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American screwball comedy film directed by Howard Hawks, from an adaptation by Charles Lederer, Ben Hecht and Charles Mac. Arthur of the play The Front Page by Hecht and Mac. Arthur. This was the second time the play had been adapted for the screen, the first occasion being the 1. The Front Page.[1] The major change in this version, introduced by Hawks, is that the role of Hildy Johnson is a woman. Watch The Hobbit: An Unexpected Journey Online. The film stars Cary Grant as Walter Burns and Rosalind Russell as Hildy Johnson and features Ralph Bellamy as Bruce Baldwin.
The film was #1. 9 on American Film Institute's 1. Years.. 1. 00 Laughs and has been selected for preservation in the United States National Film Registry. Due to a failure to renew the copyright registration, the film entered the public domain in the United States in 1. France.[3] The 1. United States until 2.
Walter Burns (Cary Grant) is a hard- boiled editor for The Morning Post who learns his ex- wife and former star reporter, Hildegard "Hildy" Johnson (Rosalind Russell), is about to marry bland insurance man Bruce Baldwin (Ralph Bellamy) and settle down to a quiet life as a wife and mother in Albany, New York. Walter determines to sabotage these plans, enticing the reluctant Hildy to cover one last story, the upcoming execution of convicted murderer Earl Williams (John Qualen). Walter does everything he can to keep Hildy from leaving, including setting Bruce up so he gets arrested over and over again on trumped- up charges. He even kidnaps Hildy's stern mother- in- law- to- be (Alma Kruger). When Williams escapes from the bumbling sheriff (Gene Lockhart) and practically falls into Hildy's lap, the lure of a big scoop proves too much for her.
She is so consumed with writing the story that she hardly notices as Bruce realizes his cause is hopeless and returns to Albany. The crooked mayor (Clarence Kolb) and sheriff need the publicity from the execution to keep their jobs in an upcoming election, so when a messenger (Billy Gilbert) brings them a reprieve from the governor, they try to bribe the man to go away and return later, when it will be too late. Walter and Hildy find out in time to save Williams from the gallows and they use the information to blackmail the mayor and sheriff into dropping Walter's arrest for kidnapping. Afterward, Walter offers to remarry Hildy, promising to take her on the honeymoon they never had in Niagara Falls, but then Walter learns that there is a newsworthy strike in Albany, which is on the way to Niagara Falls by train. Production[edit]Hawks's production that became His Girl Friday was originally intended to be a straightforward adaptation of The Front Page, with both the editor and reporter being male.
But during auditions, a woman, Howard Hawks's secretary, read reporter Hildy Johnson's lines. Hawks liked the way the dialogue sounded coming from a woman, resulting in the script being rewritten to make Hildy female and the ex- wife of editor Walter Burns.[5][6][7] Most of the original dialogue and all of the characters' names were left the same, with the exception of Hildy's fiancé, Bruce Baldwin. Cary Grant, Rosalind Russell, and Ralph Bellamy in a promotional picture for the film. Hawks had great difficulty casting this film. While the choice of Cary Grant was almost instantaneous, the casting of Hildy was a more extended process.
At first, Hawks wanted Carole Lombard, whom he had directed in the screwball comedy Twentieth Century, but the cost of hiring Lombard in her new status as a freelancer proved to be far too expensive, and Columbia could not afford her. Katharine Hepburn, Claudette Colbert, Margaret Sullavan, Ginger Rogers and Irene Dunne were offered the role, but turned it down, Dunne because she felt the part was too small and needed to be expanded. Jean Arthur was offered the part, and was suspended by the studio when she refused to take it. Joan Crawford was reportedly also considered.[6]Hawks then turned to Rosalind Russell.
During filming, Russell noticed that Hawks treated her like an also- ran, so she confronted him: "You don't want me, do you? Well, you're stuck with me, so you might as well make the most of it."[5]The film had the working title of The Bigger They Are,[7] and was in production from September 2. November 2. 1, 1. In her autobiography, Life Is A Banquet, Russell wrote that she thought her role did not have as many good lines as Grant's, so she hired her own writer to "punch up" her dialogue. With Hawks encouraging ad- libbing on the set, Russell was able to slip her writer's work into the movie.
Only Grant was wise to this tactic and greeted her each morning saying, "What have you got today?"[8]The film is noted for its rapid- fire repartee, using overlapping dialogue to make conversations sound more realistic, with one character speaking before another finishes. Although overlapping dialog is specified and cued in the 1. Hecht and Mac. Arthur,[9] Hawks told Peter Bogdanovich: I had noticed that when people talk, they talk over one another, especially people who talk fast or who are arguing or describing something. So we wrote the dialogue in a way that made the beginnings and ends of sentences unnecessary; they were there for overlapping.[5]To get the effect he wanted, as multi- track sound recording was not yet available at the time, Hawks had the sound mixer on the set turn the various overhead microphones on and off as required for the scene, as many as 3. Grant's character describes Bellamy's character by saying "He looks like that fellow in the movies, you know.. Ralph Bellamy!" According to Bellamy, the remark was ad libbed by Grant.[6] Columbia studio head Harry Cohn thought it was too cheeky and ordered it removed, but Hawks insisted that it stay. Grant makes several other "inside" remarks in the film.
When his character is arrested for a kidnapping, he describes the horrendous fate suffered by the last person who crossed him: Archie Leach (Grant's birth name).[5] Another line that people think is an inside remark is when Earl Williams attempts to get out of the rolltop desk he's been hiding in, Grant says, "Get back in there, you Mock Turtle." The line is a "cleaned- up" version of a line from the stage version of The Front Page ("Get back in there, you God damned turtle!") and Grant also played "The Mock Turtle" in the 1. Alice in Wonderland.[7] In fact, this line is the same in the 1. The Front Page."[contradictory]Release[edit]His Girl Friday premiered in New York City on January 1. American release a week later. Reception[edit]Contemporary reviews from critics were positive. Frank S. Nugent of The New York Times wrote, "Except to add that we've seen 'The Front Page' under its own name and others so often before we've grown a little tired of it, we don't mind conceding 'His Girl Friday' is a bold- faced reprint of what was once—and still remains—the maddest newspaper comedy of our times."[1]Variety wrote, "The trappings are different—even to the extent of making reporter Hildy Johnson a femme—but it is still 'Front Page' and Columbia need not regret it. Charles Leder (sic) has done an excellent screenwriting job on it and producer director Howard Hawks has made a film that can stand alone almost anywhere and grab healthy grosses."[1.
Harrison's Reports wrote, "Even though the story and its development will be familiar to those who saw the first version of 'The Front Page,' they will be entertained just the same, for the action is so exciting that it holds one in tense suspense throughout."[1. Film Daily wrote, "Given a snappy pace, a top flight cast, good production and able direction, film has all the necessary qualities for first- rate entertainment for any type of audience."[1. John Mosher of The New Yorker wrote that after years of "feeble, wispy, sad imitations" of The Front Page, he found this authentic adaptation of the original to be "as fresh and undated and bright a film as you could want."[1. Accolades[edit]In 1.
Remembering "Clock Tower 3"! Bloody Disgusting. Watch Payback Online Free HD here. Survival Horror has been making a comeback these past few years.
With terrifying games like Outlast, Alien: Isolation and the unexpectedly brilliant Resident Evil 7, horror fans can rejoice once more with the largest selection of fright- inducing video games since the late nineties. However, with the increasing influx of interactive horror media, a few hugely influential franchises have unfortunately been forgotten. One of my personal favorite game series, Clock Tower, is sadly among them.
Clock Tower began as a 1. Japan- exclusive Super Famicon cartridge, which was later ported to the PC and Play. Station. This innovative game was similar to classic point and click adventure titles, but with a horrific twist.
As you progressed through the levels, collecting items and solving puzzles, you’d be chased around by a terrifying murderer wielding a giant pair of scissors (not unlike Cropsy and his garden shears from the 1. The Burning). With no real combat system to speak of, the player would be forced to flee from the iconic Scissorman, resulting in some of the most intense chase sequences in video game history. Naturally, the game was successful, resulting in a number of sequels, mostly for the Play. Station. The first of these sequels, also called Clock Tower, is fondly remembered as a gaming classic and considered by some to be the best game in the series, with a clever branching story and fear- inducing gameplay.
Familiar, isn’t it? The next sequel, Clock Tower II: The Struggle Within initially seemed like more of the same, and was heavily criticized for not updating the archaic controls and interface, not to mention the disconnected plot. The game had its moments, with the same intense chases and brain- melting puzzles, but it’s still widely regarded as the worst in the series. That brings us to what might very well be the strangest and possibly most creative game in this already peculiar franchise, 2. Clock Tower 3. Directed by the renowned Japanese filmmaker Kinji Fukasaku, of Battle Royale fame, this game is more of an original entity that borrows and adds to the Clock Tower formula rather than a proper sequel to the previous titles. Set in modern day London, Clock Tower 3 follows the terrifying misadventures of Alyssa Hamilton, a fourteen- year- old girl who returns home from boarding school after receiving an alarming letter from her mother.
From there, the story sprouts into nearly incomprehensible madness as Alyssa gets involved with serial- killer- possessing spirits, time- travel, and piano- playing ghosts, all the while searching for her mysterious mother and grandfather. Breaking Clock Tower tradition, the gameplay here is more reminiscent of traditional survival horror titles like Silent Hill and Resident Evil, with suspenseful fixed camera positions and 3.
D controls and no trace of the original point and click interface. Although the game still lacks a traditional combat system (for the most part), enemy encounters are frequent, forcing you to find unconventional hiding places. Boo! The meat of the game consists in time- travelling to certain periods of history to solve puzzles, allowing the spirits of murder victims to head into the afterlife. As this is going on, you’ll naturally be pursued by a varied selection of possessed serial killers depending on the time and place. Unlike previous games, however, Alyssa is equipped with limited amounts of holy water to stun her enemies long enough for her to make a break for it. These memorable (if somewhat exaggerated) antagonists are easily the best part of the game. Most of them are actually based on real life murderers, adding a supernatural twist that makes them even more menacing.
The chase sequences here are honestly the best in the franchise, as the soundtrack and virtual camera placement make these scenes legitimately thrilling. This quintessential slasher movie experience of hiding in a closet or under a bed and helplessly observing as a masked maniac stalks you through the night is downright exhilarating.
It’s really no surprise that so many modern games have borrowed this terrifying formula. Clock Tower 3 is undoubtedly full of frights and clever design choices, but it’s still far from perfect.
Hell, despite loving the hell out of this game, I’m not sure if I can even say that it’s “good”. I can get past the repetitive gameplay and occasional quirks, but then, there are several moments of mood- shattering absurdity that come close to breaking the game. Once you’ve finished a level, Alyssa will be forced to confront these serial killers in one of the most bizarre examples of a boss fight in gaming history, as she undergoes a Sailor- Moon- esque transformation sequence and equips an ancient bow that fires magical arrows. These boss fights may be intense, but they’re undeniably stupid and destroy the haunting atmosphere of the rest of the game. That being said, I particularly love how the enemy health bar in these sequences is determined by their number of victims and the length of their prison sentence.
I wish I was making this up. Nevertheless, when Clock Tower 3 works, it’s amazing, and many of these concepts demand revisiting in future games. When it’s not falling prey to its own ridiculousness, the game actually does a great job at emulating the thrills and atmosphere of a good slasher movie, which is why I love it so much.
Sadly, this game also marked the end of the official Clock Tower series, and survival horror as a whole eventually fell out of favor as well. There were a few spiritual sequels after this (with a new one called Remothered: Tormented Fathers still in development), namely Haunting Ground (which is amazing) and Nightcry (which isn’t), but the Clock Tower franchise is basically dead at this point. This is a damned shame as modern horror games owe so much to these games, but they still aren’t as revered as some other horror series. Either way, despite some insane moments, Clock Tower 3 has a special place in my heart. Even if there’s never another game in the series, I’m glad that I can still pop this one into my dusty old Play.
Station 2 and remind myself of a bygone era of survival horror.