A satire on journalism seems to be the topic no filmmaker wants to touch, although I personally see the opportunity as a limitless one. With the modern era bringing forth the creation of the internet along with the concepts and ideas of information overload, misinformation, the idea that news is no long about being correct but rather being first, and the controversial and vague lines that determine whether or not websites like Reddit and Wikipedia are actually reliable sources are all things that could make a satire on modern-era journalism click on sight.

Maybe it's because I'm currently examining the journalism mediums in a high school source that I'd anxiously anticipate a satire on contemporary journalism if it were to be handled by someone delicately. For now, though, Billy Wilder's The Front Page is a fine film to hold one over. Immediately, the film is buoyed band blessed by having both Jack Lemmon and Wlater Matthau as its headlines, two fantastic actors whose work is only enhanced when they're placed in a film together. With The Front Page makes one of the earliest pairings of the two actors, almost ten years after the release of Gene Saks' The Odd Couple and about two decades before the wildly popular Grumpy Old Men films.

Set in the 1920's, Lemmon and Matthau star as Hildebrand "Hildy" Johnson and Walter Burns. Hildy is about to resign and retire from his position as ace-reporter of the Chicago Examiner but Walter, his editor, will have none of it. For years, he has trusted Hildy to write intelligent articles covering issues in the world in order to produce one of the finest papers around. But Hildy has other plans, to marry his new love (Susan Sarandon) and see the world are just a few of them. But when a checkered and incredibly juicy story comes along, Walter hopes to keep his star reporter one last time to write what may be the most outlandish story of his life.

Like most Lemmon/Matthau efforts, the real treat at hand is watching the chemistry of the leading men as they recite scripted dialog in such an elegant way that it conveys the buddy-to-buddy naturalism of a certain situation. Wilder and co-writer I.A.L. Diamond provide the men with several opportunities to put their loquaciousness to the test as the camera finds a way to fixate on them for several minutes at a time as the two bat off rapid-fire dialog at one another.

It is this chemistry that makes The Front Page a good piece of work and all the more fun, especially in the present time as it shows the functionality of old-school journalism and reporting and how journalists back in the day worked and operated. It's also hard to neglect a supporting cast made up of Carol Burnett, Susan Sarandon, and Charles Durning who, in some way, contribute to the film's overall success as a whole. And let us not forget the incredible talent of Billy Wilder, who takes one of the most cleaned-up occupations of the Roaring Twenties and Great Depression-era and turns it into complete lunacy, filled with those who go to astounding lengths to achieve a story worthy of the front page. Run and print that.

Starring: Jack Lemmon, Walter Matthau, Susan Sarandon, Charles Durning, and Carol Burnett. Directed by: Billy Wilder.

And that was in the work of Billy Wilder. I'll get to that later.

This production hearkens back to the 1931 version where the editor/reporter combination are both men and one wants to leave and get married (Jack Lemmon) while the other resorts to a stream of delay tactics and outright dirty tricks to get him to stay (Walter Matthau) and cover one last story. Probably the production code was the best thing that ever happened to Billy Wilder, because once it was completely gone, as it was here by 1974, Wilder felt he needed to put in crude sex jokes and crass language seemingly because he could.

Although this is the least effective of the three filmed versions of this story, you can't go wrong with a Billy Wilder/Jack Lemmon/Walter Matthau collaboration. It was almost like Matthau and Lemmon's characters in Grumpy Old Men but younger. I loved the 1920s setting, and the art direction got it right, capturing the look and feel of the period. Susan Sarandon is present in an early role as Lemmon's distraught fiancee. Carol Burnett as the prostitute and love interest of the condemned man disappoints because she is so over the top.

It's not the best thing Billy Wilder ever did, but then he is responsible for some of the greatest films ever made. I'd mildly recommend it, particularly for Lemmon/Matthau fans.

When Howard Hawks released his classic screwball comedy, 'His Girl Friday,' in 1940, it was a pretty safe bet that the film would forever remain the definitive cinematic version of Ben Hecht and Charles MacArthur's hit Broadway comedy of 1928. It takes a truly talented director to successfully remake a classic, and, indeed, talent is a quality that Billy Wilder has in great abundance, as he proved time and time again throughout a prolific career. Jack Lemmon stars as Hildebrand "Hildy" Johnson, an ace reporter with the Chicago Examiner newspaper in 1929, who decides to resign and get married on the eve of a major execution. Walter Matthau also stars as Walter Burns, the cunning, scheming newspaper boss who cannot afford to allow Hildy to quit the business at any cost. The two actors make an absolute dream partnership, and, as always, work incredibly well together {they had previously shared the screen in 'The Fortune Cookie (1966)' and 'The Odd Couple (1968),' and would do so on many more subsequent occasions}.

In the crowded press room of a Chicago jail, a cluster of rival newspaper reporters clamour about for the perfect exclusive story, centred around the execution of a convicted cop-killer, Earl Williams (Austin Pendleton). In their desperate bid to write a great article, these inherently dishonest journalists will even occasionally fabricate their own news stories, but this strategy turns out to be rather unnecessary on this night. As Hildy arrives at the jail to farewell his comrades, determined to ignore the shrewd obstacles of his ex-employer, the story of a lifetime falls directly into his lap, and now it will take ever ounce of his willpower to resist the urge to report and to start a new life in advertising. While the two leads are, of course, terrific, enjoyable supporting performances are given by Pendleton as the prisoner awaiting execution, Vincent Gardenia as the bumbling sheriff and Susan Sarandon as Hildy's would-be future wife.

Though 'The Front Page (1974)' {the third adaptation of the play} doesn't cover any different ground than 'His Girl Friday' did {with the exception of reverting Hildy back to a male character}, it is the quality of the script, the chemistry between the leads and the selection of quirky supporting characters that make this an essential complementary viewing experience for fans of Hawks' film. Watching this one made me remember just how much I had enjoyed 'His Girl Friday;' the story is a classic write-up of eccentric situations and quick-fire verbal clashes, and both movies exploit this to its full potential. I wouldn't go as far as saying that 'The Front Page' is a superior comedy, but it is a worthy effort, and Wilder fans could not possibly be disappointed. The screenplay was penned by Wilder and regular co-contributer I.A.L. Diamond, and is packed with an excellent selection of quotable one-liner insults. I also loved the sly reference to the Saint Valentine's Day Massacre, at which, of course, Jack Lemmon was present in 'Some Like it Hot (1959).'