The Front Page


Action / Comedy / Drama / Romance

Rotten Tomatoes Critics - Certified Fresh 73%
Rotten Tomatoes Audience - Upright 73%
IMDb Rating 7.3 10 11036


Uploaded By: OTTO
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June 03, 2014 at 07:59 AM



Susan Sarandon as Peggy Grant
Jack Lemmon as Hildy Johnson
Walter Matthau as Walter Burns
Carol Burnett as Mollie Malloy
720p.BLU 1080p.BLU
811.21 MB
23.976 fps
1hr 45 min
P/S 2 / 4
1.64 GB
23.976 fps
1hr 45 min
P/S 0 / 6

Movie Reviews

Reviewed by ma-cortes 7 / 10

Great cast gives powerful performances as Matthau as scheming managing editor and Lemmon as convincing star journalist

Rip-roaring third remake of the classic newspaper comedy ¨The Front Page¨ makes some memorable exchanges and sensational acting from everyone . Cynical editor newspaper (Walter Matthau) wants to get a big scoop on a death row which involves convincing star reporter (Jack Lemmon) to come back to work and put off her marriage to handsome pianist woman (Susan Sarandon) . Lemmon can't resist covering some good news , even when it mean helping a condemned man (Austin Pendleton) getaway the law . And the escaped convicted murderer offers the journalist an exclusive interview . Other reporters (Dick O'Neill, Charles Durning, Allen Garfield , David Wayne , Cliff Osmond) also give hilarious acting in this breathless pursuit of an exclusive with the escaped death row inmate .

A splendid remake of the Ben Hecht , Charles MacArthur play about a scheming managing publisher of a 1920s Chicago newspaper and his incautious reporter. Very good performance from Jack Lemmon as ace journalist who wants to quit the business and get married and exceptional Walter Matthau as editor who finds out his main reporter wants to leave him and gets in the way . Phenomenal playing from everyone , including a top-notch secondary cast as Carol Burnett , Vincent Gardenia , Harold Gould and magnificent direction render this frequent-told story more funny than usual . One of Wilder's most inventive and furious screen combats in which Lemmon and Matthau are given equal footing with staccato dialog and marvelous interpretations . I.A.L. Diamond's brilliantly tart screenplay overlaps dialogue and scenes to carry the black farce along the roller-coasted speed . Certainly the kind of movie that Billy Wilder only can make , though achieved moderated success in 1974 . Meanwhile , do't miss this stunning adaptation.

Other versions about this classic story are the following : 1931 ¨The Front Page¨ by Lewis Milestone with Adolph Menjou , Edward Everett Horton , Mae Clark and Pat O'Brien in his film debut ; ¨His Girl Friday ¨ 1940 by Howard Hawks with Gary Grant , Ralph Bellamy and Rosalind Russell with the pivotal character assigned to a woman instead a man ; ¨Switching channels¨ 1988 by Ted Kotcheff with Kathleen Turner , Christopher Reeve , Ned Beatty and Burt Reynolds in which an attractive TV anchorwoman want to marry tycoon but his mean ex-husband impedes it .

Reviewed by moonspinner55 4 / 10

Rather crass rewrite of oft-filmed comedy about journalism and ethics...

Director/screenwriter Billy Wilder and his co-scenarist I.A.L. Diamond give Ben Hecht and Charles MacArthur's lickety-split stage comedy (as well as the two previous film versions) a PG-rated rewrite. This time the story is specifically set in Chicago, 1929, but the squabbles are the same between the newspaper editor and his ace reporter over coverage of the execution of an anarchist who accidentally shot a cop. Though the material has been shaped to benefit the star-leads, Walter Matthau and Jack Lemmon, both uneasily cast, don't seem to have any love for this milieu or, curiously enough, for each other. The insults rain down at top volume, but the laughs are few and far between. The supporting performances are far preferable; the camaraderie between the poker-playing reporters (Allen Garfield, Charles Durning and Herb Edelman among them), awaiting their next scoop, gives the early moments of the picture some bounce, and Carol Burnett does a good job as a luckless tramp (despite reports she hated her own performance). Susan Sarandon also fine in small role as Lemmon's fiancée, though this may be the only time in movies that Jack gets lost in the shuffle. It's mostly Wilder's fault, of course, but Lemmon--not convincing for a second as a crack reporter--is slack-faced and joyless throughout. The production is handsome, and Billy May's adapted ragtime music is infectious, but did we really need this story again--expletives and all? ** from ****

Reviewed by SimonJack 6 / 10

This remake loses much of the humor and satire

Jack Lemmon and Walter Matthau would seem to most movie buffs to be a perfect pair to play the leads in a remake of the 1931 comedy film, "The Front Page." And, had director Billy Wilder and Universal Pictures decided to do an authentic remake, I think it would have worked. But instead, they took a 1928 story, updated the script to 1974 and kept the story in 1928. And they failed to consider some other things. The result is a mediocre film, at best. The only thing that earns it six stars from me is the fine acting by Matthau as Walter Burns and a couple of supporting cast performances. Lemmon's Hildy Johnson isn't much better than Pat O'Brien's seemingly tame performance in the 1931 movie. Otherwise, the script is slower and riddled with profanity in place of the overlapping, fast dialog with digs.

Other reviewers who compare versions include the 1940 "His Girl Friday," that starred Cary Grant and Rosalind Russell. That film pepped up the roles, and switched the lead of Hildy from male to female. But it kept it in the exact same setting. Some other things that were added helped set "His Girl Friday" apart from "The Front Page" of 1931 with its successive remakes. As so many others, I also think the 1940 film excels and is head and shoulders above the lot.

But for this review, and understanding where this film falls short, one must look to the original work – the 1928 stage play and the 1931 screenplay. In this remake, the dialog and mannerisms of the people in the press room of the Chicago criminal courts building have a tone of bitterness. In the 1931 film, it was more of an uncaring detachment and humor among the cynical members of the press. The official characters in the Hecht and MacArthur play were written as funny, buffoonery roles. They came across that way in the 1931 film, but in this version they are more serious and sinister. And, here the script is slower and riddled with profanity in place of the faster, overlapping dialog with digs.

The biggest change from the original is in the press itself and its image with the public. The news media is front and center throughout the story. The press of the 1920s-1930s had a lot of clout. Yellow journalism, which had reached its peak in the late 1900s, had a resurgence in the Roaring Twenties with prohibition and the rise of organized crime. Sensationalism to the point of fiction overruled straight, factual reporting in "news stories." But the public ate this stuff up. And the papers competed, not only to see who could get the scoop (be first with a breaking story), but which paper could make it the most sensational.

By 1974, the American press had undergone a metamorphosis. The regular press didn't have the clout of its former days, but since WW II it had come to be more highly regarded. The public, business and government all generally had respect for the press. This was at the height of the American public's trust in the news media. Alas, the media would once again, by its own volition, lose the public esteem and trust by the end of 20th the century. But, for this 1974 film to go over with its audience – with a script written in and for 1929 America, it needed the comedy and lampooning of the press and the political officials to be clear. Instead, much of the satire and humor is lost in the undertone of bitterness and seriousness.

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