Kerry Grant is one of the biggest stories in Hollywood rags to rich. Born Archbald Lich in Bristol, UK, in 1904, he survived an impoverished and neglected childhood in which his mother was falsely declared dead (he would discover that he was still alive until he was in his 30s) and went to become one of the greatest romantic. Known for his distinctive and often imitated medium -Atlantic accent, attractive good looks and low air at aristocratic entertainment, Grant appeared in over 70 films during his career, ranging from his own adventures of boys ("Gunga Dean" and the film noir ("notorious") to the North). Better adapted to a light comedy, perhaps the best demonstrated in one of his best movies with screws: The Howard Hawks Classic in 1940 "His Girl on Friday" is now being transferred free of free to Pluto TV.

"His girlfriend on Friday" was Grant's third collaboration with Howard Hawks after "Baby Education" (1938) and "Only Angels Have Wings" (1939). The first was also a screwdriver comedy, a pairing grant with Catherine Hepburn, and these fast -paced Farsi Fars were all anger after the success of the success of "It happened one night" (1934), the first only three films to this day (the other is "One Flew Over the Cuckoo's Nest" and "Silence of the Lambs") to win the Big Five Oscars: the best picture, director, actor, actress and script. With the arrival of sound, comedy stars in comedy like Charlie Chaplin and Laurel and Hardy Galeli continued to upgrade their tick in dialogue, but the new format and offerings to the audience something more sophisticated and glamorous at a time when many people were still suffering from the effects of excellent depression.

There are many Great comedies of screws From the most famous day of the genre in the 30s and 40s and "his girlfriend Friday" is rightly considered one of the best of all time. No matter how many of these "marriage comedies", however, I also claim that it is probably the most accessible to modern viewers thanks to its ruthless pace and attitude to thinking about women in the workplace. Adapted from the famous stage game by Ben Heht and Charles Macarthur "The Fritage" (which has already received a version of a large screen in 1931), the Hawks version, made to a great change that has taken editorials to a whole new level: it bloomed to the sex of the main characters to create a battle-sex. Let's look closely.

Hildi Nsonson (Rosalind Russell) is the rapporteur of the morning post, but she had enough journalistic lifestyle. She is ready to leave the business, move from the big city in Albania and calm down quietly with Bruce Baldwin (Ralph Bellamy), a solid but slow witty insurance salesman. Before catching the train, they descend from the office to say goodbye to Hilde's old head and ex -husband Walter Burns (Carrie Grant), an unscrupulous newspaper that does not allow things to slip so easily. Especially on the eve of a great story; The next day, a man named Earl Williams (Johnon Kwalen) will go to a dead shooting on a dead black policeman.

Burns believes Williams is innocent and the execution is used for political benefit from the mayor (Clarence Colb) in order to capture several color voters in the upcoming city elections. Barnes needs his best reporter of the story and he tries to persuade Hildi to stay and lower the teaspoon, shaking behind Wale Baldwin and making sure they do not leave the city. While Hildi ejects a pleasant story of a human corner that can save Williams' life, the sensational story rises another level when the prisoner escapes and finds his way to the stamp room. Hiding at Williams in the Bureau, Hildi and Walter to do their best to baming other reporters and the mayor, but can they overthrow the story before being arrested for helping a convicted criminal?

Working from Charles Lederer's sparkling scenario (who previously adjusted the "cover" in 1931), Howard Hawks stands back and gives his stars a lot of space to cook. Grant is simply wonderful as Walter Burns and his performance is so charming and funny that it is easy to forget that Burns is actually a pretty monster-manipulative, double-sided and pleasing to resort to suspicious means to get what he wants. Grant shares a fantastic chemistry with Rosalind Russell, who reportedly was the "15th choice" of the studio for the role. She probably makes Hildi a perfect match for Walter, the only other person in the story capable of resisting his devilish schemes. In the middle, Ralph Bellamy makes some terrible moody work as a well -intentioned debt that is always a few steps behind her fiancé and her former.

I know that many younger fans of film tend to be ashamed of old black and white movies fearing they will be too dated or boring. If you fall into this category and still read, be sure: "His girlfriend on Friday" It's an extraordinarily forward-thinking about an 85-year-old movie, and it's very fast ... so fast that people who enjoy watching May are struggling to continue. Screw comedies are synonymous with fast traveler and Howard Fox wanted to take it to the border with this. Setting up a complex microphone system to capture the overlapping dialog, the Fox's film shakes 240 words per minute. It is about 100 more than average American English speech. Such a breaking dialog is not just a trick. The film is set up in the fast -paced worldwide journalism and gives the frantic delivery energy to a lunatic, driving the story forward with such an urgency that several views takes to capture all the witty rods and lines for throwing.

The film moves in such a bracket clip that is easy to overlook the darker elements of the story. In her heart, "his girlfriend Friday" is satire in a world where man's death is mined for political capital, and cynical reporters are too eager to spin the story to match their own agenda and the short range of attention to their readers. Even Walter and Hildi are not totally clean. Although both are compassionate about Earl Williams' suffering, they are just as motivated by the opportunity to land exclusively for a career as well as saving his life.

There is no room to get bored of "his girlfriend on Friday" and also feels refreshing modern in terms of gender roles. From the moment Hildi enters the office, it's quite her show for the rest of the movie. It is equal to Voltaire and it commands respect for her fellow rapporteurs in otherwise the male editorial, it is comfortable as one of the boys without endangering her femininity. Other guys know that she is the best and they are happy to admit it. Whether it's a real portrait or not another conversation, but it's rarely for an older Hollywood movie to suggest that a woman can not only do work, as well as a man, but maybe even better. Check it yourself on Pluto TV.