THE CROWD ROARS

Howard Hawks

Sog.: Howard Hawks e Seton I. Miller; Scen.: Seton I. Miller, Kubec Glasmon, John Bright, Niven Busch; F.: Sidney Hickox, John Stumar; Mo.: John Stumar, Thomas Pratt; Scgf.: Jack Okey; Eff. spec.: Fred Jackman; Mu.: Leo F. Forbstein; Su.: Robert B. Lee; Ass. regia: Richard Rosson; Int.: James Cagney (Joe Greer), Joan Blondell (Anne), Ann Dvorak (Lee Merrick), Eric Linden (Eddie Greer), Guy Kibbee (papà Greer), Franck McHugh (Spud Smith), William Arnold (Bill), Leo Nomis (Jim), Charlotte Merriam (Sig.ra Smith), Harry Hartz, Ralph Hepburn, Fred Guisso, Fred Frame, Phil Pardee, Spider Matlock, Jack Brisko, Wilbur Shaw; Prod.: Warner Bros; Pri. pro.: 29 marzo 1932
35mm. D.: 70′. Bn

info_outline
T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Well, I used to race for several years, but about that time I began to get interested again in cars. And no one had done a real story of racing, beginning on the little dirt tracks and moving on up to the Ascot night races and then on up to Indianapolis. It was pretty easy, because we had six or seven Indianapolis winners driving in the picture. They were very glad to do it. And we had a lot of fun making the dirt track things. We went up to Ventura, to a little horse track. We had a whole bunch of jalopies, and we started to race. I knew there was going to be trouble because so much dust came up; the second time around, they disappeared in the dust. You heard fenders crashing and fence posts going, and everything was a mess. We were blowing bugles, doing everything we could to stop the race. The dust cleared and nobody got hurt. There were some cars banged up. So we had to send someone up to town and get some stuff to lay the dust, and then went ahead and made the scenes. For the night racing at Ascot, we let gasoline loose on the track and had a fire going. That was pretty good racing stuff. Actually, the story of The Crowd Roars was almost the story of The Barker, a play Walter Huston did where he played a circus barker. (…) And Cagney was so much fun to work with because you never knew what Cagney was gonna do. When I work with Cary Grant, I can go home and write a scene for Cary and know how he’s gonna handle it the next day, but Cagney had these funny little attitudes, you know, the way he held his hands and things like that. I tried to make the most of them, and I think we did pretty well even though I didn’t know how he worked.

Howard Hawks, in Joseph McBride, Hawks on Hawks, University of California Press, Berkeley and Los Angeles, 1992

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