Even for seasoned film critics, Howard Hawks’ 1962 adventure comedy Hatari! starring John Wayne can be a film that grows on you. Initial viewings might leave one pondering its seemingly loose narrative and unconventional structure, but as you delve deeper, the film’s unique charm and cinematic brilliance become undeniably apparent. It’s a movie that transcends typical genre expectations, offering a fascinating blend of fiction and documentary-style filmmaking, all set against the stunning backdrop of East Africa.
Hatari! presents a departure from some of the classic Hawksian trademarks. While familiar dialogue patterns and situational echoes from his earlier works are present, they feel less like deliberate callbacks and more like organic elements within this distinct cinematic landscape. The tightly woven plots seen in films like Rio Bravo give way to a more episodic structure in Hatari!, almost as if Hawks intentionally stripped away layers of conventional narrative motivation. This shift, however, doesn’t detract from the film’s appeal; instead, it directs our attention to other compelling aspects of Hawks’ filmmaking prowess.
What truly distinguishes Hatari! is its intriguing conflation of fictional storytelling with documentary realism. Hawks, known for his meticulous portrayal of process in films like Land of the Pharaohs, elevates this approach in Hatari!. The movie dedicates significant screen time to authentically depicting the capture of wild animals in Tanganyika (now Tanzania). The actors, including John Wayne, are convincingly shown engaging in the actual activities of animal wranglers. This blurring of lines between fiction and reality creates a meta-cinematic experience, almost like a ‘making-of’ documentary unfolding before our eyes. Viewers intuitively understand that Hatari! is not just a film about animal capture; it’s also a film about the experience of making a film about animal capture, with John Wayne leading the charge.
John Wayne’s character, Sean Mercer, embodies a notably sterner facet of his familiar Hawksian persona. Perhaps the demanding nature of filming in the African wilderness and handling wild animals contributed to this rawer portrayal. There’s a palpable sense of authenticity in Wayne’s performance, a cinema-verité quality that emerges in moments like when he curtly dismisses Valentin de Vargas’ character during a difficult capture, stating, “We don’t need help here.” This gruffness extends to his restrained romantic interactions with Elsa Martinelli’s character, Dallas. Their relationship is marked by prickly exchanges, including a particularly sharp verbal spar that leaves Dallas visibly disheartened. Interestingly, Wayne’s less conventional behavior seems to intensify the group’s desire to see him and Dallas connect romantically, a dynamic that echoes the intense pressure Wayne’s characters faced in earlier Hawks films like Red River.
Elsa Martinelli’s Dallas is another fascinating element that deviates from typical Hawksian heroines. While initially appearing somewhat naive and out of her depth, Dallas undergoes a significant transformation. She shares similarities with Jean Arthur’s Bonnie Lee in Only Angels Have Wings, initially marginalized and seemingly secondary to the male-dominated world. However, Dallas carves out her own unique identity, finding purpose and fulfillment as a surrogate mother to orphaned baby elephants. In a departure from Hawks’ usual thematic concerns, Hatari! introduces a strong maternal instinct in Dallas. As romance proves disappointing, she immerses herself in nature, becoming deeply involved in caring for the animals, often seen covered in mud and oblivious to social expectations. This transformation, paradoxically, enhances her appeal to Sean Mercer and the group. A particularly memorable scene showcases this shift: Dallas bathing baby elephants in a lake while a protective John Wayne watches from a distance, admiration evident in his gaze. Hawks, while often exploring gender fluidity in his work, here seems comfortable highlighting a more traditional, nurturing female role, adding another layer of complexity to Hatari!.
One of the many standout scenes in Hatari!, a film notable for its somewhat episodic construction, features Red Buttons’ character, Pockets. Following his successful, albeit somewhat outlandish, capture of 500 monkeys using a rocket and fishnet, a celebratory Pockets becomes the center of attention in the camp’s common room. Intoxicated and basking in the glow of his achievement, he repeatedly asks his fellow hunters to recount the tale of his triumph. John Wayne and Hardy Kruger’s characters, engrossed in a card game, acknowledge Pockets’ earned moment and humor him by narrating his exploits as if reciting a bedtime story. This scene evokes a fascinating parallel to a scene in His Girl Friday, where card-playing reporters largely ignore or dismiss Molly Malone. In both instances, the card players are confronted by a larger-than-life personality – Pockets and Molly Malone embody a more theatrical, expansive style of performance. The card players, in contrast, react with understated naturalism, their muted dialogue and focus on the game creating a distinct contrast in performance styles. Hawks masterfully utilizes this gap between different levels of abstraction to heighten the sense of realism in both scenes, despite their vastly different character dynamics and narrative contexts.
In conclusion, Hatari! starring John Wayne, while perhaps initially perplexing to some, reveals itself as a captivating and unique entry in Howard Hawks’ filmography with repeated viewings. Its blend of adventure, comedy, and documentary-like realism, coupled with memorable performances and stunning African scenery, creates an enduring cinematic experience. The film’s exploration of character dynamics, particularly the contrasting personas of John Wayne and Elsa Martinelli, further enriches its appeal. Hatari! is more than just an adventure film; it’s a testament to Hawks’ innovative filmmaking and a celebration of the wild beauty of Africa, making it a must-see for any film enthusiast.
