Review #1,462: 'Bringing Up Baby' (1938)

Considering Howard Hawks' Bringing Up Baby is now regarded as one of the finest screwball comedies of all time, it's shocking to learn that it was hailed as a flop upon its release in 1938, and received a few unfairly scathing reviews. Romantic comedies are as popular now as they ever have been, and watching Bringing Up Baby 71 years after it was made almost feels as though it could have been released last week, only in black and white and starring two of the finest actors of their, or any other, generation. Its formula and structure is now a blueprint for any filmmakers hoping to make a successful rom-com, featuring all the ingredients now so closely associated with the genre, like the meet-cute, the obstacle standing in the way of happiness, and the quirk that sets the love interest apart from everybody else. The quirk here is a pet leopard named Baby, who - despite how ridiculous it all sounds - is the glue that holds the film together.

For the past four years, goofy palaeontologist David Huxley (Cary Grant) has been searching for the final fossilised piece to finish the Brontosaurus display he has been assembling for the museum. Much to his joy, the 'intercostal clavicle' has been located and will arrive within days, but David doesn't have time to celebrate. On top of his impending marriage to the sullen Alice Swallow (Virginia Walker), there's also the matter of impressing the wealthy Elizabeth Random (May Robson) and her lawyer Alexander Peabody (George Irving), who are considering making a million-dollar donation to the museum. David's plans are interrupted when, on the day before his wedding, he meets motor-mouthed Susan Vance (Katharine Hepburn) on a golf course when she accidentally plays his ball. From then on, Susan causes David to slip on an olive, tear his dinner jacket, and generally make his life a living hell. She takes a real shine to the mild-mannered and dashing scientist, and proceeds to manipulate him into whisking her and her brother's pet leopard off to a remote farm, where she steals his clothes and accidentally unleashes another leopard into the surrounding area.

It's a ridiculous premise that would look disastrous on paper, but the combined talents of Hawks, Hepburn, Grant and writers Dudley Nichols and Hagar Wilde not only make it work, but turn it into one of funniest films of its era. Similar to Hawks' 1940 masterpiece His Girl Friday, the script moves a mile a minute, cramming in more one-liners and shrewd observations than your brain can keep up with. Of course, the script only works when the actors can bring the words to life, and there has perhaps been no finer pairing in the screwball genre than Hepburn and Grant. Grant, with his vaudeville background, is always brilliant when playing these sorts of characters, but Hepburn, who had little experience doing comedy in 1938, struts into the role with confidence and ends up walking away with the film. Watching them work their magic helped me understand why modern neo-screwball comedies don't work. The actors are simply of a different breed, hailing from a time when live shows were the ruling visual medium and learning the craft was entirely different. Hilarious and romantic in equal measures, Bringing Up Baby helped write the genre rule-book, lending real weight to the idea that they just don't make 'em like that anymore.


Directed by: Howard Hawks
Starring: Katharine Hepburn, Cary Grant, Charles Ruggles, Walter Catlett, Barry Fitzgerald, May Robson, George Irving
Country: USA

Rating: *****

Tom Gillespie

Review #66: 'Scarface' (1932)

Commissioned by Howard Hughes in the Pre-Code era, Scarface arrived in a time when the public had a growing interest in organised crime. The James Cagney film The Public Enemy (1931), and the Edward G. Robinson-starring Little Caesar (also 1931), both had a nasty gangster as their protagonist, and portrayed their rise and fall through the criminal underworld. Whether the audience had a genuine fascination with a very real problem at the time, or they just enjoyed the exploitative violence and colourful characters, I don't know. Scarface remains one of the best examples of the genre, and a film that would directly influence many a modern-day gangster film.

Tony Camonte (Paul Muni) is the chief lieutenant in the new criminal organisation overlooked by Johnny Lovo (Osgood Perkins). They plan to bootleg alcohol on a large scale throughout the city, and Johnny hopes to unite all the gangs so they can operate efficiently without any trouble. Tony is warned not to try to muscle into the turf ran by an Irish gang, but Tony ignores these orders, and begins an extremely long and violent war. With his coin-flipping second-in-command Guino (George Raft), Tony gains more power, and soon the greed and ambition take over him. He also has an over-protective, almost incestuous, relationship with his sister Francesca (Ann Dvorak) and frightens off any man that shows an interest in her. Little does he know that she is secretly seeing Guino.

After many demands for script re-writes by the Hays Office (who would later introduce the ridiculous Hays Code), Howard Hughes finally put the film in production and told director Howard Hawks to 'make it as realistic and as grisly as possible'. Only passed by the censors a year after production was finished, Hawks would have to change the ending and introduce a title card damning the actions of the kind of criminals that the film portrayed. Still, Howard Hughes was forced to release it in states that lacked censorship rules, after refusing to edit the film any further.

The film still remains extremely violent even by today's standards. On one hand, it's an interesting commentary on the corruption of the American Dream, showing how greed can consume, and on the other it's an enjoyable and rough gangster film with exciting and impressively realised gun-fights and drive-by's. It's all anchored by Paul Muni, who gives a convincing and nasty performance. His character acts completely without remorse, and therefore extremely unlikeable. Tony Camonte is obviously based on Al Capone, complete with identical facial scar (hence the title), and apparently the set was visited by Capone's thugs.

I was quite surprised how much the Brian De Palma/Al Pacino remake took from this - the sibling jealousy, the shootout ending, the double-crossing of his boss - and out of the two, I feel this is ultimately the better film. There's just something authentic about the film that the remake failed to capture. I'll certainly be tracking down some more Pre-Code crime films after this, and if any of the others can capture the excitement and the grit of this, then it will be a great experience. And watch out for a small role for Boris Karloff!


Directed by: Howard Hawks, Richard Rosson
Starring: Paul Muni, Osgood Perkins, Ann Dvorak, George Raft, Boris Karloff
Country: USA

Rating: *****

Tom Gillespie