feature any dialogue for nearly several minutes as it involves Joe Burdette humiliating Dude and creating trouble where he is captured by Chance. Shot on location near Tucson, Arizona, the film does play into a time in the West where it was starting to get less rowdy and more civilized but there’s still some trouble as it involves Burdette who is still trying to rule the town as he owns the local ranch and a saloon where his men are free to do with whatever they want. While Hawks would use some wide shots to capture the locations as well as viewpoints of the men looking at Burdette’s saloon from the jailhouse. Much of Hawks’ direction would emphasize more on a sense of intimacy in the usage of close-ups and medium shots.
The direction would have moments that are intense but also very restrained as Hawks is more interesting in building up the suspense such as a scene where Chance and Dude try to find Ward’s assassin as it’s all about the little details. There are also these moments such as a confrontation between Chance and some of Burdette’s men who try to stop Chance as they’re forced to deal with Colorado who would find a way to outwit Burdette’s men with Feathers’ help. While Hawks would take a simple approach to the drama and suspense, he would also infuse bits of humor in the film courtesy of Stumpy as well as a moment for a sing-a-long involving Dude, Colorado, and Stumpy as it help defuse some of the tension and suspense as it show these three men as just human beings trying to have some fun and show what the world could be away from the greed and violence. Even if it means having to do something drastic to stop Burdette from ruining all of that all because he wants to free his brother who is likely to kill again without remorse. Overall, Hawks creates a thrilling and gripping film about a sheriff and his deputies going up against a greedy yet intelligent cattle rancher.
Cinematographer Russell Harlan does brilliant work with the film’s gorgeous Technicolor film stock to showcase some of the beauty of the clothes and locations as well as for the scenes set at night. Editor Folmar Blangsted does excellent work with the editing as it is very straightforward as well as using some methodical cutting to play into the suspense. Art director Leo K. Kuter and set decorator Ralph S. Hurst do amazing work with the look of the saloons, jailhouse, and the local hotel that Chance stays frequently as well as the exterior of Burdette’s ranch.
Costume designer Marjorie Best does fantastic work with the look of the clothes from the chaps, hats, and shirts to play into the personality of the characters as well as the stylish clothes of Feathers. The sound work of Robert B. Lee is terrific for capturing some of the natural elements as well as creating heightened sound effects for some of the gunfire. The film’s music by Dimitri Tiomkin is superb with its usage of lush orchestral flourishes and bombast as well as creating a few songs with lyricist Paul Francis Webster plus a traditional Mexican instrumental and a song by Ricky Nelson.
The film’s marvelous cast include some notable small roles from Joseph Shimada as the local undertaker Burt, Pedro Gonzalez-Gonzalez as the hotel manager Carlos, Estelita Rodriguez as Carlos’ wife Consuelo, Claude Akins as Nathan’s murderous brother Joe, and Ward Bond in a terrific small role as Chance’s old friend Pat Wheeler who arrives in town for business only to get himself into trouble with Burdette’s gang. John Russell is superb as Nathan Burdette as rancher who wants his brother free no matter what as he’s willing to do whatever it takes as well as hire killers and maintain his own sense of riches and sense of power. Angie Dickinson is amazing as Feathers as a woman who has been accused of being a cheat in gambling as she just stopped in the town for a few days only to stay as she becomes intrigued by Chance as it’s just a lively performance from Dickinson.
Walter Brennan is excellent as Stumpy as an old man with a bum-leg who is the film’s comic relief as he feels underappreciated while doing much of the work in watching Joe Burdette as he’s just an absolute joy to watch. Ricky Nelson is brilliant as Colorado as a young gunslinger who was working for Wheeler as he would later help Chance in dealing with Burdette and his gang as he is quite restrained but also very mature for his age as it's one of Nelson’s finest performances. Dean Martin is remarkable as Dude as a skilled gunslinger struggling to maintain his sobriety as well as the effects of alcohol as a man who feels like his time his done while trying to restore whatever dignity he has left. Finally, there’s John Wayne in a phenomenal performance as John T. Chance as the local sheriff who is trying to maintain law and order in this small town as he’s a man that just wants to do his job but also knows he has to be smarter than most men as there’s a gravitas to Wayne’s performance as well as someone that can take a few hits and still get back up as it is one of Wayne’s finest performances in his illustrious career.
Rio Bravo is an outstanding film from Howard Hawks featuring a tremendous performance from John Wayne. Along with its great ensemble cast, gorgeous visuals, gripping story, and a fantastic music soundtrack. The film isn’t just one of the finest films of the western genre but it’s also a film that is very witty but also engrossing for the way it explores a man trying to do what is right and needing to be smarter than those around him. In the end, Rio Bravo is a magnificent film from Howard Hawks.
Howard Hawks Films: (The Road to Glory) - (Fig Leaves) - (Cradle Snatchers) - (Paid to Love) - (A Girl in Every Port (1928 film)) - (Fazil) - (The Air Circus) - (Trent’s Last Case (1929 film)) - (The Dawn Patrol (1930)) - (The Criminal Code) – Scarface - (The Crowd Roars (1932 film)) - (Tiger Shark) - (Today We Live) - (The Prizefighter and the Lady) - (Viva Villa!) - (Twentieth Century) - (Barbary Coast) - (Ceiling Zero) - (The Road to Glory) - (Come and Get It) - Bringing Up Baby - (Only Angels Have Wings) - (His Girl Friday) - (Sergeant York) - (Ball of Fire) - (Air Force) - (To Have and Have Not) - (The Big Sleep (1946 film)) - (The Outlaw) – Red River - (A Song is Born) - (I Was a Male War Bride) - (The Big Sky) - (Monkey Business) - (O Henry’s Full House) - Gentlemen Prefer Blondes - (Land of the Pharaohs) - (Hatari!) - (Man’s Favorite Sport?) - (Red Line 7000) - (El Dorado) - (Rio Lobo)
© thevoid99 2017
Based on the story Blazing Guns on the Chisholm Trail by Borden Chase for the Saturday Evening Post, Red River is the story of a cattle drive from Texas to Kansas where a rancher finds himself sparring with his independent-minded adopted son. Directed by Howard Hawks and screenplay by Borden Chase and Charles Schnee, the film is a fictional account about the very first cattle drive along the Chisholm trail as it also explores the dynamic between two men on the cattle drive. Starring John Wayne, Montgomery Clift, Walter Brennan, Joanne Dru, Coleen Gray, John Ireland, Harry Carey, Harry Carey Jr., Hank Worden, Noah Beery Jr., and Paul Fix. Red River is a mesmerizing and riveting film from Howard Hawks.
Set during the aftermath of the American Civil War where the country is going through an economic depression, the film revolves around a rancher who spent 14 years creating a ranch in Texas as he decides to take the cattle to Missouri and hope to make some money. Joining him is adopted son, his longtime trail hand, and several other men trekking more than a thousand miles yet things go wrong prompting some tension between father and son as the latter realizes that going to a small town in Kansas is the way to go as it also has a railroad. It’s a film that explores a cattle drive as well as two men finding themselves at odds over what to do as a series of small incidents would drive them further. Even as many of the men who signed up for the trail find themselves dealing with the journey and how rough it’s become as they begin to rebel.
The film’s screenplay by Borden Chase and Charles Schnee doesn’t just explore the dynamic between Thomas Dunson (John Wayne) and his adopted son Matthew Garth (Montgomery Clift) but also the former’s stubborn demeanor trying to get the cattle to Missouri thinking he will be well-paid there. The script opens with a prologue of sorts as it relates to how Dunson found the land and met Garth when he was a kid. It displays the drive and ambition that Dunson has where he is eager to make a name for himself following a moment of tragedy in an earlier cattle drive. When he spends years building the ranch with Garth and longtime friend Groot (Walter Brennan), he would succeed but becomes broke due to the aftermath of the Civil War where he makes the decision to do the cattle drive. When they’re joined by several men including a gunslinger named Cherry Valance (John Ireland), the journey from Texas to Missouri would be an arduous one.
Garth doesn’t try to argue or go against Dunson but eventually realizes that Dunson’s ideals start to get the better of him as even Groot start to question what is going on. The film’s second half isn’t just about a breakdown between Dunson and Garth but also what the latter would try to do after some men left the drive in protest. Even as some of the men would make a discovery of what they would find that would lead them to Kansas much to Dunson’s protest. For Dunson, it’s a moment where he’s humiliated as he would retaliate in such a way as Garth would anticipate it leading to a very chilling climax.
Howard Hawks’ direction is truly intoxicating in terms of the presentation he creates where he does maintain a feel of the American West where it plays into a world that is changing but also with a sense of hope. Shot in various locations around Arizona, Texas, Louisiana, California, and parts of Mexico, the film does play into this growing expansion of the West where Hawks would use a lot of wide shots for the scenery as well as in some medium shots to capture the intimacy of the group. With the aid of co-director Arthur Rosson in shooting some of the cattle drive and action sequences in the film, Hawks maintains that sense of being in the journey while knowing how rough it is as it would include a stampede scene and later a sequence involving Indians trying to go after a group of travelers. There is an element of thrill in those sequences while Hawks would also find ways to create scenes of dialogue and drama that is really key to the film in the course of the story.
Many of the scenes during the stops in the journey are very intimate where Hawks uses some close-ups and medium shots to play into the growing tension between Dunson and Garth. Even in moments where Dunson would do some very serious things to those who caused harm or tried to leave the drive as it would be some of the darkest moments in the film. Once the film goes into the third act where Garth would take control of the drive and move it towards Kansas. The eventual showdown between Dunson and Garth isn’t a traditional showdown where guns are drawn as it is more about ownership and ideals. Overall, Hawks creates a rapturous yet intense film about a cattle drive that becomes a troubling journey for a rancher and his adopted son.
Cinematographer Russell Harlan does amazing work with the film‘s black-and-white photography from the look of the daytime exterior scenes as well as the look of the scenes set at night as it would also include some additional work from Allan Thompson in some of the special effects for the action sequences. Editor Christian Nyby does excellent work with the editing as it includes some stylish rhythmic cuts for some of the action scenes along with some straightforward cuts for the drama as well in some of the chilling moments in the film. Art director John Datu Arensma does fantastic work with the look of some of the buildings in the film as well as the town for the film‘s climax.
The sound work of Richard Deweese is superb for the way the cattle sounds during a stampede as well as the little moments in the film as it plays into the intimacy and suspense. The film’s music by Dimitri Tiomkin is wonderful for its orchestral-based score that is filled with lush string arrangements and some bombastic percussions where it plays into some the action in the latter as it would include a song written by Tiomkin that is in the vein of country-western music.
The film’s marvelous cast include some notable small roles from Slim Pickens as a cowboy late in the film, Shelly Winters as a dancehall girl in the wagon, Mickey Kuhn as the young Garth, William Self as a wounded wrangler from another drive that Dunson and Garth meet, Ivan Parry as a sugar-addicted wrangler named Kenneally, and Chief Yowlachie as an Indian wrangler named Two Jaw Quo. Other noteworthy roles as wrangler’s in Dunson’s cattle drive include Wally Wales, Hank Worden, and Paul Fix as a trio of men who become frustrated with Dunson’s rules while Harry Carey Jr. is terrific as a young wrangler eager to make it and bring money home to his family. Noah Beery Jr. is superb as the wrangler Buster McGee who would help Garth in rebelling against Dunson while making a key discovery in their destination.
Coleen Gray is wonderful as Fen as the love of Dunson’s life early in the film who wanted to join him on the land he had just discovered. Harry Carey Sr. is excellent as Mr. Melville in a trading company leader who would give Garth the offer of a lifetime as his small but brief appearance late in the film is fun to watch. Joanne Dru is amazing as Tess Millay as a woman Garth meets in the third act as he saves her from an Indian attack where she is this fascinating woman that is intrigued by Garth but also fascinated by who Dunson is. John Ireland is brilliant as Cherry Valance as a gunslinger who joins Dunson and Garth as he befriends the latter over their skills as he is also someone that knows more about what is out there.
Walter Brennan is incredible as Groot as a old trail hand who has been Dunson’s longtime friend as he is also the film’s conscience of sorts where he observes a lot that is happening as he becomes frustrated with Dunson’s stubbornness. Montgomery Clift is phenomenal as Matthew Garth as Dunson’s loyal stepson who does whatever he can to help his stepfather in driving the cattle to Missouri as he begins to realize what needs to be done as it’s more of an act of taking control instead of disrespecting the man who raised him. Finally, there’s John Wayne in a tremendous performance as Thomas Dunson as this man who would build and create a cattle ranch from very little as he does whatever he can to get the cattle to Missouri as it’s Wayne being a man that is quite un-likeable at times but is filled with a lot of determination no matter how foolish it is as it’s one of Wayne’s great performances.
Red River is a magnificent film from Howard Hawks that features great performances from John Wayne and Montgomery Clift. Featuring an amazing supporting cast, dazzling visuals, and a gripping story, the film isn’t just one of the finest westerns ever made but it’s also a unique study into the fallacy of ambition but also what some will do to salvage morale in an ever-changing world. In the end, Red River is an outstanding film from Howard Hawks.
Howard Hawks Films: (The Road to Glory) - (Fig Leaves) - (Cradle Snatchers) - (Paid to Love) - (A Girl in Every Port (1928 film)) - (Fazil) - (The Air Circus) - (Trent’s Last Case (1929 film)) - (The Dawn Patrol (1930)) - (The Criminal Code) - Scarface (1932 film) - (The Crowd Roars (1932 film)) - (Tiger Shark) - (Today We Live) - (The Prizefighter and the Lady) - (Viva Villa!) - (Twentieth Century) - (Barbary Coast) - (Ceiling Zero) - (The Road to Glory) - (Come and Get It) - Bringing Up Baby - (Only Angels Have Wings) - (His Girl Friday) - (Sergeant York) - (Ball of Fire) - (Air Force) - (To Have and Have Not) - (The Big Sleep (1946 film)) - (The Outlaw) - (A Song is Born) - (I Was a Male War Bride) - (The Big Sky) - (Monkey Business) - (O Henry’s Full House) - Gentlemen Prefer Blondes - (Land of the Pharaohs) - Rio Bravo - (Hatari!) - (Man’s Favorite Sport?) - (Red Line 7000) - (El Dorado) - (Rio Lobo)
© thevoid99 2016
Based on the novel by Armitage Trail, Scarface is the story of a young hood who rises from working for a gang leader into becoming a mob leader in Chicago. Directed by Howard Hawks and screenplay by W.R. Burnett, John Lee Mahan, and Seton I. Miller from a story by Ben Hecht, the film revolves into the world of gang warfare and police intervention for the control of Chicago where a young hood wants it all. Starring Paul Muni, Ann Dvorak, Karen Morley, Osgood Perkins, and Boris Karloff. Scarface is a phenomenal and thrilling film from Howard Hawks.
The film revolves around a mob boss’ bodyguard who decides to work for the second-in-command in the hopes to rise and become the biggest crime boss in Chicago during a conflict between different factions as he would succeed through terror and killing everyone involved while antagonizing the police. For Tony Camonte (Pal Muni), he hopes to do more than own Chicago as he wants to be the big shot where he knows he has to be second-in-command for Johnny Lovo (Osgood Perkins) as they deal with the boss from Chicago’s north side area in O’Hara where Camonte has his own ideas but Lovo doesn’t want to cause trouble. Instead, Camonte would do things his way where he wins over Lovo’s girlfriend Poppy (Karen Morley) and score lots of money but alienates Lovo and raises the suspicion of the police.
The film’s screenplay isn’t just a rise-and-fall tale but also a study of ambition and cruelty in the hands of a young hood who would kill the man he’s been hired to protect just so he can get him out of the way. Especially as the boss was someone has more old values and doesn’t feel the need to expand when he already has everything he needs. Yet, Camonte and Lovo are part of a new world order where they want more but Lovo still carries some old values about being cautious and knowing when not to cause trouble. Camonte is someone that wants more and more but he’s also quite sadistic as it relates to his sister Cesca (Ann Dvorak) whom he’s protective of. Once he gets rid of all of the rivals and becomes the big man, it is clear that the only way for Camonte to go is down. Especially in the third act as it plays into Camonte’s eventual downfall.
Howard Hawks’ direction is very mesmerizing from the way he opens the film with this long take of a party celebration winding down that includes a unique tracking shot where the camera captures everything in a wide shot. Notably as it sets up the things that Camonte would do as some of Hawks’ compositions are stylish in terms of the wide and medium shots he would create and how he would put his actors in a frame. Some of the violence in the film is quite graphic as well as moments of violence that is captured off-camera as it does create a sense of impact of what is going on. Even in a scene where Hawks, with the aid of co-director Richard Rosson, would recreate the St. Valentine Day’s Massacre of 1929 in a stylish manner where it is the aftermath that shows how intense things were in those times. Hawks’ usage of close-ups are also evident as it plays into the complex personalities of Camonte where he can be charming but also quite scary. Even in moments where he tries to maintain some control but also have this feeling that he’s invincible until its third act where he’s eventually going to fall and fall hard. Overall, Hawks creates an enthralling yet entertaining film about a gangster’s rise and fall in the city of Chicago.
Cinematographers Lee Garmes and L.W. O’Connell do amazing work with the film‘s black-and-white photography in setting some unique moods with the usage of shadows and lights for many of the exterior scenes set at night along with more lavish lighting for its climax. Editor Edward Curtiss does excellent work with the editing in knowing when to cut for some rhythmic moments in the drama and action as well as some stylish fade-outs to help set-up the next scene in the film. Set decorator Harry Oliver does nice work with the sets from the look of the city exteriors to the rooms and places where Camonte works and celebrates at. The sound work of William Snyder does terrific work with the sound to capture the layers of sound with the machine gun noises and other things to play up the world of violence. The film’s music by Shelton Brooks is superb for its orchestral score that plays into the sense of chaos that occurs with its bombastic string arrangements and percussions as well as some jazz pieces that play into the period of the times.
The film’s brilliant cast include some notable small roles from Harry J. Vejar as Tony and Johnny’s old boss, Edwin Maxwell as a chief of detectives, Tully Marshall as a newspaper editor, Vince Barnett as Tony’s dim-witted assistant Angelo, and Inez Palange as Tony and Cesca’s mother who disapproves of their lifestyle choices. C. Henry Gordon is terrific as Inspector Guarino who despises Camonte as he hopes to take him down while Boris Karloff is superb as crime boss Gaffney who tries to figure out how to combat Camonte and not create too much trouble. George Raft is excellent as Tony’s right-hand man Guino Rinaldo as a guy who helps take care of business for Tony while having some feelings for Cesca.
Karen Morley is wonderful as Poppy as this beautiful blonde who is Lovo’s girlfriend until she is charmed by Camonte as she ends up being his woman and showing him how to look like a boss. Ann Dvorak is amazing as Tony’s sister Cesca as a woman that wants to have fun and be with men as she has some feelings for Guino. Osgood Perkins is fantastic as Johnny Lovo as this crime boss who is part of a new school of bosses but wants to be cautious as he’s alienated by Camonte’s ambitions prompting him to try and regain control. Finally, there’s Paul Muni in a phenomenal performance as Tony Camonte as this young hood who worked his way to become the top boss while being ruthless in his drive for success as it’s really a fun performance to watch.
Scarface is a remarkable film from Howard Hawks that features Paul Muni in an exhilarating performance. Not only is it one of the definitive films of the gangster film genre but also a unique study of ambition and violence set in one of the most turbulent periods in American history. In the end, Scarface is a spectacular film from Howard Hawks.
Related: Scarface (1983 film)
Howard Hawks Films: (The Road to Glory) - (Fig Leaves) - (Cradle Snatchers) - (Paid to Love) - (A Girl in Every Port (1928 film)) - (Fazil) - (The Air Circus) - (Trent’s Last Case (1929 film)) - (The Dawn Patrol (1930)) - (The Criminal Code) - (The Crowd Roars (1932 film)) - (Tiger Shark) - (Today We Live) - (The Prizefighter and the Lady) - (Viva Villa!) - (Twentieth Century) - (Barbary Coast) - (Ceiling Zero) - (The Road to Glory) - (Come and Get It) - Bringing Up Baby - (Only Angels Have Wings) - (His Girl Friday) - (Sergeant York) - (Ball of Fire) - (Air Force) - (To Have and Have Not) - (The Big Sleep (1946 film)) - (The Outlaw) - Red River (1948 film) - (A Song is Born) - (I Was a Male War Bride) - (The Big Sky) - (Monkey Business) - (O Henry’s Full House) - Gentlemen Prefer Blondes - (Land of the Pharaohs) - Rio Bravo - (Hatari!) - (Man’s Favorite Sport?) - (Red Line 7000) - (El Dorado) - (Rio Lobo)
© thevoid99 2015
