The Front Page, the 1928 Broadway comedy penned by ex-newsmen Ben Hecht and Charles MacArthur, might be the most American story of the twentieth century. Mining the fraught workplace relationship between a star police beat reporter and his tyrannical editor, the witty, wisecracking play was a smash hit that inspired numerous film adaptations and stage revivals. My first point of contact was His Girl Friday, Howard Hawks’s 1940 take where ace reporter Rosalind Russell is the ex-wife of the bullying editor Cary Grant. Then it was the 1931 Lewis Milestone film with Adolphe Menjou and Pat O’Brien and later Billy Wilder’s 1974 version with Jack Lemmon and Walter Matthau. In 2016, I saw the Broadhurst Theatre revival with Nathan Lane and John Slattery.
If the play had a subtitle, it would have to be “if it bleeds, it leads.” The entire setting is the press room of Chicago’s Criminal Courts Building that conveniently overlooks the gallows behind the Cook County Jail. Examiner reporter Hildy Johnson is resigning from the newspaper to get married and join the well-paid world of advertising, and his boss, Walter Burns, is trying to stop him from leaving. The fate that intervenes is the scheduled hanging just floors below of Earl Williams, a supposed Communist revolutionary (and a white man) convicted of killing a Black police officer. Williams escapes from the jail and—irony of ironies—the scoop of the century literally comes in through the press room window. When Hildy discovers Williams, the diminutive fugitive confides that (a) he’s not a revolutionary and (b) he only shot the officer by accident. Hildy then proceeds to hide him inside a rolltop desk.
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