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Eggelhoffer Production[ edit ] Hawks's production that became His Girl Friday was originally intended to be a straightforward adaptation of The Front Page, with both the editor and reporter being male. But during auditions, a woman, Howard Hawks's secretary, read reporter Hildy Johnson's lines. Hawks liked the way the dialogue sounded coming from a woman, resulting in the script being rewritten to make Hildy female and the ex-wife of editor Walter Burns. Harry Cohn of Columbia Pictures approved Hawks's idea for the film project. Ben Hecht was unavailable to do do the necessary script revisions so Hawks recruited Charles Lederer who had worked on the adaptation for The Front Page to work on the screenplay. Hawks had great difficulty casting this film. While the choice of Cary Grant was almost instantaneous, the casting of Hildy was a more extended process. At first, Hawks wanted Carole Lombard , whom he had directed in the screwball comedy Twentieth Century , but the cost of hiring Lombard in her new status as a freelancer proved to be far too expensive, and Columbia could not afford her. Katharine Hepburn , Claudette Colbert , Margaret Sullavan , Ginger Rogers and Irene Dunne were offered the role, but turned it down, Dunne because she felt the part was too small and needed to be expanded. Jean Arthur was offered the part, and was suspended by the studio when she refused to take it. Joan Crawford was reportedly also considered. During filming, Russell noticed that Hawks treated her like an also-ran , so she confronted him: Well, you're stuck with me, so you might as well make the most of it. In her autobiography, Life Is A Banquet, Russell wrote that she thought her role did not have as many good lines as Grant's, so she hired her own writer to "punch up" her dialogue. With Hawks encouraging ad-libbing on the set, Russell was able to slip her writer's work into the movie. Only Grant was wise to this tactic and greeted her each morning saying, "What have you got today? Although overlapping dialog is specified and cued in the play script by Hecht and MacArthur, [10] Hawks told Peter Bogdanovich: I had noticed that when people talk, they talk over one another, especially people who talk fast or who are arguing or describing something. So we wrote the dialogue in a way that made the beginnings and ends of sentences unnecessary; they were there for overlapping. Grant makes several other "inside" remarks in the film. When his character is arrested for a kidnapping, he describes the horrendous fate suffered by the last person who crossed him: Archie Leach Grant's birth name. The world in this film is not determined by gender, but rather by intelligence and culpability. At the beginning of the film Hildy says that she wants to be "treated like a woman", but her return to her profession reveals her true desire to live a freer life. Hildy's fiance played by Bellamy is purposefully excluded as a character in the film due to Hawks' cinematography. Specific, exclusionary camera work and character control of the frame and the dialogue portray a subtle criticism of domesticity. Even among the relationships between Grant and Russell and Bellamy and Russell, the relationships are positioned within a larger frame of the male predominated newsroom. In His Girl Friday, the cigarette in the scene between Hildy and Earl Williams serves several symbolic roles in the film. First, the cigarette establishes a link between the characters when Williams accepts the cigarette even though he does not smoke. However, the fact that he doesn't smoke and they don't share the cigarette shows the difference between and separation of the worlds in which the two characters live. She begins opening the door to return and the scene cuts to an American shot of her continuing to open the door, but slightly backtracked over a part of the arc that the door had already swung. This obvious overlapping emphasized the scene. Walter and Hildy work together to attempt to release wrongly convicted Earl Williams, while the concurrent plot is Walter attempting to win back Hildy. The two plots do not resolve at the same time, but they are interdependent because although Williams is released before Walter and Hildy get back together, he is the reason for their reconciliation. Gesture, character and camera movement, as well as editing, serve to complement the dialogue in increasing the pace of the film. There is a clear contrast between the fast-talking Hildy and Walter and slow-talking Bruce and Earl which serves to emphasize the gap between the intelligent and the unintelligent in the film. The average word per minute count of the film is while average American speech is around words per minute. There are nine scenes with at least four words per second and at least two with more than five words per second. Even at the end of the film, Burns convinces Hildy Johnson to remarry him despite how much she loathes him and his questionable actions. Upon the reconciliation of their relationship, there is no romance visible between each other. They do not kiss, embrace, or even gaze at each other. It is evident that Burns is still the same person as he was in their previous relationship as he quickly waves off the plans for the honeymoon that they never had in pursuit of a new story. Additionally, he walks in front of out the room, forcing her to carry her own suitcase, despite Johnson having already criticized that as being ungentleman-like in the beginning of the film. It's clear that the marriage is fated face the same problems that ended it before. The ending of the film is rather circular and there is no development of characters, specifically Walter Burns, and the film ends similar to the way in which is starts. Additionally, the film ends with a brief epilogue in which the Watler announces their remarriage and reveals their intention to go cover a strike in Albany on the way to their honeymoon and they consider staying with Bruce in Albany. The fate of the main characters and even some of the minor characters such as Earl William are revealed, except there are minor flaws in the resolution. For example, they do not discuss what happens to Molly Malloy after the conflict resolved. However, the main characters endings were wrapped up so well that it overshadows the need for the minor characters endings to be wrapped up. This creates a "closure effect" or an appearance of closure. Nugent of The New York Times wrote, "Except to add that we've seen 'The Front Page' under its own name and others so often before we've grown a little tired of it, we don't mind conceding 'His Girl Friday' is a bold-faced reprint of what was once—and still remains—the maddest newspaper comedy of our times. Charles Leder sic has done an excellent screenwriting job on it and producer director Howard Hawks has made a film that can stand alone almost anywhere and grab healthy grosses. Girl makes same face in every picture

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