Archive for Howard Hawks

Hawks and Sparrows

Posted in FILM with tags , , , , , , , , on October 7, 2015 by dcairns


Douglas Fairbaks Jnr. looks with affection at his last hand grenade.

The movie is the 1930 version of THE DAWN PATROL. Richard Barthelmess’s hard-drinking WWI flier in this looks set to transmute into his character from THE LAST FLIGHT, made the following year. This is an early Howard Hawks talkie. If SCARFACE is atypical of the filmmaker, with its psychopathic characters and expressionistic flourishes, other titles of the same period often show Hawks searching for the fluidity of his mature style, and wrestling with subject matter that isn’t always sympatico.

Aviator/writer John Monk Saunders’ source story, The Flight Commander, deals with people on the verge of destruction, with equal odds whether said destruction will be self-inflicted or brought about by war. Hawks never liked crybabies much, and would have made a lousy grief counsellor, so for the first half of the film he struggles to generate sympathy for Neil Hamilton’s booze-and-guilt-ridden Major. But Hawks liked the story enough to recycle elements later — the active pilot hates the desk jockey, and then he gets the desk jockey’s job, sending other men out to die.


Richard Barthelmess (great, underrated actor), in engine oil and goggles hobo clown makeup, comforts a traumatized Gardner James. While the callous viewer prays that GJ can get shot down to lighten up the film.

The movie seems to get more fluid as it goes on. Early scenes are stilted, with a distinct LACK of Hawksian overlapping dialogue — it’s underlapping, if anything — one scene has two characters commenting on an offscreen argument, which they can apparently hear. But we don’t get to hear anything, imparting a surreal, mediumistic tinge to their conversation.

Ernest Haller’s oily smudge photography is wonderful, all soft focus and blurred shadows. The sets look cheap up close (painted brickwork fails to trompe l’oeil) but terrific in wide shot. And in places, the dipso camaraderie, heartless yet earnest professionalism, and underplaying (especially Barthelmess, decades ahead of his co-stars) suggest the Hawks of a few years later.


The cast also sports Frank McHugh and, in an almost unique dramatic role, James Finlayson. The frequent Laurel & Hardy antagonist is fascinating to watch, dialling down his comedy schtick and turning it to (sort-of) dramatic purposes. This includes a very mild exclamation of “D’oh!” early on, and towards the end an actual double-take, as he witnesses the wrong man getting into a plane for a suicide mission. Probably you shouldn’t cast the Finn in a tragedy, but that’s just the kind of thing Hawks WOULD do.


Below should really have been the film’s last shot, every story point having been settled by this scenic moment, but the filmmakers can’t resist a spectacular bomber raid sequence, one of several dazzling and no doubt dangerous action climaxes. This one combines high-quality miniatures, dodgy rear-projection, and gobsmacking real aerial and demolition footage, including two shots pointing straight down at the target as a bomb dwindles into invisibility and then sends half the landscape erupting upwards straight into the lens. Real stuff!


“Going west.”

Bad End

Posted in FILM with tags , , , , , , , , , , , , , on February 13, 2015 by dcairns


Ahah! The Forgotten is postponed to next week, it seems, due to the extensive Berlin coverage at The Notebook. Meanwhile…

Finally watched EL DORADO, which a lot of people portray as being a thoroughly inferior copy of Howard Hawks’ earlier Wayne western, RIO BRAVO (they share a writer, Leigh Brackett, but she kept warning Hawks that he was repeating himself — he didn’t care). I found it very enjoyable. Wayne is Wayne, a little older (visibly struggling to mount his horse, but bizarrely elegant crossing a room and kicking an opponent); Mitchum is Mitchum, which ought to make him a worthy substitute for Dean Martin, but the role is less well-crafted; James Caan is a huge improvement on Ricky Nelson. Arthur Hunnicutt subs for Walter Brennan, as he often did, most skillfully. Angie Dickinson is replaced by a couple of women characters who don’t get much to do — westerns didn’t seem to allow Hawks to push his heroines as far into one-of-the-boys territory as he could manage in other genres, although I bet h could have had fun with a JOHNNY GUITAR scenario if anyone had encouraged him. A LOT of fun.


“How will you get down?” Wayne is asked, when the injured gunfighter proposes riding into battle against impossible odds on a cart. “That’s easy, I’ll fall down.”

We also get strong support from Ed Asner, R.G. Armstrong and Christopher George, who could have had a very good career if confined to bad guys. He’s really not appealing as a hero, though it probably doesn’t help that the two leading man roles I’ve seen him in are THE DELTA FACTOR, a horrible Mickey Spillane thing that nearly did for director Tay Garnett, and CITY OF THE LIVING DEAD. Here, he’s an amoral professional, not viciously evil but willing to do anything for a buck: Wayne’s character treats him with wary respect (which is to say he kills him as soon as he gets a chance).

The very end is somewhat muffed, though, with the expected romance shoved offscreen and the laid-back conversational coda between Wayne and Mitchum ineffectually stretched across two scenes. They’re both nice scenes, but they’re kind of the same. Makes me wonder if Hawks were ever good at endings? He didn’t care about PLOT, famously. I slightly cringe at HIS GIRL FRIDAY’s fade-out (don’t want it to end on Rosalind Russell crying) though I love the rest of it as much as you’re supposed to, maybe more; RED RIVER, by the very nature of its story, has to cop out at the end to avoid becoming a tragedy; I can’t actually remember the ending of THE BIG SLEEP, though I expect it’s a clinch or at least a sly look between the leads — as Manny Farber points out, that movie creates so much goodwill in its first four sequences that it can coast along for the rest of its runtime without worrying about producing anything specially memorable.


So, a question for everyone: what are the classic movies you love which don’t quite work right at the end? And not for reasons of studio interference, but because the writers/directors got it wrong. I’ll kick things off with this one and MR SMITH GOES TO WASHINGTON. When it played on TV, its screenwriter, Sidney Buchman, would switch it off before the failed suicide bid Capra added for extra weep value. I think he’d have been far better having Jimmy Stewart wake up and learn he’s won — we may be able to figure out for ourselves that would happen, but wouldn’t it be more emotional to SEE it? Still find it extraordinary that the film ends with the hero unconscious.

Let’s hear from you!

Card Tricks

Posted in FILM, Mythology, Painting with tags , , , on December 20, 2014 by dcairns

I’ve only made three of my usual cinephile Xmas cards this year, owing to time restrictions.


As usual, what you should do is cut the illustration out of your computer monitor with a pair of round-ended scissors and paste the cracked rectangle of liquid crystal display to an old Christmas card with the names inside crossed out. This will totally result in an ace Christmas card.


Then, tape a piece of newspaper over the gaping hole in your screen, using sticky-backed plastic, and simply work around the newsprint area.


If you’re viewing these on your phone, forget it! It’ll never work!


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