Category Archives: 1946

Top 15 Films Directed by Howard Hawks

 

One of my all time favorite directors is the amazing Howard Hawks! He has so many classics to his name people don’t know what category to put him in and so often he gets missed because he was so all-around great at directing anything and everything. One of the very best things about him is that he doesn’t do a lot of tricks with the camera. He nails the camera down and lets the story unfold and captivate the audience. He was simple and because of that, his style paired well with every genre as he made masterpieces in comedy, film noir, action, drama, western, science fiction, gangster…you name it, it’s there. His dialogue is rapid-fire…his scripts were 3 times longer than anyone else’s and he set the bar very high for his actors. Here are my top 15 favorite Howard Hawks films:

15.  The Dawn Patrol (1930)Dawn Patrol

He never got over the plane crash death of his brother Kenneth Hawks of whom, Howard later said, probably had the potential to be an even greater filmmaker than himself. Nonetheless, he continued to fly after his brother’s death and went on to shoot many films about pilots, like this film and the next one on the list. The Dawn Patrol was released 8 months after his brother’s death. Director Howard Hawks, also was a pilot in the US Army during World War I, and he flew in the battle scenes of this movie as a German pilot. Remade eight years later with Errol Flynn and David Niven virtually word -for-word.

14.  Only Angels Have Wings (1939)

Howard Hawks, definitely had his favorite stars to work with. One of his favorite actors was Cary Grant. He worked with him 5 times and all but Monkey Business (1952) has made my list. He said of Grant, “Cary Grant was so far the best that there isn’t anybody to be compared to him.”  Now, in return, Howard Hawks and Jean Arthur did not get along during filming. Arthur was not used to Hawks’ highly improvisational style, and when Hawks wanted Arthur to play Bonnie much in a subtly sexy way (not unlike his other “Hawksian women”, Arthur flatly said, “I can’t do that kind of stuff.” Hawks told Arthur at the end of the shoot, “You are one of the few people I’ve worked with that I don’t think I’ve helped at all. Someday you can go see what I wanted to do because I’m gonna do this character all over again.” Years later Hawks returned home to find Arthur waiting for him in his driveway. She had just seen his To Have and Have Not (1944) and confessed, “I wish I’d done what you’d asked me to do. If you ever make another picture with me, I’ll promise to do any goddamn thing you want to do. If a kid (Lauren Bacall) can come in and do that kind of stuff, I certainly could do it.” Hawks and Arthur never collaborated again.Only Angels Have Wings

A lot of the film was from Hawks own experiences as a pilot. A certain critic said, “It’s the only picture Hawks ever made that didn’t have any truth in it”. Hawks shot back, “I wrote him a letter and said, “Every blooming thing in that movie was true. I knew the men that were in it and everything about it”. But it was just where truth was stranger than fiction.” For example, Howard Hawks had known a real-life flier who once parachuted from a burning plane. His copilot died in the ensuing crash and his fellow pilots shunned him for the rest of his life. In this film, Richard Barthelmess plays a pilot who is shunned because he jumped out of a plane and left his mechanic to die. In another scene, with the exception of the rain, The Kid’s death scene was copied nearly exactly and word-per-word from a pilot’s death that Hawks had actually witnessed years before.

13.  Red River (1948)Red River lobby card

Another actor that Hawks frequently worked with was John Wayne. After seeing John Wayne’s performance in the film, directed by rival director Howard Hawks, John Ford is quoted as saying, “I never knew the big son of a bitch could act.” This led to Ford casting Wayne in more complex roles in films like She Wore a Yellow Ribbon (1949) and The Searchers (1956). When Ford was dying they used to discuss how hard it was to make a western without Wayne. “John Wayne represents more force, more power, than anybody else on the screen,” Hawks would say later. “He never squawks about anything. He’s the easiest person I ever worked with. Because he never says anything about it, he just goes ahead and does it.” He would add, “Wayne is underrated. He’s an awfully good actor. He holds a thing together; he gives it a solidity and honesty, and he can make a lot of things believable.” Hawks worked with Wayne in 5 movies as well, in Red River, Rio Bravo, Hitari! (1962), El Dorado (1967) and Rio Lobo (1970).

Filmed in 1946 but held for release for two years, in part due to legal problems with Howard Hughes who claimed it was similar to his The Outlaw (1943). Writer Borden Chase readily admitted that the storyline was Mutiny on the Bounty (1935) with saddles and stirrups.

12.  Ball of Fire (1941)Ball of Fire lobby Card

This is a splendid take on Snow White and the Seven Dwarfs as if Snow White was a wisecracking nightclub singer and the seven dwarfs were seven educated college professors. Gary Cooper and Barbara Standwick work together for the 2nd time in 1941 (the first time being the marvelous Frank Capra film, Meet John Doe), and they are magic. The roles of the seven professors (besides Gary Cooper) were inspired by Disney’s Seven Dwarfs. There is even a photograph showing the actors sitting in front of a Disney poster, each one in front of his corresponding dwarf: S.Z. Sakall – Dopey; Leonid Kinskey – Sneezy; Richard Haydn – Bashful; Henry Travers – Sleepy; Aubrey Mather – Happy; Tully Marshall – Grumpy, and Oskar Homolka – Doc.

11.  Scarface (1932)

As of the fifth edition of “1001 Movies You Must See Before You Die” (edited by Steven Schneider), 11 of Hawks’ films are included, second only to Alfred Hitchcock in abundance. The films are: Scarface (1932), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), Sergeant York (1941), To Have and Have Not(1944), The Big Sleep (1946), Red River (1948), The Big Sky (1952), Gentlemen Prefer Blondes (1953) and Rio Bravo (1959).Scarface-Half-Sheet

Screenwriter Ben Hecht was a former Chicago journalist familiar with the city’s Prohibition-era gangsters, including Al Capone. During the filming Hecht returned to his Los Angeles hotel room one night to find two Capone torpedoes waiting for him. The gangsters demanded to know if the movie was about Capone. Hecht assured them it wasn’t, saying that the character Tony Camonte was based on gangsters like “Big” Jim Colosimo and Charles Dion O’Bannion. “Then why is the movie called Scarface?” one of the hoods demanded. “Everyone will think it’s about Capone!” “That’s the reason,” said Hecht. “If you call the movie Scarface (1932), people will think it’s about Capone and come to see it. It’s part of the racket we call show business.” The Capone hoods, who appreciated the value of a scam, left the hotel placated.

Al Capone was rumored to have liked the film so much that he had his own copy of it, on 35mm film.

10.  Twentieth Century (1934)twentieth century lobby card

When asked by John Barrymore why he should play the role of Oscar, Howard Hawks replied, “It’s the story of the biggest ham on earth and you’re the biggest ham I know.” Barrymore accepted at once. John Barrymore once said that the role of Oscar was “a role that comes once in a lifetime” and even deemed this his favorite of all the movies he appeared in.  After filming had ended, John Barrymore gave Carole Lombard an autographed photo inscribed, “To the finest actress I have worked with, bar none.”  Howard Hawks allowed John Barrymore and Carole Lombard to improvise freely during filming. “When people are as good as those two, the idea of just sticking to lines is rather ridiculous,” he told Peter Bogdanovich in an interview. “Because if Barrymore gets going, and he had the ability to do it, I’d just say, ‘Go do it.’ And Lombard would answer him; she was such a character, just marvelous.”

9.  Sergeant York (1941)

Hawks had said in interviews that he was supposed to direct the now-beloved Casablanca (1942) and Michael Curtiz was meant to direct Sergeant York (1941). However, the two directors had lunch together and Curtiz complained that he knew nothing about the “hill people”, while Hawks was struggling to make this “musical comedy”, so they switched films. Hawks said that he always considered “Casablanca” a musical comedy because of the number of singing scenes in the café, namely the “La Marseillaise” scene. Later, Hawks said that Curtiz shot the film “beautifully and the whole picture came out different because of the two people in it [Humphrey Bogart and Ingrid Bergman]. They made you believe something. When I saw ‘Casablanca’ I liked it, but I never had any faith in my doing anything like that.” (Book Source: “Who the Devil Made it...” by Peter Bogdanovich).sergeant york

Even though he was one of the most prolific directors of his generation, having directed five actors to Oscar nominations, he himself has only been nominated for an Academy Award once. It was for Sergeant York and he lost to John Ford for How Green is My Valley.

8.  Bringing Up Baby (1938)

Directed three of the American Film Institute’s 100 Funniest Movies: Bringing Up Baby (1938) at #14, His Girl Friday (1940) at #19 and Ball of Fire (1941) at #92. I discuss this film in a little detail on my post about Cary Grant’s finest films:  CLICK HERE TO READ THIS POST. This film is the inspiration for Peter Bogdanovich’s movie What’s Up, Doc? with Barbra Steisand and Ryan O’Neal.Bringing Up baby Lobby Card

The scene in which Susan’s dress is ripped was inspired by something that happened to Cary Grant. He was at the Roxy Theater one night and his pants zipper was down when it caught on the back of a woman’s dress. Grant impulsively followed her. When he told this story to Howard Hawks, Hawks loved it and put it into the film. Christopher Reeve based his performance as Clark Kent in four “Superman” movies on Cary Grant’s “David Huxley” from this film. Now, truth is Howard Hawks modeled Cary Grant’s character, David, on silent film comedian Harold Lloyd, even having Grant wear glasses like the comedian. So we can thank Harold Lloyd for this movie, What’s Up, Doc? and 4 Superman movies!

7.  To Have and Have Not (1944)

Screen debut of Betty Bacall, who Hawks renamed Lauren Bacall. He thought it sounded better. Hawks’ wife saw her on the cover of a magazine and persuaded him to put her in the movie. Humphrey Bogart and Bacall met and fell in love in this movie and were married a year later. They were married up until his death.  Many aspects of Lauren Bacall’s screen persona in To Have and Have Not were based on Hawks’ wife, Slim (nicknamed by Hawks), including her glamorous dresses, long blonde hair, smoky voice and demure, mysterious demeanor. Humphrey Bogart’s character also refer to Bacall by the nickname “Slim” in the movie.To Have and Have Not Lobby Card

He said of Bacall, “We discovered Bacall was a little girl who, when she becomes insolent, becomes rather attractive. That was the only way you noticed her, because she could do it with a grin. So I said to Bogie (Humphrey Bogart), “We are going to try an interesting thing. You are about the most insolent man on the screen and I’m going to make this girl a little more insolent than you are.””

6.  Man’s Favorite Sport (1964)Mans Favorite Sport Lobby Card

This film was meant to be an homage/remake to Hawks’ Bringing Up Baby (1938), and Hawks even wanted Katharine Hepburn and Cary Grant to star in the movie. Katherine Hepburn and Cary grant turned the movie down however and Paula Prentiss and Rock Hudson was cast instead. It’s a great and fun movie and I think it’s my 2nd favorite movie with Rock Hudson behind the magnificent Pillow Talk with Doris Day. The screwball formula is there, however, and I especially love it when the female is the nutty and manic one of the two people in a screwball comedy as Paula is in this one.  She really puts Rock through some really rough things in this one. Fun…

5.  The Thing From Another World (1951) (uncredited)The Thing From Another World Lobby Card

Was the uncredited “ghost director” on the science-fiction classic The Thing from Another World (1951), for which his longtime editor and friend Christian Nyby received sole credit. It was only near the end of Hawks’ life that both he and Nyby conceded that he had indeed directed most of the film, as had long been rumored. On the other hand, several of the film’s cast members…James Arness was adamant in interviews that Nyby did in fact direct the film by himself, although Hawks–as the film’s producer–did have input. As opposed to that interview with James Arness, the film’s Star, Kenneth Tobey has maintained in many interviews that it was indeed Hawks who directed the film. Tobey said that he had worked with Nyby after this film on many occasions and he was a fine director, but Hawks did call the shots on most of the film. Regardless, I’ll add it here, as the film is fabulous! I write about this movie in some detail regarding the stunt  work for the film: PLEASE CLICK HERE TO READ.

4.  I Was a Male War Bride (1949)I Was A Male War Bride Lobby Card

This film was based on I Was an Alien Spouse of Female Military Personnel Enroute to the United States Under Public Law 271 of the Congress, a biography of Henri Rochard, a Belgian who married an American nurse. It is the story of French Army officer Henri Rochard (Grant) who must pass as a war bride in order to go back to the United States with Women’s Army Corps officer Catherine Gates (Ann Sheridan). The film is noted as being a low key screwball comedy with a famous final sequence featuring Cary Grant impersonating a female Army nurse. I find this film to be hilarious…I discuss this film in a little detail on my post about Cary Grant’s finest films:  CLICK HERE TO READ THIS POST. The film was Howard Hawks’ 3rd highest grosser, behind only Sergeant York (1941) and Red River (1948)

3.  Rio Bravo (1959)Rio Bravo

Hawks would say in an interview, “Rio Bravo (1959) was made because I didn’t like a picture called High Noon (1952). I saw “High Noon” at about the same time I saw another western picture, and we were talking about western pictures and they asked me if I liked it, and I said, “Not particularly”. I didn’t think a good sheriff was going to go running around town like a chicken with his head off asking for help, and finally his Quaker wife had to save him. That isn’t my idea of a good western sheriff. I said that a good sheriff would turn around and say, “How good are you? Are you good enough to take the best man they’ve got?” The fellow would probably say no, and he’d say, “Well, then I’d just have to take care of you”. And that scene was in Rio Bravo.”

Quentin Tarantino said that Hawks’ Rio Bravo, may be his favorite movie of all time. Now, I’m not sure I would praise the film this way, but I will say this…it is my favorite Western I’ve ever seen and remains so to this day.

2.  His Girl Friday (1940)His Girl Friday (Lobby Card) 1940

I discuss this film twice in our blog, once in a little detail on my post about Cary Grant’s finest films and then again in a post when I mention how the film was made from a play called the Front Page:  CLICK HERE TO READ THIS POST ABOUT CARY GRANT. CLICK HERE TO READ THIS POST ABOUT THE FRONT PAGE.

One of the first, if not the first, films to have characters talk over the lines of other characters, for a more realistic sound. Prior to this, movie characters completed their lines before the next lines were started. The film could have been another pairing of Grant with Katherine Hepburn, as she was offered the role of Hildy, but she ultimately turned it down and the part when to Rosalind Russell.

1.  The Big Sleep (1946)

This film was co-written by Hawks and frequent collaborator William Faulkner, who also wrote To Have and Have Not with him. It’s one of my all time favorite films and is just perfect from start to finish. William Faulkner never adjusted to life in Hollywood. While working on the script, he told Howard Hawks that the studio atmosphere was stifling him and asked if he could work at home. Hawks agreed. After a few days without hearing from the writer, Hawks called his hotel, only to learn that Faulkner had checked out and gone back to his native Mississippi. When Hawks called him there, Faulkner protested, “Well, you said I could go home and write, didn’t you?”the-big-sleep Lobby Card

Howard Hawks enjoyed working with Humphrey Bogart and always called him “Bogie”. He would say of Bogie, “He was an extremely hard-working actor. He’d always pretend that he wasn’t, that he didn’t give a damn, but that wasn’t true. One day I said to him, “Bogie, you’re just a great big phony.” He put his finger to his lips and grinned at me. “Sure,” he said, “but don’t tell anyone.”” There was even a funny moment in a book store for Bogart where he acts like a nerd. The fussy persona that Marlowe adopts upon arriving in Geiger’s bookstore has been a subject of argument for years; Lauren Bacall said that Humphrey Bogart came up with it while Howard Hawks claimed in interviews that it was his idea. What both of them failed to notice is that it was in the original book (“I had my horn-rimmed glasses on. I put my voice high and let a bird twitter in it.) So in the end, all Bogart did was elaborate on it. According to Lauren Bacall, production was such fun, that they got a memo from Jack L. Warner saying “Word has reached me that you are having fun on the set. This must stop.”

 

Sally Field of Dreams

 

The actor Matthew Rhys (Brothers and Sisters, The Americans) once said of working with Sally Field, “One time she was in the kitchen and she likes to sort of prepare things in the scene, I wasn’t really paying attention, and she’s chopping away … and she just presents this huge bowl of guacamole! That’s a testament to Sally Field because I’m concentrating on just about getting by and remembering my lines – she’s doing that and preparing guacamole for the rest of the cast!”

BROTHERS & SISTERS - "Home Front" - A year after losing their larger than life family patriarch and three weeks since hearing from Justin in the Middle East, the Walker family struggle to find cheer in celebrating Kitty's birthday. Sarah fights to salvage what's left of her failing marriage; Kevin learns the hard way about the sacrifices that true love brings; Tommy is at a loss as to how to provide the emotional support needed by his overwhelmed wife, Julia, after the death of their newborn son, while Kitty gets a first hand look at the challenges of being engaged to a U.S. senator (Rob Lowe as Senator Robert McCallister). Meanwhile, Saul questions his identity after a visit from an old friend, and the family's newest member, Rebecca, tries desperately to find her place in this very complex family puzzle, on the second Season Premiere of "Brothers & Sisters," SUNDAY, SEPTEMBER 30 (10:01-11:00 p.m., ET) on the ABC Television Network. (ABC/MICHAEL DESMOND) SALLY FIELD, CALISTA FLOCKHART
BROTHERS & SISTERS – “Home Front” – SALLY FIELD, CALISTA FLOCKHART

Growing up she was one of my mother’s top favorite actresses and watching her in a movie just yesterday, I realized that she was one of mine as well. She is so good at what she does, she makes it look like she’s coming up with everything right on the spot. A lot of actors personally call her friend and many of them have worked with her multiple times.  She’s known to be a method actor and prefers to get into a character and stay in character.

Recently, she has said of Steven Spielberg’s Lincoln, “Daniel and I work exactly the same way. I always stay in character,” she said.  She thought that Lincoln represented the perfect environment as an actor because Spielberg embraced the method (keeping in character at all times) throughout the shoot and made sure that the actors all had a bubble around them where they were not asked to come in and out of character during breaks and meals and such.SallyField_LincolnOver the years, she’s racked up quite an impressive set of awards and library of roles that firmly put her in “legend” status, in my mind, the same way that James Garner, Meryl Streep, Paul Newman or even Katherine Hepburn has.  She’s very impressive in Sybil, Norma Rae, Absence of Malice, Places in the Heart, Murphy’s Romance, Steel Magnolias, and Lincoln, but my personal favorite is her performance in Smokey and the Bandit, which she once said was her favorite movie.

To me, what’s more important than awards, is how many of her costars continually want to work with her. She is shy by nature, but always gives it her all and is enjoyable and fun to work with. I hope to see many, many more years of fascinating work from this great actress.0504-sally-field-2

Best of the Year List 1940-1949

 

Here is the list for the Best Movie Stunts for the Decade 1940-1949 as listed in the book, 100 Years of the Best Movie Stunts!

1940:  The Mark of Zorro

Not only the second time for Zorro, but the second time for this exact title.  Different year, different actors…great stunts.  The fencing duel between Tyrone Powers and Basil Rathbone, choreographed by Fred Caverns is just about one of the finest ever put to celluloid. Mark of Zorro, The (1940)

1941: The Adventures of Captain Marvel

Dave Hardin Sharpe provided the fighting and the flying in this nifty action serial.  It’s also one of my all time favorite superheros…the original Captain Marvel!

Captain MArvel Lobby Card

1942:  Spy Smasher

It’s the era of the Movie Serial, and no-one did it better than this one!  It’s all out action and adventure with cliff-hangers galore! Carey Loftkin, Kane Richmond and Dave Hardin Sharpe combined to make Spy Smasher a fantastic hit!spyserial

1943:  The Masked Marvel

Another great action serial.  Tom Steele did so many stunts in this, he can even be found to be a bad guy chasing himself, as The Masked Marvel.marvel in danger

1944:  Ghost Guns

At this time there were some impressive cowgirls in the movies. Evelyn Finley was one of the toughest.  This was a B movie, but she’s worth the watch.Poster for the movie ghost guns with Evelyn Finley

1945:  Back To Bataan

We all know what a tough guy John Wayne was, especially in his later years.  It’s fun to see him hit the list for the first time with this entry, a great little war film.Back To Bataan

1946:  Detour To Danger

This one is just like a film I would have made in college; get a whole bunch of buddies together with a 16mm camera and go film some crazy fight scenes.  Harvey Parry and Richard Talmadge get all their stuntman cronies for this one and it’s a lot of fun.  Not great acting, but great fun.detour richard talmadge

1947:  The Perils of Pauline

Second time on the list, but the funny thing is, this one is a fictionalized account of the making of the first film. Polly Burson provides the stunts in this one and she would go on to some nifty westerns as she was a home-spun cowgirl in her own right.perils pauline

1948:  The Three Musketeers

Dave Hardin Sharpe makes the list for the 3rd time in one decade (is that a record?) along with Gene Kelly for their work in this film.  And WOW, what a supporting cast!Three Musketeers, The (1948)

1949:  Twelve O’Clock High

This has got to be the largest plane ever crashed by a real person on film and walked away from it.  Paul Mantz seemed to do it completely without flinching and as if it was as easy as parking a car.Twelve_O'Clock_High_crash_landing

For more info, find the book 100 Years of the Best Movie Stunts!Screen Shot 2015-09-19 at 8.23.28 PM

Harvey Parry and Richard Talmadge in Detour To Danger

 

Filmed on 16mm film and a very low budget, stuntmen Harvey Parry (See 1921 Best Movie Stunt) and Richard Talmadge (See 1925 Best Movie Stunt) shot a film largely forgotten over time, about two young men who set out on a fishing trip. They run into a gang of criminals who bully two young women.

 detour richard talmadge
Richard Talmadge

It’s largely forgotten because of its terrible qualities, bad film quality, lousy script, hammy actors, and low budget.  But those of us who remember it, remember the last 12 minutes of the film which is all non-stop FIGHTING.  This is the real reason to watch this film, as it reminds you quickly of the type of film all young filmmakers make when they get together with all their friends and make a film; for the fun of it.

 detour parry
Harvey Parry

Being stuntmen themselves, I’m sure that Parry and Talmadge wanted to get other stuntmen together and make this movie and it’s sure that they never made any movies without them.  They had a way of taking a milk-toast script and giving it a little bang.  Talmadge would direct 6 films over time and acted or did the stunts in over 100.  Parry only directed 2 titles (this being his last) and did the stunts or acted in over 200.  He was still doing stunts in his eighties!

Things to look up (click on item to go to IMDB page or Website):

Glossary of film terms as defined by the Wikipedia – 16MM – 16 mm film is a popular, economical gauge of film. 16 mm is the width of the film. Other common film gauges include 8 mm and 35 mm. It is generally used for non-theatrical (for instance, industrial or educational) film making or for low budget motion pictures.
16 mm film was introduced by Eastman Kodak in 1923 as an inexpensive amateur alternative to the conventional 35 mm film format. During the 1920s the format was often referred to as sub-standard film by the professional industry. Initially directed toward the amateur market, Kodak hired Willard Beech Cook from his 28 mm Pathescope of America company to create the new 16 mm Kodascope Library. In addition to making home movies, one could buy or rent films from the library, one of the key selling aspects of the format. As it was intended for amateur use, 16 mm film was one of the first formats to use acetate safety film as a film base, and Kodak never manufactured nitrate film for the format due to the high flammability of the nitrate base. 35 mm nitrate was discontinued in 1952.

Check out our new Book, 100 Years of the Best Movie Stunts!Screen Shot 2015-09-19 at 8.23.28 PM