[Originally published in Movietone News 57, February 1978]
I believe the really good people would be reasonably successful in any circumstance; that to be very poor and very beautiful is most probably a moral failure much more than an artistic success. Shakespeare would have done well in any generation because he would have refused to die in a corner; he would have taken the false gods and made them over; he would have taken the current formulae and forced them into something lesser men thought them incapable of. Alive today he would undoubtedly have written and directed motion pictures, plays and God knows what. Instead of saying “This medium is not good,” he wouldn’t have cared a rap, because he would know that without some vulgarity there is no complete man. He would have hated refinement, as such, because it is always a withdrawal, a shrinking, and he was much too tough to shrink from anything. —Raymond Chandler (1949)
Raymond Chandler was given to talking things up in a way that Howard Hawks never has been, but part of what is remarkable about the above statement is its aptness as an aesthetics for Hawks’ films as well as for Chandler’s fiction. Even in readily likeable potboilers like Tiger Shark and The Crowd Roars, the hard-edged integrity that distinguished later and more accomplished Hawks films was already making itself felt. Indeed, in Chandler’s fiction as in movies like Hawks’ Only Angels Have Wings, To Have and Have Not, and Rio Bravo, the mixture of highly commercial genre and sharply individualized intelligence exerts an enduring fascination. Thus, that Hawks should end up filming a Chandler novel seems more than merely appropriate.