Screwball comedies of the 30s and 40s couldn’t always be called high-brow, story-lines anymore than comedies nowadays.
Because of censors, writers had to be clever about their innuendo (check out: It Happened One Night 1934 – Frank Capra).
Above all, the screwball comedies, and the present day romantic comedies, should have charm and connection with the audience. Best known for its fast-talking overlapping witty dialogue, screwball comedies pitted man and woman against one another in a typically exaggerated situation.
Filmmaker Howard Hawks was a master at these and many of his films are still considered the best. Hawks’ Bringing Up Baby (1938) is an excellent example of putting two opposites in a ridiculous situation and having them fall in love in an outrageous scenario.
His Girl Friday (1940) Directed by Howard Hawks
My personal favourite is another Hawks’ gem, His Girl Friday (1940).
Its sharply witty rapid one-liners over a sophisticated and yet exaggerated scenario is absolute screwball comedy at its best. Based on a stage play, (The Front Page 1931) by the fantastic writers, Ben Hecht and Charles MacArthur.
Hildy Johnson says she wants to give up being a reporter get married and have kids. It’s up to Cary Grant to keep her at the paper, and his in his life. This is set against the backdrop of a scheduled execution, a woman’s attempted suicide and crooked politicians. That’s some serious adult content.
It has a fantastic script, great talent and jaw-dropping rapid-fire dialogue, over and under all of that it has charm.
Leatherheads is a recent film that pays homage to the screwball comedies of the 30s. I appreciated the attempt more than the box office numbers seemed to overall, but it fell short of the magic of the original screwball comedies.
The most recent comedy that falls comfortably into the romantic comedy category may be surprising but I think this illustrates my point, in part one regarding the absolutely terrible: My Best Friend’s Girl.
Zack and Miri Make a Porno (2008); this from Kevin Smith, typically known for his direct and often very crass comedy style. Smith made a film that may not dance around sexuality or care about subtle innuendo but it doesn’t matter (unless you’re very prudish) because this film at it’s heart is a sweet charming story about two people who realize they love each other set against an exaggerated scenario.
I’ve never been fond of cloying romances or formula for that matter. I look for wit, genuine characters and a tone of story that has heart. If some poo-humour creeps in, well then that’s okay. But to override the charm and wit in place of crudeness, that is inexcusable and the film has no business being included in the category of romantic comedy.
Filed under: Film/TV
