In the 1930s, Hollywood comedies were at their toughest and most satirical. They were designed to get Depression-era America out of its funk, and these tart, springy romances, newspaper farces, and review-style musicals were huge successes. An intermingling group of 1920s newspaper columnists, critics, and playwrights on the East Coast gave American talkies much of their whiplash energy and smarts. In one of the great migration stories in the history of popular art, many of these wags wound up in Hollywood—year-round sunshine and easy money. The screenplays they wrote are filled with smart, sardonic dialogue—crude, quintessentially American poetry. Ben Hecht and Charles MacArthur wrote The Front Page (the 1928 Broadway hit from which His Girl Friday was adapted) and Hecht wrote Nothing Sacred, Charles Lederer wrote the screenplay for the first movie adaptation of The Front Page in 1931 as well as the screenplay for His Girl Friday, Jules Furthman wrote the pre-Code Jean Harlow newspaper comedy Bombshell (1933) and two or three enormously entertaining Howard Hawks classics (1939's Only Angels Have Wings, To Have and Have Not in 1944, and The Big Sleep in 1946), Herman Mankiewicz co-wrote Citizen Kane (1941) and adapted the George S. Kaufman and Edna Ferber play Dinner at Eight for the screen in 1933, Nunnally Johnson wrote the riotous comedy Roxie Hart (1942) starring Ginger Rogers and Adolphe Menjou (who played the editor in The Front Page in 1931), Robert Benchley returned to Hollywood during the worst of the Depression to write features and star in several popular shorts, and Donald Ogden Stewart wrote The Philadelphia Story (1940).
|News ink. Cary Grant and Rosalind Russell|