Film

His Girl Friday

Howard Hawks took a hit stage comedy about newspapermen and cast a woman as the ace reporter, then had everyone talk over each other as fast as humanly possible. The result is a marriage comedy disguised as a workplace comedy disguised as a screwball chase, and it moves like it's late for a deadline. Ninety-two minutes, not one of them wasted.

TMDb rating3.7

Should you watch it?

Watch it if you love screwball comedy where the dialogue overlaps and sprints, and where a battle of wits between two sharp-tongued exes is more thrilling than any plot twist.

Skip it if you want a gentle, slow-building romance; the talk is relentless, the pace rarely lets up, and the rapid-fire banter can feel exhausting if you prefer quiet moments.

What it asks of you: Ninety-two minutes of fast, overlapping dialogue with almost no breathing room, so you need to stay alert and keep up with the chatter from start to finish.

If you liked this

Bringing Up Baby1938

Same director, same star, same appetite for chaos — Hawks and Grant two years earlier, with a leopard standing in for a divorce settlement. If you liked the rhythm, this is the rhythm turned up further.

But It's even more relentlessly silly, with no newsroom cynicism to ground it — pure farce, and farce isn't for everyone.

Bringing Up Baby poster

The Philadelphia Story1940

Grant again, same year, same basic shape — a sharp-tongued ex-wife, a fiancé who doesn't stand a chance, dialogue that never slows down for you to catch your breath.

But Cooler and more glamorous than warm; the class comedy of manners can feel starchier than Hildy and Walter's newsroom scrap.

The Philadelphia Story poster

Broadcast News1987

The same triangle updated to a TV newsroom decades later — a brilliant woman, a decent man, and the wrong man she can't quite stop wanting, all talking a mile a minute.

But It trades screwball speed for something more melancholy and self-aware; the laughs land softer and the ending doesn't wrap up neatly.

Broadcast News poster

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The wildcard

Something you would not have found on your own.

Notorious1946

Both put Cary Grant opposite a woman he wants to control through affection rather than force. His Girl Friday plays that dynamic as delight — the chase is the fun. Notorious plays the identical dynamic straight, as dread. Same actor, same era, same question about love as leverage, entirely different genre and temperature.

Six years later, same star, same charm — but Hitchcock strips the jokes away and shows you what Walter Burns's manipulation looks like when it isn't funny. Grant plays a man who uses a woman's love as an instrument, coldly, and it's terrifying.

But There's no banter to soften it and no comic reset button; it's a slow, suspicious, genuinely unsettling romance rather than a screwball one.

Notorious poster

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