The film’s sound mixers had to follow the actors around with several microphones, switching them on and off as dialogue was exchanged.

However, their added humor helped the movie maintain its pace and unique rhythm.

It has a gallows. Deep Focus Review writes, “In an interview with Peter Bogdonovich, Hawks explained, ‘I had noticed that when people talk, they talk over one another, especially people who talk fast or who are arguing or describing something.

His Girl Friday may well be the fastest comedy of the 1930s, with kaleidoscope action, instantaneous plot twists, and overlapping dialogue. An understanding of the power of improvisation and energized delivery help him bring the best out of his actors, and therefore the script.

But there’s a rhythm and a pacing that becomes almost musical in its presentation. Well, he decided to re-enact the crime exactly as it had taken place, in order to study Williams' powers of co-ordination...Of course, he had to have a gun to re-enact the crime with. This technique works especially well between the leads, considering their characters’ relationship. If the film had a different tone you might otherwise be on the side of the man who doesn’t regularly manipulate her. The film’s characters are a gang of haughty, determined, dedicated reporters who all live to put their own spin on the next big story.

I wish you hadn't done that, Hildy...Divorce me. Next time you see me, I should be riding in a Rolls Royce giving interviews on success...So long you wage-slaves...When you're crawling up fire escapes and getting kicked out of front doors, and eating Christmas dinners in one-armed joints, don't forget your pal, Hildy Johnson!..And when the road beyond unfolds... All right, now here's your story. No, no, never mind the Chinese earthquake for heaven's sake...Look, I don't care if there's a million dead...No, no, junk the Polish Corridor...Take all those Miss America pictures off Page Six...Take Hitler and stick him on the funny page...No, no, leave the rooster story alone - that's human interest.

Furthermore, by creating such a dialogue-heavy film, the director effectively made the perfect movie for those who love words — all about the people whose lives center around the written word. City desk? Remember my dimple.
Allegedly, certain scenes required as many as 35 different mic switches. Why is the female lead in “His Girl Friday” crucial to the film’s success. Throughout the movie, all of the characters written as “dumb” or to be outwitted also speak accordingly. His Girl Friday is a 1940 American screwball comedy drama romance film directed by Howard Hawks, starring Cary Grant and Rosalind Russell and featuring Ralph Bellamy and Gene Lockhart. Director Howard Hawks utilizes the talents of Grant and Russell to bolster an already strong screenplay, with help from lines from the original play. And who do you suppose supplied it? Beyond the fast-talking, colorful characters that populate His Girl Friday, Hawks used a few technical tricks to help achieve the rapid-fire dialogue he’d been dreaming of. Cary Grant was an established comedic actor and famous for ad-libbing. Aside from this, though, the fast-talking nature of the movie became the perfect tool for heightening every aspect of its humor. Makes a fellow lose all faith in himself...Almost gives him a feeling he wasn't wanted. These individuals (Bruce the inept new husband-to-be, Earl Williams the runaway murderer, and Pettibone, to name a few) speak noticeably slower than Grant and Russell’s characters. Jack Lord Has a Devil of a Time in ‘The Name of the Game Is Kill’, With ‘Siberia,’ Abel Ferrara Pushes New Boundaries, 10 Spookiest Old Dark Houses We Would Spend A Night Inside, ‘Star Trek: Discovery’ Season 3 Still Proposes a Bleak Future, The Fight to Shape Self in ‘She-Ra and the Princesses of Power’, Why ‘Stranger Things’ is a Masterclass in Setting the Right Tone, ‘The Leftovers’ and the Many Miracles of “I Live Here Now”, How They Did the “Breathing Television” Effect in ‘Videodrome’, Noting that in real life people often interrupt one another. Peter B. Hartwell, "B" for brains...Well, the Sheriff gave his gun to the Professor and the Professor gave it to Earl, and Earl shot the Professor right in the classified ads...No, Tell him if he'll reprieve Earl Williams, we'll support him for senator. Typical screenwriting conventions dictate that about one page of dialogue translates to about one minute of screen time.

- Going down.

His Girl Friday’s reporters lived and died by their ability to capture the hottest scoop, and that heightened sense of urgency lives in the film’s script.

The excitement of the breakneck dialogue accentuates their onscreen chemistry in a way that a more traditional manner of delivering lines couldn’t.

I'm going into business for myself...I'm getting married tomorrow...It's gonna be all right.

Let’s face it, these aren’t the type of people who wait their turn to voice their thoughts.

The other leads were also constantly adding their own dialogue and playing off of one another, meaning more retakes. Walter.’ Delayed our divorce 20 minutes while the judge went out and watched it.”.

It was released by Columbia Pictures.

- Is the lord of the universe in? By using this method, Hawks had the perfect overlapping dialogue to help maintain the breakneck pace of several scenes. When rewriting the original play, Hawks designed the dialogue specifically to suit this rapidity.

Each morning Grant welcomed Russell to the set, asking ‘What have you got today?’ That rivalry is felt onscreen throughout the constant banter of the two leads.”, The Guardian furthers that sentiment, saying, “The ensuing chaos is genuinely hilarious, although you’ll have to watch it numerous times to absorb every gag. Now you want me to talk...Oh ain't that funny. The jailbreak of your dreams. However, it’s not just the snappy words that count, it’s who exactly is delivering them. Rarely are there less than two people on screen at a time, often three or four times that, and the way the film is written allows their dialogue to fill the air in a naturalistic way.

Bruce over and over again takes the brunt of Walter’s schemes, but we don’t want him to succeed. I'll give you a wonderful story - only this time it'll be true! Journalistic hijinks and an escaped murderer only make up the backdrop for the chaotic and charming tug-of-war between a newspaper editor and his ex-wife, formerly the star writer for the very same paper. - Where's the rest of this story?

Grant was especially encouraged to ad-lib throughout shooting, resulting in about a week’s delay in production but, more importantly, providing priceless moments for his character. Bruce: “You know, Hildy, he’s not such a bad fellow.”, Hildy: “No, he should make some girl real happy.”. Its core narrative about reporters trying to save a man from going to the gallows becomes somewhat unimportant, vastly overshadowed by the delightfully quick banter and razor-sharp dialogue between its characters.