Howard Hawks
Howard Hawks | |
---|---|
Born | Howard Winchester Hawks May 30, 1896 Goshen, Indiana, U.S. |
Died | December 26, 1977 Palm Springs, California, U.S. | (aged 81)
Alma mater | Cornell University |
Occupations |
|
Years active | 1916–1970 |
Notable work | |
Spouses | |
Children | 3, including Kitty Hawks |
Relatives |
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Howard Winchester Hawks (May 30, 1896 – December 26, 1977) was an American
A versatile film director, Hawks explored many genres such as comedies, dramas, gangster films, science fiction, film noir, war films, and westerns. His most popular films include Scarface (1932), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948), The Thing from Another World (1951), Gentlemen Prefer Blondes (1953), and Rio Bravo (1959). His frequent portrayals of strong, tough-talking female characters came to define the "Hawksian woman".
Early life and background
Howard Winchester Hawks was born in Goshen, Indiana. He was the first-born child of Frank Winchester Hawks (1865–1950), a wealthy paper manufacturer, and his wife, Helen Brown (née Howard; 1872–1952), the daughter of a wealthy industrialist. Hawks's family on his father's side were American pioneers, and his ancestor John Hawks had emigrated from England to Massachusetts in 1630. The family eventually settled in Goshen and by the 1890s was one of the wealthiest families in the Midwest, due mostly to the highly profitable Goshen Milling Company.[4]
Hawks's maternal grandfather, C. W. Howard (1845–1916), had homesteaded in Neenah, Wisconsin, in 1862 at age 17. Within 15 years he had made his fortune in the town's paper mill and other industrial endeavors.[5] Frank Hawks and Helen Howard met in the early 1890s and married in 1895. Howard Hawks was the eldest of five children, and his birth was followed by Kenneth Neil Hawks (August 12, 1898 – January 2, 1930), William Bellinger Hawks (January 29, 1901 – January 10, 1969), Grace Louise Hawks (October 17, 1903 – December 23, 1927), and Helen Bernice Hawks (1906 – May 4, 1911). In 1898, the family moved back to Neenah where Frank Hawks began working for his father-in-law's Howard Paper Company.[6]
Between 1906 and 1909, the Hawks family began to spend more time in
He was sent to Phillips Exeter Academy in New Hampshire from 1913 to 1914; his family's wealth may have influenced his acceptance to the elite private school. Even though he was 17, he was admitted as a lower middleclassman, the equivalent of a sophomore. While in New England, Hawks often attended the theaters in nearby Boston. In 1914, Hawks returned to Glendora and graduated from Pasadena High School that year.[10] Skilled in tennis, at 18 Hawks won the United States Junior Tennis Championship.[12] That same year, Hawks was accepted to Cornell University in Ithaca, New York, where he majored in mechanical engineering and was a member of Delta Kappa Epsilon. His college friend Ray S. Ashbury remembered Hawks spending more of his time playing craps and drinking alcohol than studying, although Hawks was also known to be a voracious reader of popular American and English novels in college.[13]
While working in the film industry during his 1916 summer vacation, Hawks made an unsuccessful attempt to transfer to Stanford University. He returned to Cornell that September, leaving in April 1917 to join the Army when the United States entered World War I. He served as a lieutenant in the Aviation Section, U.S. Signal Corps.[14] During World War I, he taught aviators to fly, and these experiences influenced future aviation films like The Dawn Patrol (1930).[15] Like many college students who joined the armed services during the war, he received a degree in absentia in 1918. Before Hawks was called for active duty, he returned to Hollywood and, by the end of April 1917, was working on a Cecil B. DeMille film.
Career
Entering films (1916–1925)
Howard Hawks's interest and passion for aviation led him to many important experiences and acquaintances.
Hawks began directing at age 21 after he and cinematographer
After the war, Hawks was eager to return to Hollywood. His brother Kenneth Hawks, who had also served in the Air Service, graduated from
Beginning in early 1920, Hawks lived in rented houses in Hollywood with the group of friends he was accumulating. This rowdy group of mostly macho, risk-taking men included his brother Kenneth Hawks, Victor Fleming,
In 1923,
Silent films (1925–1929)
In October 1925,
Immediately after completing The Road to Glory, Hawks began writing his next film, Fig Leaves, his first (and, until 1935, only) comedy. It received positive reviews, particularly for the art direction and costume designs. It was released in July 1926 and was Hawks's first hit as a director. Although he mainly dismissed his early work, Hawks praised this film in later interviews.[29]
Early sound films (1930–1934)
By 1930, Hollywood was in upheaval over the coming of "talkies", and the careers of many actors and directors were ruined. Hollywood studios were recruiting stage actors and directors that they believed were better suited for sound films. After having worked in the industry for 14 years and directed many financially successful films, Hawks found himself having to prove himself an asset to the studios once again. Leaving Fox on sour terms did not help his reputation, but Hawks never backed down from fights with studio heads. After several months of unemployment, Hawks renewed his career with his first sound film in 1930.[39]
Hawks's first all-sound film was The Dawn Patrol, based on an original story by John Monk Saunders and (unofficially) Hawks. Reportedly, Hawks paid Saunders to put his name on the film, so that Hawks could direct the film without arousing concern due to his lack of writing experience.[40] Accounts vary on who came up with the idea of the film, but Hawks and Saunders developed the story together and tried to sell it to several studios before First National agreed to produce it.[41] Shooting began in late February 1930, about the same time that Howard Hughes was finishing his epic World War I aviation epic Hell's Angels, which had been in production since September 1927. Shrewdly, Hawks began to hire many of the aviation experts and cameramen that had been employed by Hughes, including Elmer Dyer, Harry Reynolds, and Ira Reed. When Hughes found out about the rival film, he did everything he could to sabotage The Dawn Patrol. He harassed Hawks and other studio personnel, hired a spy that was quickly caught, and finally sued First National for copyright infringement. Hughes eventually dropped the lawsuit in late 1930—he and Hawks had become good friends during the legal battle. Filming was finished in late May 1930, and it premiered in July, setting a first-week box office record at the Winter Garden Theatre in New York. The film became one of the biggest hits of 1930.[42] The success of this film allowed Hawks to gain respect in the field of filmmaking and allowed him to spend the rest of his career as an independent director without the necessity to sign any long-term contracts with specific studios.[43]
Hawks did not get along with Warner Brothers executive Hal B. Wallis, and his contract allowed him to be loaned out to other studios. Hawks took the opportunity to accept a directing offer from Harry Cohn at Columbia Pictures.[44] The film opened in January 1931 and was a hit. The film was banned in Chicago, and experienced censorship, which would continue in his next film project.[45] In 1930, Howard Hughes hired Hawks to direct Scarface, a gangster film loosely based on the life of Chicago mobster Al Capone. The film was completed in September 1931, but the censorship of the Hays Code prevented it from being released as Hawks and Hughes had originally intended. The two men fought, negotiated, and made compromises with the Hays Office for over a year, until the film was eventually released in 1932, after such other pivotal early gangster films as The Public Enemy and Little Caesar. Scarface was the first film in which Hawks worked with screenwriter Ben Hecht, who became a close friend and collaborator for 20 years.[23] After filming was complete on Scarface, Hawks left Hughes to fight the legal battles and returned to First National to fulfill his contract, this time with producer Darryl F. Zanuck. For his next film, Hawks wanted to make a film about his childhood passion: car racing. Hawks developed the script for The Crowd Roars with Seton Miller for their eighth and final collaboration. Hawks used real race car drivers in the film, including the 1930 Indianapolis 500 winner Billy Arnold.[46] The film was released in March and became a hit.[47]
Later in 1932, he directed Tiger Shark, starring Edward G. Robinson as a tuna fisherman. In these early films, Hawks established the prototypical "Hawksian Man", which film critic Andrew Sarris described as "upheld by an instinctive professionalism."[23] Tiger Shark demonstrated Hawks's ability to incorporate touches of humor into dramatic, tense, and even tragic story lines.[47] In 1933, Hawks signed a three-picture deal at Metro-Goldwyn-Mayer Studios, the first of which was Today We Live in 1933. This World War I film was based on a short story by author William Faulkner.[48] Hawks's next two films at MGM were the boxing drama The Prizefighter and the Lady and the bio-pic Viva Villa!. Studio interference on both films led Hawks to walk out on his MGM contract without completing either film himself.[23]
Later sound films (1935–1970)
In 1934, Hawks went to
In 1938, Hawks made the screwball comedy Bringing Up Baby for RKO Pictures. It starred Cary Grant and Katharine Hepburn and was adapted by Dudley Nichols and Hagar Wilde. It has been called "the screwiest of the screwball comedies" by film critic Andrew Sarris. Grant plays a near-sighted paleontologist who suffers one humiliation after another due to the lovestruck socialite played by Hepburn.[23] Hawks's artistic direction for Bringing Up Baby revolved around the raw natural chemistry between Grant and Hepburn. With Grant portraying the paleontologist and Hepburn as an heiress, the roles only add to the movie's purpose of disintegrating the line between the real and the imaginary.[50] Bringing Up Baby was a box office flop when initially released and, subsequently, RKO fired Hawks due to extreme losses; however, the film has become regarded as one of Hawks's masterpieces.[51] Hawks followed this with 11 consecutive hits up to 1951, starting with the aviation drama Only Angels Have Wings, made in 1939 for Columbia Pictures and starring Cary Grant.[52] It also starred Jean Arthur, Thomas Mitchell, Rita Hayworth, and Richard Barthelmess.[23]
In 1940, Hawks returned to the screwball comedy genre with
After making the
In 1951, Hawks produced, and according to some, directed, a science-fiction film, The Thing from Another World. Director John Carpenter stated: "And let's get the record straight. The movie was directed by Howard Hawks. Verifiably directed by Howard Hawks. He let his editor, Christian Nyby, take credit. But the kind of feeling between the male characters—the camaraderie, the group of men that has to fight off the evil—it's all pure Hawksian."[57][58] He followed this with the 1952 western film The Big Sky, starring Kirk Douglas. Later in 1952, Hawks worked with Cary Grant for the fifth and final time in the screwball comedy Monkey Business, which also starred Marilyn Monroe and Ginger Rogers. Grant plays a scientist (reminiscent of his character in Bringing up Baby) who creates a formula that increases his vitality. Film critic John Belton called the film Hawks's "most organic comedy".[23] Hawks's third film of 1952 was a contribution to the omnibus film O. Henry's Full House, which includes short stories by the writer O. Henry made by various directors.[59] Hawks's short film The Ransom of Red Chief starred Fred Allen, Oscar Levant, and Jeanne Crain.[60]
In 1953, Hawks made
In 1962, Hawks made Hatari!, again with John Wayne, who plays a wild animal catcher in Africa. It was also written by Leigh Brackett. Hawks's knowledge of mechanics allowed him to build the camera-car hybrid that allowed him to film the hunting scenes in the film.[61] In 1964, Hawks made his final comedy, Man's Favorite Sport?, starring Rock Hudson (since Cary Grant felt he was too old for the role) and Paula Prentiss. Hawks then returned to his childhood passion for car races with Red Line 7000 in 1965, featuring a young James Caan in his first leading role. Hawks's final two films were both Western remakes of Rio Bravo starring John Wayne and written by Leigh Brackett. In 1966, Hawks directed El Dorado, starring Wayne, Robert Mitchum, and Caan, which was released the following year. He then made Rio Lobo, with Wayne in 1970.[23] After Rio Lobo, Hawks planned a project relating to Ernest Hemingway and "Now, Mr. Gus", a comedy about two male friends seeking oil and money. He died in December 1977, before these projects were completed.[62]
Final years and death
By the mid 1970s, Hawks's health began to decline, though he remained active. In addition to being in the early stages of Parkinson's disease in the years leading up to his death, an injury suffered on the set of Rio Lobo severely damaged one of his legs.[63]
Hawks died on December 26, 1977, at the age of 81, from complications arising from a fall when he tripped over his dog at his home in Palm Springs, California. He had spent two weeks in the hospital recovering from his concussion when he asked to be taken home, dying a few days later.[64] His death was attributed directly to "arteriosclerotic vascular disease with stroke".[65] He was working with his last protégée discovery at the time, Larraine Zax.[66]
Personal life
Howard Hawks was married three times: to actress Athole Shearer, sister of Norma Shearer, from 1928 to 1940; to socialite and fashion icon Slim Keith from 1941 to 1949; and to actress Dee Hartford from 1953 to 1959. Hawks had two children with Shearer, Barbara and David. David Hawks worked as an assistant director for the television series M*A*S*H. His second daughter, Kitty Hawks, was a result of his second marriage to "Slim" Keith. Hawks had one son with his last wife, Dee Hartford, who was named Gregg after cinematographer Gregg Toland.[67]
Along with his love of flying machines, Hawks also had a passion for cars and motorcycles. He built the race car that won the 1936 Indianapolis 500,[68] as well as enjoyed riding motorcycles with Barbara Stanwyck and Gary Cooper. Hawks and his son Gregg were members of Checkers Motorcycle Club.[69][70] Hawks continued riding until the age of 78.[61] His other hobbies included golf, tennis, sailing, horse racing, carpentry, and silversmithing.[71]
Hawks was also known for maintaining close friendships with many American writers such as Ben Hecht, Ernest Hemingway, and William Faulkner. Hawks credited himself with the discovery of William Faulkner and introducing the then-unknown writer to the Algonquin Round Table.[72] Hawks and Faulkner had mutual interests in flying and drinking, and Faulkner admired the films of Hawks, asking Hawks to teach him how to write screenplays. Faulkner wrote five screenplays for Hawks, the first being Today We Live and the last being Land of the Pharaohs.[73] With a mutual interest in fishing and skiing, Hawks was also close with Ernest Hemingway and was almost made the director of the film adaptation of For Whom the Bell Tolls. Hawks found it difficult to forgive Hemingway for his suicide. After coming to terms with it in the 1970s, he began to plan a film project about Hemingway and his relationship with Robert Capa. He never filmed the project.[74]
Hawks supported
Style
Hawks was a versatile director whose career includes comedies, dramas, gangster films, science fiction, film noir, and Westerns. Hawks's own functional definition of what constitutes a good film is characteristic of his no-nonsense style: "three good scenes, and no bad ones."[76] Hawks also defined a good director as "someone who doesn't annoy you".[77] In Hawks's own words, his directing style is based on being enjoyable and straightforward.[78] His style was very actor-focused, and he made it a point to take as few shots as possible, thereby preserving an inherent and natural humor for his comedic pieces.[79]
While Hawks was not sympathetic to
Orson Welles in an interview with Peter Bogdanovich said of Howard Hawks, in comparison with John Ford, that "Hawks is great prose; Ford is poetry."[82] Despite Hawks's work in a variety of Hollywood genres, he still retained an independent sensibility. Film critic David Thomson wrote of Hawks: "Far from being the meek purveyor of Hollywood forms, he always chose to turn them upside down. To Have and Have Not and The Big Sleep, ostensibly an adventure and a thriller, are really love stories. Rio Bravo, apparently a Western – everyone wears a cowboy hat – is a comedy conversation piece. The ostensible comedies are shot through with exposed emotions, with the subtlest views of the sex war, and with a wry acknowledgment of the incompatibility of men and women."[83] David Boxwell argues that the filmmaker's body of work "has been accused of a historical and adolescent escapism, but Hawks's fans rejoice in his oeuvre's remarkable avoidance of Hollywood's religiosity, bathos, flag-waving, and sentimentality.[84]
Writing and producing
In addition to his career as a film director, Howard Hawks either wrote or supervised the writing for most of his films. In some cases, he would rewrite parts of the script on set. Due to the Screen Writer's Guild's rule that the director and producer couldn't receive credit for writing, Hawks rarely received credit. Even though Sidney Howard received credit for writing Gone with the Wind (1939), the screenplay was actually written by a myriad of Hollywood screenwriters including, David O. Selznick, Ben Hecht, and Howard Hawks. Hawks was an uncredited contributor to many other screenplays such as Underworld (1927), Morocco (1930), Shanghai Express (1932), and Gunga Din (1939). Hawks also produced many of his own films, preferring not to work under major film studios, because it allowed him creative freedom in his writing, directing, and casting. Hawks would sometimes walk out on films that he wasn't producing himself. Hawks, however, never considered producing to come before his directing. For example, several of the film cards for his films show "Directed and produced by Howard Hawks" with "produced" underneath "directed" in much smaller font. Sometimes his films wouldn't credit any producer. Hawks discovered many well known film stars such as Paul Muni, George Raft, Ann Dvorak, Carole Lombard, Frances Farmer, Jane Russell, Montgomery Clift, Joanne Dru, Angie Dickinson, James Caan, and most famously, Lauren Bacall.[85]
Filmography
Awards and recognition
In 1974, he was awarded an
In 1996, Howard Hawks was voted No. 4 on
From the film industry, he received three nominations for Outstanding Directorial Achievement in Motion Pictures from the Directors Guild of America for Red River in 1949, The Big Sky in 1953, and Rio Bravo in 1960.[95][96][97] He was inducted into the Online Film and Television Association's Hall of Fame for his directing in 2005.[98] For his contribution to the motion picture industry, Howard Hawks has a star on the Hollywood Walk of Fame at 1708 Vine Street.[99] He was nominated for Academy Award for Best Director in 1942 for Sergeant York,[100] but he received his only Oscar in 1974 as an Honorary Award from the Academy. He was cited as "a master filmmaker whose creative efforts hold a distinguished place in world cinema."[101][102]
Influence and legacy
In the 1950s, Eugene Archer, a film fan, was planning on writing a book on important American film directors such as John Ford. However, after reading Cahiers du Cinéma, Archer learned that the French film scene was more interested in Alfred Hitchcock and Howard Hawks. Books were not written on Hawks until the 1960s, and a full biography on Hawks wasn't published until 1997, twenty years after his death.[103] Film critic Andrew Sarris cited Howard Hawks as "the least known and least appreciated Hollywood director of any stature".[104] According to professor of film studies Ian Brookes, Hawks is not as well known as other directors, because of his lack of association with a particular genre such as Ford with Western and Hitchcock with thriller. Hawks worked across many genres including gangster, film noir, musical comedy, romantic comedy, screwball comedy, Western, aviation, and combat. Moreover, Hawks preferred not to associate with major studios during his film production. He worked for all major studios at least once on short term contract, but many of his films were produced under his own name.[103] The simplicity of his narratives and stories may also have contributed to his under-recognition.[103] Commercially, his films were successful, but he received little critical acclaim except for one Academy Award nomination for Best Director for Sergeant York (he lost to John Ford for How Green Was My Valley) and an Honorary Academy Award presented to him two years before his death.[105]
Some critics limit Hawks by his action films, describing Hawks as a director who produced films with a "masculine bias", however action scenes in Hawks's films were often left to second-unit directors, and Hawks actually preferred to work indoors.
Hawks has been considered by some film critics to be an
His work has influenced various popular and respected directors such as
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General and cited references
- Breivold, Scott (February 2006). Howard Hawks: Interviews. University Press of Mississippi. ISBN 978-1-57806-833-3. Retrieved July 26, 2016.
- Brookes, Ian (2016). Howard Hawks: New Perspectives. London: Palgrave. ISBN 978-1-84457-542-8.
- Crouse, Richard (October 2005). Reel Winners: Movie Award Trivia. Dundurn. p. 250. ISBN 978-1-55002-574-3. Retrieved July 26, 2016.
- Dixon, Wheeler Winston; Foster, Gwendolyn Audrey (2008). A Short History of Film (PDF). New Brunswick, New Jersey: Rutgers University Press. p. 101. ISBN 978-0-8135-4269-0. Retrieved October 3, 2018.
- Franks, Don (2004). A Music, Cinema, Theatre and Broadcasting Guide, 1928 through 2003 (Third ed.). Jefferson, North Carolina: McFarland & Company. p. 243. ISBN 978-0-7864-1798-8. Retrieved October 3, 2018.
- Fuller, Samuel (November 2002). A Third Face: My Tale of Writing, Fighting, and Filmmaking. Knopf. p. 101. ISBN 978-0-375-40165-7. Retrieved July 26, 2016.
- Gregory, Charles (1973). ""The Long Goodbye" by Robert Altman" (PDF). Film Quarterly. 26 (4): 46–48. JSTOR 1211501.
- Hillier, Jim; Wollen, Peter, eds. (April 1997). Howard Hawks: American Artist. British Film Institute. pp. 111–119. ISBN 978-0-85170-593-4.
- Laham, Nicholas (May 2009). Currents of Comedy on the American Screen: How Film and Television Deliver Different Laughs for Changing Times. McFarland. pp. 27–29. ISBN 978-0-7864-4264-5. Retrieved September 8, 2016.
- Martin, Jeffrey Brown (1985). Ben Hecht: Hollywood Screenwriter. Ann Arbor, Michigan: UMI Research Press. ISBN 978-0-8357-1571-3.
- Mast, Gerald (1982). Howard Hawks, Storyteller. New York: Oxford University Press. ISBN 978-0-19-503091-4.
- McBride, Joseph (1972). Focus on Howard Hawks. Englewood Cliffs, NJ: Prentice-Hall.
- McBride, Joseph (1982). Hawks on Hawks. Berkeley, California: University of California Press.
- McCarthy, Todd (1997). Howard Hawks: The Grey Fox of Hollywood. New York: Grove Press. ISBN 978-0-8021-3740-1.
- Moss, Marilyn Ann (August 2015). Giant: George Stevens, a Life on Film. University of Wisconsin Press. p. 57. ISBN 978-0-299-20434-1. Retrieved September 8, 2016.
- Sarris, Andrew (1968). The American Cinema: Directors and Directions: 1929–1968. New York: Dutton. ISBN 9780525472278.
- Thomson, David (November 1994). A Biographical Dictionary of Film (3 ed.). Knopf. p. 322. ISBN 978-0-679-75564-7.
- Wakeman, John (1987). World Film Directors, Volume 1, 1890–1945. New York: The H.W. Wilson Company. pp. 446–451. ISBN 978-0-8242-0757-1.
- Willis, Donald C. (1975). The Films of Howard Hawks. Metuchen, NJ: Scarecrow Press. ISBN 9780810808607.
- Wollen, Peter (Spring 2002). "Who the Hell is Howard Hawks?". Framework: The Journal of Cinema and Media. 43 (1): 9–17. JSTOR 41552312.
Further reading
- Branson, Clark. Howard Hawks, A Jungian Study. Santa Barbara, California: Garland-Clarke Editions, 1987. ISBN 978-0-88496-261-8.
- Liandrat-Guigues, Suzanne. Red River. London: BFI Publishing, 2000. ISBN 978-0-85170-819-5.
- Pippin, Robert B. Hollywood Westerns and American Myth: The Importance of Howard Hawks and John Ford for Political Philosophy. New Haven, Connecticut: Yale University Press, 2010. ISBN 978-0-300-14577-9.
- Wood, Robin. Howard Hawks. London: Secker & Warburg, 1968. ISBN 978-0-8143-3276-4.
- Wood, Robin. Rio Bravo. London: BFI Publishing, 2003. ISBN 978-0-85170-966-6.
External links
- Howard Hawks at IMDb
- Howard Hawks at the TCM Movie Database
- Bibliography of books and articles about Hawks via UC Berkeley Media Resources Center
- Profile at Senses of Cinema
- BBC interview
- Material relating to Howard Hawks in the L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University