The Front Page

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...".

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.

Newspaperman Hildy Johnson (Pat O'Brien) is quitting the business and getting married to Peggy (Mary Brian). But his unscrupulous boss Walter Burns(Adolphe Menjou) doesn't want him to quit. Also an innocent man is about to be hanged and Burns will do anything to make sure Johnson works on that story.

Fast and funny--the first cinematic version of this story. It shows its age at times and some of it is wildly overacted but O'Brien and Menjou are both just great in their roles. Also director Lewis Milestone uses some very unusual camera tricks to keep the story moving and there's lots of action and running around which is unusual for an early talkie.

This was remade in 1940 with a sex change making Johnson a woman. That was "His Girl Friday" with Rosalind Russell and Cary Grant. That one is better than this but this is better than the 1974 version (that had Jack Lemmon and Walter Matthau) and 1988 remake called "Switching Channels" (with Kathleen Turner and Burt Reynolds). They're all good to varying degrees but this one came first. Worth seeing.

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.

One of the biggest problems facing filmmakers in the early sound era was not a technical one, but one of what form the stories should take. Now that the spoken word was a means of expression, stage plays became a prime source for movie material. The only trouble was that, while the theatre is not necessarily an inferior medium, if you shoot a play simply as it is, no matter how good it would be in the theatre, on the screen it becomes static and dull. There are ways round this problem, and they demonstrate how much of a difference it makes the way in which a movie is filmed.

The Front Page's director, Lewis Milestone, was an ostentatious attention-grabber who liked to make every use of the technology at hand. But all his showing-off was for a purpose. As oppose to the limited dimensions of the stage, Milestone is always staging things in extremes of width and depth, especially when introducing major characters. A really neat manoeuvre is when a cop visits the newsroom during a game of poker. The camera sits on the middle of the small table and pans round as each reporter is harangued in turn. A man walking round a table is a fairly low-key bit of business, but this technique makes it simply whirl. There is only one point where I feel it's too much, when the camera "bounces" up and down on the faces of the reporters as they sing a taunting song. But the great thing is Milestone also knows when to tone it down and let the players shine. He often uses a long, still take for a key scene, such as Pat O'Brien and Adolphe Menjou's talk at the bar.

But an equally important contribution is the sense of realistic camaraderie between the principle members of the cast. The atmosphere in the newsroom straddles comedic exuberance and realistic banter, and as such is absolutely in the spirit of Ben Hecht and Charles MacArthur's original work. Adolphe Menjou shows impeccable control, with movements that are almost cartoonish, such as the little backward lean into his stride off after announcing "I'll kill him!" It's a fresh approach, but one that would catch on, being very much the vein of Clark Gable's Oscar-winning performance in It Happened One Night (1934). Lead man Pat O'Brien is at his most extrovert and, in the process, his most likable. Walter Catlett is unflappably brilliant, and there is also a chance to see Edward Everett Horton honing the persona that would make him a fixture throughout the next decade.

The result is probably the most vibrant and effective stage adaptation of the early talkies, and it set the tone of much of what was to come, straddling the gap between the wild farce of the Marx Brothers and the sophisticated comedies like Dinner at Eight. Later directors (George Cukor, most notably) would learn to tone down Milestone's approach and create stage-to-screen adaptations that flowed smoothly and were purely cinematic, but The Front Page was nevertheless an important jolt to an industry still trying to find its way, and a lesson in how to make a script low on action and confined in space into something dynamic and brassy.