A young man falls in love with a girl from a rich family. His unorthodox plan to go on holiday for the early years of his life is met with skepticism by everyone except for his fiancée's eccentric sister and long-suffering brother.
Having been away for four months, Hildy Johnson walks into the offices of the New York City based The Morning Post, where she is a star reporter, to tell her boss, editor Walter Burns, that she is quitting. The reason for her absence was among other things to get a Reno divorce, from, of all people, Walter, who admits he was a bad husband. Hildy divorced Walter largely because she wanted more of a home life, whereas Walter saw her more as a driven hard-boiled reporter than subservient homemaker. Hildy has also come to tell Walter that she is taking the afternoon train to Albany, where she will be getting married tomorrow to staid straight-laced insurance agent, Bruce Baldwin, with whose mother they will live, at least for the first year. Walter doesn't want to lose Hildy, either as a reporter or a wife, and if he does, doesn't believe Bruce is worthy of her. Walter does whatever he can at least to delay Hildy and Bruce's trip, long enough to persuade Hildy to stay for good. His plan ... Written by
Howard Hawks originally wanted Carole Lombard to play the part of Hildy Johnson but, as she had just left studio contract and gone freelance, she proved to be too expensive. See more »
When Hildy is in Walter's office, a few lines before she throws her purse at him, his cigarette switches from his right hand to his left between shots. See more »
[speaking to Walter on the phone]
Now, get this, you double-crossing chimpanzee: There ain't going to be any interview and there ain't going to be any story. And that certified check of yours is leaving with me in twenty minutes. I wouldn't cover the burning of Rome for you if they were just lighting it up. If I ever lay my two eyes on you again, I'm gonna walk right up to you and hammer on that monkeyed skull of yours 'til it rings like a Chinese gong!
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Opening credits prologue: It all happened in the "Dark Ages" of the newspaper game--when to a reporter "Getting that story" fortified anything short of murder.
Incidentally you will see in this picture no resemblance to the man and woman of the press today.
I just finished watching the DVD of this first-class, semi-Screwball comedy in Columbia Classics beautiful transfer, and it absolutely made my day! What a movie! What a screenplay! The dialogue is better - more modern - in fact, than a in lot of contemporary movies. It's incredibly funny, too, and my teenage sons kept laughing right along with me at the smart come-backs. Cary Grant is, of course, as good (if not better) than ever, and I've never seen Rosalind Russel in a role that suited her more perfectly. And that's just for starters: The timing of the thing is still awe- inspiring after sixty-odd years; the supporting actors, down to the bit-players, are all memorable, convincing and hilarious; the camera work (this IS the forties, though) is inventive and the editing superb. I can safely confess now that I hadn't ever seen it before, but that's no reason for you to make the same mistake: Go buy/rent it NOW! Hats off to the great Howard Hawks, his cast and crew for pulling this comedy masterpiece off. And thank you, thank you, thank you Columbia Pictures, for
making it possible for me to watch it in such pristine condition! (I've got the 2002 edition, and from what I've heard you should beware of earlier DVD issues).
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