In the Post-World War II, the British Susanne Mallison travels to Berlin to visit her older brother Martin Mallison, a military that has married the German Bettina Mallison. The naive ... See full summary »
Hildy Johnson, newspaper reporter, is engaged to Peggy Grant and planning to move to New York for a higher paying advertising job. The court press room is full of lame reporters who invent stories as much as write them. All are waiting to cover the hanging of Earl Williams. When Williams escapes from the inept Sheriff, Hildy seizes the opportunity by using his $260 honeymoon money to payoff an insider and get the scoop on the escape. However, Walter Burns, the Post's editor, is slow to repay Hildy back, hoping that he will stay on the story. Getting a major scoop looks possible when Hildy stumbles onto the bewildered escapee and hides him in a roll-top desk in the press room. Burns shows up to help. Can they keep Williams' whereabouts secret long enough to get the scoop, especially with the Sheriff and other reporters hovering around? Written by
Gary Jackson <email@example.com>
Continuing a practice common to the silent era, the film was shot with three cameras at the same time. This created three different negatives. The best negative was used for the US version. The second best was used for the UK version. And the final negative was used for the general international version. Additionally, some scenes were re-shot with different dialogue for the international markets. See more »
At approximately 69 minutes, Hildy types furiously at a typewriter, however, with his right hand he only uses his index finger and pushes the same key over and over again. See more »
This story is laid in a mythical kingdom.
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The end credits consist of Walter and Hildy above a big 'THE END,' covering a large question mark, while the sound of the train is heard and music plays. There is also laughter, presumably coming from Walter Burns. See more »
Superior to Lemmon-Matthau version and "His Girl Friday"
This picture, of astronomical quality compared to other films of its era, represents, by and large, a photographic, if sanitized, record of the Hecht-MacArthur classic Broadway hit depicting yellow journalism, the "Red Anarchist Scare", and political corruption in 1928 Chicago. Being intimately familiar with the original stage production, this picture represents the play more faithfully than any subsequent remake (except for the rampant profanity in the original stage work); "His Girl Friday" being an inverted rework of the original, and the 1974 version merely a caricature of the original concept - with superfluous "madcap" elements added. Let's hope an intact negative can soon be found and restored - The viewing public and the memory of the artists and makers of this film deserve as much.
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