Howard Hawks
190 connections found
Filmography
Rio Bravo 1959 
The Big Sleep 1946 
His Girl Friday 1940 
Red River 1948 
Scarface 1932 
Ball of Fire 1941 
Only Angels Have Wings 1939 
Gentlemen Prefer Blondes 1953 
To Have and Have Not 1945 
El Dorado 1966 
Bringing Up Baby 1938 
Air Force 1943 
I Was a Male War Bride 1949 
Sergeant York 1941 
Hatari! 1962 
Red Line 7000 1965 
Land of the Pharaohs 1955 
The Dawn Patrol 1930 
Twentieth Century 1934 
Monkey Business 1952 
The Big Sky 1952 View:
Connections, in both directions
(The plot is lifted from Rio Bravo and the editing is credited to one "John T. Chance"—the name of John Wayne's character in the same film.)
Often described as a melding of Howard Hawks' "Rio Bravo" and George Romero's "Night of the Living Dead", this is one of the ultimate siege movies.
John Carpenter is a master of action, science fiction, horror, and molds his own version of a “Rio Bravo” in “Assault on Precinct 13,” an exceptional, exciting, and sometimes creepy tale about a relentless gang out for blood on a small group of officers and secretaries in an abandoned precinct.
It's Carpenter's unofficial remake of Howard Hawks' great Western, Rio Bravo; Carpenter revisited the same story in a slightly different form with 2001's Ghosts of Mars.
This film is pure tribute, a fond salute to Howard Hawks' masterpiece Rio Bravo with a healthy dose of George Romero's Night of the Living Dead thrown in for good measure.
This is kind of the B-movie missing link between Howard Hawks' "Rio Bravo" and "Die Hard".
Robert Mitchum in El Dorado.
"Appaloosa, New Mexico, 1882" the titles tell us, but I'd put it closer to "Rio Bravo," circa 1959.
While the plot borrows from several classic Westerns — "Rio Bravo" and "3:10 to Yuma" to name two — it attempts to be a sprawling epic along the lines of "Lonesome Dove."
Other parts of Appaloosa may remind one of Howard Hawks's classic Rio Bravo and the ending has reverberations from George Stevens' classic Shane.
Like Howard Hawks â 1959 classic Rio Bravo , this is an honest tale of the camaraderie between a pair of lawmen simply trying to do a job.
It isn't, anymore than Howard Hawks's great "Rio Bravo," in which John Wayne and friends find common bonding in their battle against ruthless crooks, is a buddy picture.
Anderson also admitted that he gave up trying to make sense, using Howard Hawks and Jules Furthman's famous Philip Marlowe movie "The Big Sleep" as his touchstone.
Later, when discussing the very elaborate and oft-discombobulating plot, Anderson referenced the film-noir classic The Big Sleep (1946) as an indecipherable influence.
Watching Paul Thomas Anderson’s wonderfully textured and intricate LA-set Inherent Vice, you are easily reminded of the famous story about Howard Hawks’ version of The Big Sleep (1946).
Drifting in the netherworld between The Big Sleep and The Big Lebowski (with Altman’s The Long Goodbye providing significant spiritual guidance), Inherent Vice does an extraordinary job of translating Pynchon’s prose to the screen; for all its free-fall feel and apparently scattershot structure, Anderson’s Oscar-nominated screenplay (which lifts much of its dialogue directly from the book) and open-hearted direction effectively distil the author’s distinctive literary aesthetic, even when occasionally diverging from the source material.
The film, which takes place in 1970, follows stoner, sandal-clad private detective Larry “Doc” Sportello (Joaquin Phoenix) as he becomes further and further enmeshed in a mystery that makes Raymond Chandler’s The Big Sleep — or Howard Hawks’ even more impenetrable 1946 film of that novel — look positively straightforward.
During the production of 1946's The Big Sleep , director Howard Hawks and his screenwriters found themselves with an unanswered question about the murder plot that drove the Bogart-Bacall film: Who'd killed the chauffeur?
This formula would prove so resilient that Hawks would remake it in " El Dorado " (1966), John Carpenter would remake it as " Assault on Precinct 13 " (1976) and directors from Scorsese to Tarantino to Stone would directly reference it.
The new, two-disc set comes with a commentary track by critic Richard Schickel (who wrongly calls this Hawks' "last great" film) and filmmaker John Carpenter (who unofficially remade Rio Bravo twice, as Assault on Precinct 13 and Ghosts of Mars).
Adding a crooked-cops twist to the outnumbered-and-under-siege plot that John Carpenter lifted from "Rio Bravo" for his "original" 1976 B-movie shoot-'em-up, the new "Assault on Precinct 13" is a reasonably entertaining update of a reliable action-drama formula.
In 1976, John Carpenter directed his homage to Howard Hawks’s “Rio Bravo” about a closing police station under siege and pushed a lot of non-PC buttons at the time when he showed a little girl gunned down by a gangster.
Today those times may have well and truly passed, but there is something of a seventies revival going on, filling our screens with ‘reimaginings’ of seventies gems like The Texas Chainsaw Massacre , Dawn of the Dead , The Toolbox Murders , The Stepford Wives , and now Assault on Precinct 13 (or AP13, to give the remake its snappier, oh-so-Noughties title) – except that John Carpenter’s original low-budget siege flick from 1976 was itself a reimagining of Howard Hawks’ 1959 western Rio Bravo, and owed a considerable debt along the way to George A. Romero’s zombie classic Night of the Living Dead (1968), making it a story that really has been told many times before.
Hacksaw Ridge (2016)
Directed by Mel Gibson
influenced by Sergeant York (1941)
Plot Themes Characters
Consider the 1941 movie "Sergeant York," a very similar true story that takes place in World War I. Gary Cooper plays Alvin York, another backwoods CO soldier and sharpshooter, who finds his way into battle after reading the "Render unto Caesar" quote from the New Testament.
You’ll be forgiven during the first hour of Hacksaw Ridge if you wonder whether someone has slipped in a reel from Sergeant York, Howard Hawks’ 1941 war drama about the real-life pacifist sharpshooter Alvin C. York.
"Hacksaw Ridge" continues a tradition of wartime valor mixed with conscience as old as "Sergeant York" -- only here, presented in Technicolor, with a lot more gore.
Hacksaw Ridge has a patriotic valiance and dauntless candor that recall Sergeant York, the 1941 Gary Cooper film.
A devout Catholic with an almost erotic fixation on violence, Mel Gibson was the perfect choice to direct this update on “Sergeant York,” in which Desmond, a gangly young hillbilly beautifully played by Andrew Garfield, grows up in a landscape steeped in bloodshed.
There a problem arises, for Doss refuses to hold a rifle: a stance that not even Gary Cooper, as the devout pacifist of “Sergeant York” (1941), could match.
Brick (2006)
Directed by Rian Johnson
influenced by The Big Sleep (1946), His Girl Friday (1940)
Themes Visuals Dialogue
Rian Johnson claims The Maltese Falcon and The Big Sleep as his main influences, but I also taste Blue Velvet and a dash of Napoleon Dynamite in the mix.
Brick may find its time and place in modernity but its soul is straight out of The Maltese Falcon or The Big Sleep.
The dialogue is obviously inspired by old-school crime novels, but the cinematic antecedents are much more Blue Velvet and Miller’s Crossing than The Maltese Falcon and The Big Sleep.
Still, Johnson’s connect-the-dots noir script gives him the chance to experiment with atmospherics, which owe a debt as much to Blue Velvet as to The Big Sleep and The Maltese Falcon.
Although itâs not The Big Sleep, Brick is hardly a snooze.
The rest of the film lacks that energy, the rat-a-tat delivery of David Mamet or “His Girl Friday” or Aaron Sorkin’s early episodes of “The West Wing.”
However, the smart-aleck references to Brokeback as his "gay cowboy picture" definitely do it a disservice -- besides, the very concept of gay-cowboy movies is pretty old hat (see the subtext in Howard Hawks' Red River, not to mention the Andy Warhol-Paul Morrissey film, Lonesome Cowboys).
The widely reported carryings-on in Brokeback Mountain also reminded some reviewers of the supposedly subtextual implications of Howard Hawks’ Red River (1948), with John Wayne and the posthumously “outed” Montgomery Clift, as well as George Roy Hill’s Butch Cassidy and the Sundance Kid (1969), with Paul Newman and Robert Redford—the latter lacking even the gossipy whispers of Clift’s sexual orientation to sustain the subtextual suppositions.
Hailed as a landmark of mainstream tolerance (and to the "mainstream"'s shame, that's exactly what it is), Brokeback Mountain feels more like an antiseptic gimmick that attempts to hijack the conventions of a traditionally-masculinized genre (despite Red River and Johnny Guitar and The Hired Hand) to further demonstrate, as if further demonstration were needed, that two men in love is as natural, tempestuous, and ineffable as heterosexuality.
American Sniper (2014)
Directed by Clint Eastwood
influenced by Sergeant York (1941), Red River (1948)
Themes Characters
It’s either a new generation’s Sergeant York or the misguided American equivalent of that Nazi propaganda film-within-a-film in Quentin Tarantino’s Inglorious Basterds (2008).
Biopics about American war heroes are a Hollywood tradition going all the way back to Gary Cooper starring as the legendary World War I sharpshooter "Sergeant York" and World War II's highly decorated Audie Murphy playing himself in "To Hell and Back." "American Sniper" is squarely in that mold, but because it's directed by Clint Eastwood something else is going on as well.
Like The Hurt Locker and a century’s worth of war movies that preceded it—from Sergeant York to Saving Private Ryan—it provides an opportunity to examine the artistic representation of combat.
Eastwood’s Chris is a movie war hero with echoes of Gary Cooper’s Sergeant York , the good-ole-boy pacifist who won the Medal of Honor for killing 28 Germans and capturing another 132 in a World War I raid, and Jeremy Renner’s Sgt.
Bulked up yet still able to express his signature neuroticism (dialed down from the David O. Russell comedies), Cooper has never been better, registering a seesawing psychology on par with Gary Cooper’s turn in Sergeant York.
The performance is so strong, so credible, that you could ignore, if you wanted to, the absence of anything darker, such as the monomaniacal ambition and cruel self-righteousness that raged in John Wayne when he embodied this type in Red River and The Searchers, or the sense of guilt that nagged at Eastwood himself in Unforgiven.
You'd never guess that the movie is loosely based on Raymond Chandler's detective novel "The Big Sleep."
The Coens' ostensible goal is to play with the idea of a Raymond Chandler mystery like The Big Sleep (a sleuth, a millionaire, a good daughter, a bad girl, and a wide spectrum of Los Angeles weirdos), given a contemporary spin à la Robert Altman's The Long Goodbye.
That they would follow it up with O Brother, Where Art Thou? , their take on The Odyssey, speaks to a mission statement of sorts: like it, The Big Lebowski is a distillation of a classic piece of literature (Raymond Chandler's The Big Sleep) that completely understands its simultaneous responsibility to its own medium and to its source material.
But the plot involving kidnapping, extortion and much stupidity is more like "Fargo" or a surreal version of Raymond Chandler's "The Big Sleep."
"Lebowski" boasts a dizzying concentration of elements, from a shambling '90s knockoff of "The Big Sleep" to a tribute to bowling culture, a delightful visual celebration of artificial light and synthetic surfaces, a send-up of art-damaged Euro-pretension, fantasy/dream sequences that would make Busby Berkeley or Michael Powell proud, a running gag on the conventions of voice-over narration and a paean to middle-American male sentimentality.
Known for their quirky, off-kilter genre experiments (Blood Simple, Raising Arizona, The Hudsucker Proxy, Fargo), the Coens were sure to give us something as unabashedly weird as their title, a take-off on that of the highly influential Bogart-Bacall vehicle The Big Sleep.
The Long Goodbye (1973)
Directed by Robert Altman
influenced by The Big Sleep (1946), To Have and Have Not (1945)
Leign Brackett adapted Chandler's novel, she previously having worked on the author's classic "The Big Sleep" (1946) with William Faulkner.
Counterculture über-schlep Elliot Gould transforms the detective from a tough-talking, fast-acting gumshoe into a sloppy, reactive dreamer, but the brilliance of Altman’s film is that it nonetheless maintains the essential essence of its lead character – as in Chandler’s novels, Gould’s Marlowe is a defiant idealist and altruist (whether it’s helping a pal in need or going out to the store at 3 a.m. to buy his hungry cat some food) disgusted by corruption and convinced that there’s some goodness left in sleazy, lousy L.A. Written by The Big Sleep scribe Leigh Brackett, The Long Goodbye is chockablock with plot twists and turns involving a blustery Ernest Hemmingway-type writer (Sterling Hayden), his alluring young wife (Nina Van Pallandt), a loan shark (Mark Rydell), and Marlowe’s friend Terry Lennox (former major leaguer and Ball Four author Jim Bouton) who’s accused of murdering his wife and then killing himself.
The screenplay by Leigh Brackett, who also scripted the Bogart adaptation of Chandler's The Big Sleep, streamlines a lot of detail out of what might be Chandler's densest tome, and not only the material that would draw attention away from the anachronism of a 1970s Marlowe.
Altman cleverly hired Leigh Brackett, who had co-scripted "The Big Sleep" (still Chandler's definitive screen moment), and she helped Altman layer a picture that is as much a crisp comment on contemporary LA (and its full-on egotism) as a tale delineating Marlowe's crime-busting pursuits.
The feline in question wakes up its owner—Philip Marlowe, formerly embodied by Humphrey Bogart in The Big Sleep but now portrayed by a decidedly less self-assured Elliott Gould—at 3:30 in the morning so that it may be fed.
You just don’t mess with The Big Sleep .
It's made by people so dumb they really think that references to The Lady Eve and His Girl Friday will augment their project for its imaginary "discriminating" audience (let me break this to you gently: no one who respects film is voluntarily viewing The Holiday) while simultaneously mystifying the "broader" audience with a depth of movie knowledge.
In summary: putting Eli Wallach in your movie as an aging Hollywood legend is cute, but including an actual scene from His Girl Friday is a reminder that we could be watching that movie instead.
He's introduced her to classic movies and heroines such as Barbara Stanwyck in The Lady Eve and Rosalind Russell in His Girl Friday.
Ghosts of Mars (2001)
Directed by John Carpenter
influenced by Rio Bravo (1959), El Dorado (1966)
Plot
After Hawks made Rio Bravo (1959), Carpenter's cinematic holy grail, he went on to direct films like Hatari! (1962), Red Line 7000 (1965), and El Dorado (1967), which as my French friends will surely attest, seemed to work as allegories, or movies obsessed with the passionate process of making movies.
The new, two-disc set comes with a commentary track by critic Richard Schickel (who wrongly calls this Hawks' "last great" film) and filmmaker John Carpenter (who unofficially remade Rio Bravo twice, as Assault on Precinct 13 and Ghosts of Mars).
The plot borrows heavily from Carpenter's second film, the outstanding Assault on Precinct 13 (1976), which itself was a remake of Howard Hawks' Rio Bravo.
He still has his hardcore group of optimistic fans (as evidenced by his name preceding the title on the credits and poster), though even they will be hard pressed to find anything worthwhile in Ghosts of Mars, which is nothing short of ‘Assault on Precinct 13 In Space’ (with even Assault being originally based on cult western Rio Bravo).
After Hawks made Rio Bravo (1959), Carpenter's cinematic holy grail, he went on to direct films like Hatari! (1962), Red Line 7000 (1965), and El Dorado (1967), which as my French friends will surely attest, seemed to work as allegories, or movies obsessed with the passionate process of making movies.
Still, despite his foul mouth, Montana is definitely cut from the same mold as the gangster hero in Howard Hawks’ “Scarface,” a juiced-up version of Al Capone’s life story, starring Paul Muni.
Leading up to its Christmas release, “The Wolf of Wall Street” — which follows the true-life tale of ’90s stockbroker crook Jordan Belfort and, rather awesomely, feels like Martin Scorsese’s “Animal House” — drew comparisons to “Scarface,” Brian De Palma’s 1983 remake of Howard Hawks’ 1932 film, which follows a fictionalized Cuban drug lord named Tony Montana over a very similar rise and fall.
The aforementioned scene, the use of the Rolling Stones' "Gimme Shelter" (significantly, from their Let It Bleed album), the reference to the Stones' Exile on Main Street, the evocation of Carol Reed's The Third Man (1949), the nod to the "X" imagery from Howard Hawks' Scarface (1932), etc. ?
Channeling James Cagney in White Heat and Paul Muni in Scarface, Nicholson leeches out the glamour to create a landmark portrait of evil.
Breathless (1960)
Directed by Jean-Luc Godard
influenced by Scarface (1932), To Have and Have Not (1945), The Big Sleep (1946)
Though the plot mechanics of Breathless are as old as Scarface--one of the many touchstone films mentioned in Godard's irreverent trailer for the movie, and George Raft's quarter-flipping is likely the inspiration for Belmondo's tic-like ritual of rubbing his lips--but the upstart director busts all of the boundaries off the genre and flaunts the rules of moviemaking to boot.
He would later joke that he thought he was making "Scarface" (meaning the 1932 Howard Hawks film) and only found out later that he was making "Alice in Wonderland."
Seberg quotes from Faulkner ("between grief and nothing, I will take grief") and hangs a poster of a Renoir painting-but we should remember that Faulkner was a screenwriter ( To Have and Have Not and The Big Sleep) and Renoir's son was the great Jean Renoir.
He mutters, "Bogie," and runs his thumb across the skin of his lips, perhaps imitating Bogart's impulsive ear tug in The Big Sleep (1946).
The title tells us "The Last Stand" is a modern-day Western, borrowing elements of "Rio Bravo" and a dozen other films.
So do any citizens who’ve seen the movies The Last Stand is based on: the 1959 Howard Hawks Western Rio Bravo and John Carpenter’s 1976 sorta-remake Assault on Precinct 13.
Anyway, the sheriff like Gary Cooper in “High Noon” — or maybe it’s John Wayne in “Rio Bravo” — stands in the street of his little Arizonan border town and dares Cortez to come through.
The extreme violence is a distraction, because at its heart, "The Last Stand" is as simple and familiar as a favorite cowboy film - particularly "Rio Bravo," the Howard Hawks classic that had John Wayne, an old coot, a drunk, a green kid and a lovely lady trying hard to bring a well-connected criminal to justice.
It's a modern-day Western -- a souped-up and dumbed-down "Rio Bravo," if you will -- with Schwarzenegger making like John Wayne as border town Sheriff Ray Owens, the last man standing between a runaway bad guy (Mexican drug baron Eduardo Noreiga) and his freedom.
Tossing together spare parts from “Rio Bravo,” “Jackass,” NRA promos and vintage muscle-car commercials, this thin, jokey star vehicle elevates a back-of-the-bar-napkin script with a string of proficient and sensationally violent setpieces.
Twister (1996)
Directed by Jan de Bont
influenced by Only Angels Have Wings (1939), His Girl Friday (1940)
Plot
The story can be described in two ways: as a rip-off of Only Angels Have Wings, in which Paxton's implausibly intuitive tornado expert is torn between two women, his ex (Hunt) and his fiancée (Gertz), and two lives, a safe weatherman job, or a risky return to the group of crazily devoted storm-chasers trying to get a gizmo up inside a twister's 'suck-zone'; or as a repetitive spectacle where all that happens is that the objects hurled around in the air simply get bigger.
The film lifts its romantic melodramatics of the adventurer hero torn between two lovelies from "Only Angels Have Wings."
Though "human barometer" Bill claims to be in a hurry to start his new life as a married weatherman, he can't quite get away, and thus the stage is set for a cross between His Girl Friday and The Abyss: anyone want to bet against Bill falling for his wife and his old job before the day is out?
Not to mention that the whole movie is sort of a remake of His Girl Friday.
The true story of the Boston Globe’s investigation into child abuse in the Catholic Church is a winningly old-fashioned newsroom depiction in the vein of All the President’s Men or His Girl Friday.
"Spotlight" is a great newspaper movie of the old-school model, calling up not only obvious comparisons with " All the President's Men " and " Zodiac ," two movies with similar devotion to the sometimes crushingly boring gumshoe part of reportage, but also Cary Grant and Rosalind Russell shouting into adjacent phones in "His Girl Friday."
From “The Front Page” and “His Girl Friday” to “All the President’s Men” and “The Paper,” America has been in love with newspaper movies.
Many truly great movies — "Citizen Kane," Howard Hawks' "His Girl Friday," David Fincher's "Zodiac" — involve newspapers.
Fourth-estate-centric films tend to focus on the glamorous or dangerous world events their protagonists are covering ( The Parallax View , The Year of Living Dangerously , All the President’s Men with its Deep Throat intrigue), or satirize the sensationalism of a corrupt media ( Ace in the Hole , Network ), or throw in a workplace romance just to glory in zingy reporters’ banter ( His Girl Friday , Broadcast News ).
The Bride! (2026)
Directed by Maggie Gyllenhaal
influenced by His Girl Friday (1940), Scarface (1932)
Visuals Characters
…a las screwball comedies (Ayuno de amor / His Girl Friday)…
In the same chilly breath it invokes Howard Hawks’s “Scarface,” Mel Brooks’s “Young Frankenstein” and Tim Burton’s “Beetlejuice.”
…complete with Tommy guns, smoky backroom deals, and corrupt power structures that would not be out of place in Scarface or The Public Enemy.
Penelope Cruz, fantastically miscast as a kind of neo-His Girl Friday…
There are serious threats of sexual violence, along with playful song-and-dance numbers, a detective and a His Girl Friday.
…acts like “His Girl Friday’s” Rosalind Russell…
Having already aped Hawks' Rio Bravo with the in-ascendance Assault on Precinct 13, Carpenter makes reference to the great director in Halloween's spacious tableaux and canny utilization of depth of field, as well as directly in an oft-glimpsed late show revival of The Thing from Another World , a film he would, of course, remake four years later.