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HOWARD HAWKS, THE OLD SILVER FOX

"Roll a few good scenes and not bore the viewer "

HOWARD HAWKS

One of the most versatile authors of American cinema, has Hawks been the classic gangster film to comedy, western musical. Film was a true craftsman who rushed the genres of film with sound proposals, with some films that are classic and laid the foundations of the genre in question. His films are veiled criticism of customs and values \u200b\u200bof American society of his time trying to tear down myths on the economic and socio-economic advancement of the 20's, golden years of the underworld.

faceted director (he was also aviator, aircraft designer, among other things) was born on 30 May 1896 in Goshen, Indiana (USA) studied mechanical engineering at Cornell, but his times did Vacation his first forays into film in Hollywood. According to Todd McCarthy, his biographer, his experience in engineering studies, and its passage by the United States military was, to some extent, decisive for subsequent film career. Works carried out both in the silent period (8 films in total) and the sound, space has to make his masterpieces. Hawks was a director with his own style, like a sober film with good acting and direction throughout the operation of the camera in order to achieve each of their players a whole for enriched text language film about the construction character. Hobnobbed of good writers to make direct text, short, but brilliant. Moreover, despite working for various studios, maintained some independence from her film work. Often rewriting himself, some scripts and not passed through the supervision and censorship of the institutions for which they worked, and spent most of the time with some slack, a privilege that only had also Alfred Hitchcock. Augusto Torres

divides his work on "four points": the works centered on a man in danger, the comedies focused on combating gender, westerns and unclassifiable, we can run them into the film noir (as does Antonio Santamarina .) He was a man surrounded by smart people who somehow worked for him as the case of Henry William Faulkner or Hemingway. Although he was very keen attitude towards women (for example, said that women "hindered the action in a western), many female prototypes will be standard for the description of some female characters is in society and in construction of characters in the film. Film scholars as Mark Cousins \u200b\u200bexplains that the women presented by our Director are often harsh and, conversely, men appear humiliated, even said that it had some preference for working with male characters led by actors impassive and contents, if John Wayne and Humphrey Bogart. Every genre he touched it tasted print your touch touch, they said David Boxwell, is closer to the irreverence, violation. And one of those features is the nominalization of his characters, with the use of nicknames or aliases that drew the conventional frame traditional family and interpersonal relationships.

Hawks was a December 26, 1977, two years after the Academy was recognized at last (as happened to Chaplin) with an honorary Oscar. But it remains as the greatest twentieth-century romantic realist, in the words of Cousins.

SCARFACE (SCAR) (1932) A masterpiece of construction of a figure as popular as it was the gangster, idealized character that somehow becomes the paradigm of American idiosyncrasy and the American Dream: the famous self-made man, who wins for himself and becomes a man social and economic success (much like what happens now with the concept of success and their close link with the money.) The critique of society then it lasts for as contradictory as it is then these rich and powerful men (as with drug trafficking in our country). Given the way he presented this film was censored, cuts and changes in the telling of it. Throughout the film, we see scenes of violence, a faithful reflection of the underworld from anywhere in the world and any time in history (see today if the gunmen, who are already beginning to have a presence in our society). The management of codes, signs, icons, that identify them as a kind of social group became a model for other gangster films in general of a series called film noir.


BRINGING UP BABY (LA FIERA DE MI NIÑA) (1938) A quirky comedy that is confined between the films focusing on the battle of the sexes between Gary Grant, the paleontologist David Huxley, and Katharine Hepburn (Susan). An eminent professor his work is threatened by a nosy young heiress and willful. The situations that are happening throughout the story are quite hilarious, as pets impertinent accomplices aunts, fierce wrong - two leopards, "the most recurring gags. Each scene leads to the next driven by the actions, situations occur each more embarrassing and laughable. At first, Grant was reluctant to do this role. We will paint two things: the liberalization of women and their sweeping advance to the men, on the one hand, and a veiled criticism of American high society, defiant, transgressive, not sparing anything or anyone to achieve their goals. In some ways, this film presents one of the prototypes female the universe of our director. There was an immediate success, almost was a box office failure, and according to the same Hawks, confesses that his characters are too quirky to which the public would not find a focal point to which "tie". But it was a great comedian, Harold Lloyd, who said seeing it built the best comedy I'd seen in movies.

THE BIG SLEEP (The Big Sleep) (1946) An extraordinary film with the help of three good writers (including William Faulkner), based on the novel by Raymond Chandler (a of the great crime novels) and features the classic pair Bogart - Bacall, who came to work together in another movie from our director: To have or not have. The story revolves around blackmail gets the daughter of a multimillionaire retired military. It appears our detective Phillip Marlowe, who moves in a quite gaseous double standards, fairly marginal, but which is most of the characters that appear throughout the film. Marlowe moves in a minefield for the erotic, the criminal and dangerous, since over the narrative, the detective did not end up putting people who are on your side or not. And, throughout history, we see a decadent society, values \u200b\u200bmangled, marked for power and money, a land where anything goes. And this makes it one of the pinnacles of the genre black.


RIO GRANDE (1959) A western classic, a masterpiece of the genre. This work could be included in the group of films that include stories of one man against big decisions. In this case, a sheriff who has captured a more powerful brother of the offender in the region. The sheriff is supported by a group of men who would question an outcome in their favor. As the destination is already established within the tragedy. But the mission of this old sheriff (John Wayne) is to carry out justice. An interesting role of the femme fatale (Angie Dickinson) "Feathers" (feathers), who play a role far from betraying or to interfere with the action (as Andres Caicedo), assumes a more active and decisive role in the plot. It is the hand of the director who makes an acting and scene management that makes it a miss work. As Bedoya says, is the camera work allows us to capture the details that makes his characters human and large at once.


Sources:

Diccionaire des Films - Bernard Rapp, Jean-Claude Lamy, Larousse, 1995.

The Great Illusion - No. 04, First Semester, 1995.

The American Cinema in 120 Films - Augusto M. Torres, Alliance Editorial, 1994.

Black Cinema at 100 Movies - Antonio Santamarina, Alianza Editorial, 2006.

The 120 Best Movies - John Kobal, Alianza Editorial, 1995.

Film History - Mark Cousins, Blume, 2005. Ojo

Cinema - Andrés Caicedo, NORMA Group, 1999.