Ein Goldfisch an der Leine

Howard Hawks legendary Director fell like most Men for gorgeous Paula Prentiss. Prentiss was an MGM star having made 4 comedies with her co star Jim Hutton. Hawks had a deal with Paramount for this film but that studio did not want Prentiss in the picture so Howard Hawks took the project to Universal and assigned its greatest star Rock Hudson as co star. MGM loaned Prentiss to Universal for this movie. Paula Prentiss was given above the title billing next to Hudson on this film and raised Prentiss to worldwide star.

Rock Hudson who was #1 at Universal and a top male star in Hollywood gives a great performance as a expert on fishing who in actuality knows nothing about fishing. Hudson in his great career was co star to Elizabeth Taylor, Kim Novak, Jane Wyman, Jennifer Jones, and most famously Doris Day.

Paula Prentiss when discussing this movie said when she met Hudson she was stunned as she said Hudson was the most handsome man she ever saw. His looks were a distraction per Paula. Paula Prentiss gives a great performance in this film and someone wrote a book "Alternative Oscars" and listed Prentiss as the star who gave the best female performance. Prentiss was not nominated but I feel in reality this gorgeous talented Texas should have been nominated for Supporting Actress for Where The Boys Are and Best Actress for Man's Favorite Sport?

Howard Hawks did of course create the classic _Bringing Up Baby_ and some comparison between _Favorite_ as a 26-year update of the former is inevitable. Hawks did plenty of screwball comedies, but above all, Hawks was a director who made GUY films; _Red River_ may be the ultimate man's man film of all time. And to some extent, this film is about Willoughby's (Hudson's) fraudulent expertise in "manly" activities such as camping, outdoor activities and--most critical to the plot--fishing.

Life is good for Hudson as the expert fisherman who is big man at Abercrombie and Fitch, until brash Abby Page (Prentiss) destroys his serene existence with a publicity stunt of having Hudson enter an annual fishing contest.

After resisting the idea, Hudson is soon forced to confess he's never fished in his life--that his reputation is a hoax. Rather than sensibly abandon the scheme, Prentiss decides she can teach Hudson how to fish in 3 days. This inevitably leads to all sorts of misadventures as Hudson is so inept he can't even swim! Some of the more amusing sequences are Hudson's inflatable waders exploding underwater, having a bear steal his trail-bike, or literally running across the surface of the lake to escape another bear. Some of the gags work better than others; the gags range from leisurely to elaborate, but all in good fun.

The fast-talking overlapping dialog is pure Hawks and (the uncredited) Brackett, and is wonderful.

Hudson has been criticized for not being Cary Grant (how could anyone be?) but he actually develops his own persona, different from both Grant and his own Hudson-Day characterizations. In this film, he is partially browbeaten by Prentiss and her sidekick Perschy, but ultimately, he voluntarily suffers through his ordeals as a matter of penance.

Paula on the other hand is a complete success: perky, beautiful, brash, and unpredictable--she gives a spectacularly energetic performance. This is the sole film is where Prentiss has the script and the screen time to refine her comic persona. While Perschy and Holt exist to create a triangle and fuel the high-jinx, they also define the limits of the Prentiss character; she is neither exotic like Perschy nor sultry like Holt. In comparison, she is pleasantly and very prettily tomboyish, often wearing outdoor sporting wear, and thoroughly competent at all things in which Hudson had professed expertise.

When compared with _Baby_, _Favorite_ perhaps begins with a potentially even richer premise, and is less fanciful, disposing of rich Connecticut dowagers and University endowments. But it never quite builds to the same frenetic pace and lacks the absurdity of the situations Grant finds himself in: remember "Mr. Bone?" Hawks does lift sequences right out of _Baby_ when Hudson shadows Perschy because the back of her dress is open, the "Love impulse in men manifests itself in conflict" from Dr. Lehman is used by Easy, the fish in the pants comes out of _Monkey Business_.

Yet the films are quite different. Grant's character is entirely asocial while Hudson's is the leader of the Hawksian male group. Furthermore, Hepburn is quickly determined to snare Grant, while Prentiss is to the end ambivalent or in self-denial.

I've seen it commented (including by the Voice film critic Molly Haskell) that the film is more satisfying when seen for the second time, and I wholeheartedly agree with this. This review replaces one which was not quite so laudatory. Three times is even better. Familiarity, in the case of this film, breeds endearment.

The sad part is that Paula Prentiss is so lovely and talented to watch in this film, and clearly the critics had huge expectations of her career, yet the next year she would do only three small parts in ensemble casts before withdrawing from films entirely for the next five years. These years, from when she was 26 through 31, were those where she certainly would have become a huge star.

I have to admit I had a serious crush on Paula Prentiss during her days as a big star. Gloriously beautiful, sexy, with that great Texas accent Ms. Prentiss was a great sexy comedienne and this is likely her greatest role in Howard Hawks Man's Favorite Sport. Initially to be filmed at Paramount with Prentiss and Cary Grant, Paramount per legend refused to cast Paula Prentiss, so Howard Hawks took the project to Universal and cast Rock Hudson and Ms. Prentiss. Man's Favorite Sport? has top notch Universal production values and both stars play off well against each other. Paula Prentiss in an interview years later said she was speechless when introduced to Mr. Hudson as she claimed he was even better looking in person than he was on screen, and that Hudson's personal appearance was so great it was almost beyond comprehension.

Mr Hudson does well in this film. This is a fine wacky comedy directed by a Master Director Howard Hawks and features Ms. Prentiss' finest performance. Paula Prentiss got and deserved equal star billing over the title with box office champ Rock Hudson. I for one am glad that Howard Hawks stood his ground and insisted on Mr. Prentiss who was loaned to Hawks and Universal Prentiss' from home studio MGM

Viva Paula Prentiss

I'm not a film critic, just a 56 year old viewer; call me the common man that's not too common. I'll just use words that everyone understands, since I don't know all the others. What this film did for me is it brought back the feel of the late 50s / early 60s, you know, when there used to be a few morals left. Some of you may remember those days. You could see this throughout the whole movie, the way they talked, dressed and acted toward each other. Even the city and the cars and the mailboxes on the corner (remember those?) in the opening scene, everything was bright, clean and wholesome. The atmosphere at Lake Wakapougie(?) was clear and made you wish you were there too. Even in the lodge: No one had tattoos, no men were wearing earrings. Can you imagine that?! No men with long hair? No Mohawks? Is this legal?! No one weighed 350 pounds and looked like a World War 3 surviving shopper in Walmart. Just a nice, easy to follow, fun and relaxing movie complete with great background music that fit it perfectly, sweet and calm. What a contrast to what we have now. If the film were to be made now, Rock would probably have been a drug smuggler and would have had a long bedroom scene with everyone of the stars in the opening scene, complete with as much swearing as they could possibly have stuck in there just to make sure the movie would go over. I mean, they do have to sell movies, right?! Do I exaggerate? What do you think? This is the main reason I like this film so much. It's just a nice, sweet and wholesome film about a guy and girl who accidentally fall in love through a great setup. Yet the people aren't perfect, neither is the film. I haven't found a perfect one yet. The only semi-negatives I could find, were the obvious tie-attached-to-Easy scene, yet it was funny.(I missed how that happened until I backed up and watched it again...if you recall, people in the movies back then couldn't do that) also, there is a time sequence I didn't get. Abigail calls Roger at, I think, 2 in the morning, yet everyone is still up like it's 10PM at night! ... The guys at the bar who also have to be up in 3 hours for the competition, John Screaming Eagle... everybody except Roger. That's another thing I thought was a little strange although it added comedy to the film. John Screaming Eagle is always keeping an eye on Roger's 'happenings'. Even at 2AM? and no one is even yawning, they're raring to go like they all just got up! ha ha. I sure can't do that. Not at 2 in the morning. All in all though, what a great film. and yeah, I saw the other films the were mentioned, like "Bringing Up Baby". I'll take this one over that one, although I liked "Bringing Up Baby" as well. What made a lot of the older films great was great dialog, great direction, great story lines. grate acting and fresh ideas. This has almost entirely been replaced in today's movies with massive swearing, constant drugs, rotten personalities, sex, sex, sex. Yes, today's films are truly designed for today's people. I guess the studios still know what they're doing after all!

Some reviewers have criticized the studio-bound look (Bringing Up Baby wasn't???), flat, high- key photography, the fact Rock Hudson isn't Cary Grant, that much of the comedy is slapstick (which, I guess, means physical and visual), that gags are recycled from older films......I mean, who cares? This is a total delight, probably the best comic roles Prentiss and Hudson ever had, and one of the funniest post World War 2 movies of all. Today, the 6th or 7th time I've seen it, I found when it was over I wanted to go out and buy a DVD of it.

Hawks' films may not have the pictorial qualities that Ford's, Welles', and Hitchcock's had, but when it came to involving you in a group of characters and their silly, yet somehow believable, antics, he had no superiors. It's not surprising it took the French New Wave, with their impatience for tired and predictable dramatic conventions, to finally recognize and rank Hawks at the very highest level of film artists.