Grant relies more than Russell does on him, empowerment need not be so loud and cheesy, it can be flawed and nuanced as such.
Hawks has a deadline. And just like working at those late hours on Friday night, the director Howard Hawks, seems like he is always in a rush. Luckily, armed with a content so hefty and tone so crowd pleasing, the rush never overpowers the joy of watching two con artists con each other. And that is how good the performers are. The actors. Who themselves have a job to con, to do that purposefully, creates a bizarre play between reality and what they pretend to be, we as an audience, as a result, are having the time of our lives. The splashy humor is the only way this film would have worked.
Focusing on an intensely delicate matter, the political satire that puts media and more importantly an authoritarian and his or her use or misuse of power is imply smart. To pin down that transition when an information is revealed, these opposite sides of the coin- drama and comedy- helps them immensely to enchant the viewers. What is joked about, shouldn’t be joked about. But since it is their primary source of income, these extravagant suit-wearers are meant to, after a while, mock about their profession. Ergo, the laughs are to come easy, when customers or we are to enter their world.
Cary Grant as the schemer is just like his character, pulling out tricks from his pocket keeping us engaged with provocatively negative innuendos. And despite of him having such an appealing persona, Rosalind Russell, the key of this enigma, steals the show. Her familiarity of the dirty game that she has been part of, and her unflinching reactions on getting her hands dirty boasts the film majorly. But I think it is the way she looks at Grant when she is busy or having a meltdown, showcasing how he is hers and how she is His Girl Friday.