The Front Page

THE FRONT PAGE (1931) is a snappy, quick-witted comedy about a newspaper man trying to leave the business and get married while his peers scramble to cover the story of the year. The movie is based on a stage play, and the same story was adapted (with some tweaks) in 1940 for Howard Hawks's brilliant HIS GIRL_FRIDAY, starring Cary Grant and Rosalind Russell.

I absolutely love HIS GIRL_FRIDAY and wasn't expecting much from this earlier and lesser-known version. But I must say that THE FRONT PAGE is itself a terrific film that, though slightly different (but mostly similar), is just as great as HIS GIRL_FRIDAY. (The wonderful humor must be inherent in the original play.)

The ensemble cast is superb, including Pat O'Brien as the soon-to-be-married star reporter, Adolphe Menjou as his big shot editor, Clarence Wilson as the harassed sheriff, George E. Stone as a condemned man, and a roomful of reporters including Frank McHugh, Walter Catlett, and Edward Everett Horton.

Made in 1931, early on in the sound era, the movie certainly looks pretty old. But I thought it was great. The script is very witty and the direction (by Oscar-winner Lewis Milestone) is good. I particularly enjoyed the direction in the pressroom scenes, with all of the reporters and all of the phones and the various snippets of conversation.

Also, being a "pre-code" comedy, there are some bits that might have been deemed too vulgar had the film been made only a few years later. There are some allusions to promiscuity, some almost swear words, and even a brief instance of "flipping the bird".

HIS GIRL_FRIDAY (1940) is an all-time classic screwball comedy. But if you enjoyed that film, you're sure to love THE FRONT PAGE (1931). The story is basically the same (there's less of a romantic angle as the star reporter is a man in this version), but a lot of the jokes are fresh. And this version offers wonderful performances by Menjou, Catlett, Horton, et al. Both movies are delightful comedies, and it's too bad that this earlier version isn't as well remembered as its remake.

THE FRONT PAGE is a classic in its own right, and was nominated for three big Academy Awards: Best Actor, Best Director, and Best Picture. I'd definitely recommend checking it out whenever you can find it.

If it weren't for the even better Howard Hawks remake, "The Front Page" would probably be much more well-remembered today. It's entertaining in its own right, with a slightly different feel from the remake, and it is better than most movies of its own era in at least a couple of important respects. While you can still tell at times that it is from the very early sound era, it does use sound and dialogue more smoothly and constructively (that is, rather than as a mere novelty) than do most early 30's movies.

Adolphe Menjou has the role of Walter Burns, and he is a good fit, giving the character just a slightly different turn from the way that Cary Grant would later play it. The role of Hildy Johnson is somewhat bland in this one - it was the genius of Hawks in changing this role into a more worthy foil for Burns that made "His Girl Friday" so outstanding - but in compensation, some of the other reporters get more to do here. The supporting cast has a number of good character actors, especially Edward Everett Horton as the fussy Bensinger, and it's good that they were given some worthwhile moments of their own. Certainly the great remake deserves its own reputation, but this version deserves to be remembered as well.

Way ahead of its time in both style and substance. The Front Page is a comic look at the underbelly of the newspaper business as well as a tough commentary on the times. In a press room outside the city jail, a group of newspaper reporters idly await the execution of a communist sympathizer accused of murder. Once the story heats up though, the press room becomes an absolute madhouse. The hilariously cynical script adapted from the play by Ben Hecht pulls no punches. Politics, the justice system, communist hysteria, love and marriage are all targets for the biting wit of the author. The script is complemented by a good ensemble cast. Pat O'Brien gives a good performance as Hildy Johnson, the star reporter for The Post, who is leaving his job for marriage. Adolphe Menjou steals the show, however, as Walter Burns, the conniving editor who will do anything to keep Johnson on the job. The rest of the news hounds are all expertly played, striking us as fun loving jokers one minute, but becoming downright violent the moment they smell a story. The movie also has a rare artistic style unequaled in most films. Though most of the movie takes place in the same location, the cinematography is done so well that we never feel we are watching a stage play. The cameras constantly move around the room, effectively putting us in the middle of the action. Pretty much everything about this film is done well. It is funny, edgy, artistic and thought provoking. Movies that can do all of that are few and far in between.

While the staging was limited, the acting was believable and the camera work was great for the technology available. After watching "Front Page" again after watching "Girl Friday", I was struck by the original's emphasis on the role of the newspaper in revealing political corruption. But, the question remains, who's the girl? Not the actress but the girl in the picture hanging on the wall in back of Adolph Menjou's head during the final scenes... Since the movie was released in 1931, it can't be Jane Russell. She's to busty to be Katherine Hepburn (Howard Hughes' friend). The only reason I noticed it was that she appears nude and Howard Hughes probably put it there to see if the 'censors' would notice.

The Front Page was the 12th, and 9th credited, feature film directed by Lewis Milestone, Russian Jewish emigré born in what is now Moldova in 1895 whose directing career spanned from the end of WWI to the early days of the Beatles, thus the core of the XXth Century. A director of moderate talent, Milestone enjoyed disproportionate renown in his day, directing everything from screen adaptations of Brodaway comedies, inter alia the effort under review, and musicals, to prestige literary adaptations such as All Quiet on the Western Front (1930, for which he won an Oscar for best director, which, helás, didn´t make him a better director...) or Of Mice and Men (1939), graduating in the 50s to big budget productions like Les Misérables (1952) or Mutiny on the Bounty (1962). Fun factoid: he also directed the original Ocean´s 11 (1960) the first film to feature the full Rat Pack.

The Front Page adapts to the screen an eponymous play by Ben Hecht and Charles MacArthur, about a group of hardboiled Chicago newspapermen bent on scooping on the imminent execution of a presumed subversive agitator (George E Stone), mandatory love interest provided by the scheduled wedding of journalist Hildy Johnson (Pat O´Brien, much more at ease playing Irish priests and the like) to fiancée Peggy Grant (Mary Briant), event which conflicts with the professional duties, interests and urges of Hildy.

The Front Page was one of the first films to use the rotambulator, an ancestor of the dolly, which allowed for a few press room sequences with dialogue shot in circular motion, not unlike similar scenes in much later efforts by Quentin Tarantino (viz Reservoir Dogs, 1992), providing for some relief for what otherwise comes across as excessive, undestandably in a stage adaptation and an early talkie, talkyness. The remaining relief comes from Ben Hecht´s delighful dialogue.

Supplementary sort of interest for contemporary viewers is the political and sexual innuendo, both verbal and physical, that pre-code comedy allowed. For all this, in 2010, The Front Page was included in the United States National Film Registry by the Library of Congress in consideration of it being "culturally, historically, or aesthetically significant".

All aforementioned qualities nothwistanding, the films lives of script and dialogue mostly, and direction is often unimaginative and delivery wooden. Onliners do save the show. A favourite: Hildy´s boss Walter Burns (Adolphe Menjou, best on screen) to Hildy, trying to persuade him not to folllow Cupid´s ephemeral lure and stay in the newspaper business: "Yes, I know, I too was in love once, with my third wife...".