Production History-Corey B

I think that Howard Hawks is a gangster.  He essentially muscled First National into letting him out of his contract. I dont see any way other than his teaming up with another indepentently wealthy investor, Howard Hughes, to get his agenda rolling. He used his own trial to outsmart First National into giving him exactly what he wanted, and got them to sing his praises on record, what’s more. To mention our class discussion from Tuesday, I would definately not say he was a rebel with a positive connotation.  I think in the long term, what he did was a good thing for progress in the film industry and its self regulation, but I seriously doubt that Hawks did any of it with censorship reform for posterity in mind.  I believe that he was just a wealthy director who hooked up with Hughes so that the industry moguls and Hays Office would have less sway over their production, because the text specifically mentioned that because Hughes had wealth on his own, the “Hollywood Moguls…hated Howard Hughes,” because he could spend as much time on his projects as he wanted and couldn’t be bullied into working on what the studios demanded. I thought that Hawks did a good job of maintaining underlying themes that he had originally wanted in the story despite the screening process.  For example the incest theme. It is clearly still there for the careful observer to pick up, but it is discrete enough to allow for alternate explanations for those who might find it too offensive a subject. The way Tony looks at his sister and touches her hand to his breast after killing Rinaldo is an excellent example. When she pulls her hand away and says “Don’t you think I know?” she looks frightened and disgusted. Although this line is quickly followed by “Murderer!” I feel that it was actually meant as a double entendre. It would protect the younger audience from the incest theme, while allowing Cesca to express that she recognizes the lust in his eyes, although a child would never make the connection because of the immediate accusation that follows; they would simply assume that she was talking about the murders. In my opinion, it is this kind of double edged dialogue and filming that make Hawks a cinematic genius.

Production History- Aldrin J

I find Howard Hawks to be a real brillian and powerful director.  I believe that if it wasn’t for his influnce and guidance Scarface would not be the film it is today. It’s very interesting to learn that many of the scenes from Scarface are actually based on real life event and that Hughes and Hawks went through many differnt scripts just to find the perfect one.  Hawks went through many difficult obstacle to get this film made but in the end it was all worth it.

Production History – Aliyah G

After I read the chapter from Toddy McCarthy’s Howard Hawks: The Grey Fox of  Hollywood, it emphasizes the greatness of Howard Hawks as a director. He was really passionate about directing the film, Scarface. There was a particular vision he had for the film from the time he recieved the story with the help of Hecht and Hughes. Eventhough during the process of filming he had to stay within the censorship barriers, Hawks pushed the limits of filming and cleverly expresses his feelings about the government and gangsters throughout the film.   There were scenes Hawks had to change unwillingly. The loving realtionship Tony Camonte had with his mother to her being very hostile about Camonte’s involvment with the gangsters.  Also deleting a scene at the end of the film, where Camonte hugs his sister which indicated an incenstruous relationship. Hawks wanted to avoid portraying gangsters in the light how the public normally saw them as scary men. As you watch the film, this was proven through humor.

Production history- Emily Marquart

I see Hawks rebelling in such scenes as when Tony would be the “protective big brother” to Cesca but more was implied or when Tony received the writ of habeas corpus because it is still alluding to there being corrupt government officials. He conforms when he has the mother disapprove of Tony’s lifestyle and has Cesca and Guino married so that their living together was not offensive to anyone.

Since my post is late, I will take today’s class discussion into account.  I think it was Professor Thompson who made the comparison, saying that Hawks was like a gangster himself. I find this to be very accurate. Hawks lived by his own rules and was very driven to get what he wanted. He was very sneaky and seemed to do a lot of his conniving behind the scenes. He was very set on producing the movie the way he saw it and was very much against censorship. We also asked, is he ethical? Though I lean towards the no side- I don’t think that there is a black and white answer to this question. He broke a lot of rules ingoing by his principles, was very stubborn and didn’t care much about anyone else. I don’t think he was very decent but I don’t think he cared to be. We also asked, is he a rebel? I think he is a rebel. He seemed very defiant by nature. A “rebel”, by the Encarta Dictionary definition, is one who “rejects the codes and conventions of society” and “protest by defying a government or other form of authority”, and I think Hawks fits that description (though it may not have been his ultimate cause).

ryan othman – production history

Howard Hawks a perfect example of a revolutionary, rebel that is exactly what “show bizz” needed, especially in its rise. He knew how to push the right buttons in that field had what it takes, with his money, talent, and his connections.  Hawks cut the strings trying to puppet him, and made bridges with great alliances, like Howard Hughes. To brake the entertainment barrier of what he thought is right, and what he thought should be laid out to the viewers. He had it all planned out, the story, the actors, and the dream.

Production history – Lucia

Howard Hawks was a stubborn director who was determined to get his way. He refused to allow the centers to destroy his vision with their petty  limitations. He paid off censors and used techniques to get his point across. I admire him for his smart tactis to get around the censors.

Production History – Ben V

Before the film even begins we see Hawks fighting with the film elite over what he wants to make. We read about a failed suit and counter suit ending in Hawks getting his way. When time comes to write the movie Scarface both Hawks and Hughes find a hard time getting a writer that can do what they need. As the two Howards search for actors we read about how the Hollywood bigwigs obstucts their options on actors. We then reach the Hays censorship board which delays the films production with numerous “proposed”(Attempted forced) changes, which eventually accumulates in a threat that the film will never be released. Both Hawk refuses to back down and tells Hughes to “make it as realistic, as exiting, as grisly as possible”. When the film was submitted in peices to the Hays board we once again have the censorship nitpicking in which Hawks still fights back but does make little changes to be able to get the film out.

Production History – Feda E

After reading the article I was fascinated by Howard Hawk’s determination to work on Scarface pursuing a unique career in Hollywood at that time.  I learnt that he had money, talent and knew how to work things his way.  At first when he was working for First National he kept refusing all the stories they gave him claiming they were poor. That’s when First National decided to put a hold on Hawk’s salary payments and law suits were created. Keeping strong and enthusiastic through all the trouble, he teamed with Hughes another rebel and continued working on his goal which is to produce this one of a kind gangster film which he believed is his dream come true.  After a lot of persuasion the script was written with the help of Ben Hecht within eleven days. Hawks also found the perfect actors for this film. All of Hawks hard work paid off as the movie was a big success and he became known to be the obstinate director who followed his own vision not listening to the production companies trying to control him.

Production History: Anthony C

Howard Hawks was an incredibly powerful and wealthy director that used force and manipulation to get his way around the censors of his films.  If he could not pay off the censors, Hawks used techniques that would imply the message he wants to get across, rather than just shooting the exact events that he wants the viewers to see.  An example of this is when Motion Pictures Producers and MPPDA had a problem with the corrupt state attorney Benson.  To compromise, Hawks dropped the character but made another character similar to this role sporadic and not as draw out.  Howard Hawks was very passionate about his films and that is what made them creative and incredible to watch.

Production History – Cara S.

Howard Hawks’ determination to shoot Scarface the way he envisioned it is impressive, he wasn’t going to let anyone stop him from putting out a film he would be proud to call his own. It’s true the censors did force him to make some changes but he stuck to his guns as best he could and only made sacrifices when it was absolutely necessary, he did want the movie to be shown after all. The scenes and stories that were either cut or reshot really tell us a lot about the time period in which this film was produced. The censors didn’t want any sympathy generated for the gangsters, they wanted them to be shown as violent menaces to society. This idea was kept in check too though as Hawks was compelled to throw out a storyline involving an incestous relationship between Tony and his sister Cesca. The early 1930s was clearly a time in which moral and family values were cherished and lawbreakers were condemned.