Example of Hawks' mastery

This film shows where his real technique was about, unlike Hitchcock, Wyler or Ford, he was not about the grandeur of shots, or deep forced emotional moments that say how we should feel, we're free to feel how we wish to, it's all subtle, it's all about the feeling that comes out of the positioning of actors, their lines (sometimes not even what they mean, but how they sound), and the whole rhythm itself supported by lighting, intercutting and editing, all wrapped up by intentional re-appearance of the same or similar objects and people (their names or lines including the same kind of camera framing and set ups) to the point of familiarity, thus giving it a simiplicity and a feeling of humility or being with a family or at home you're familiar with, often it can come off as stagy with limited number of extras or actors. The entire magic turns out to be an ecstatic sensation stemming out of a section of scenes put together, like a musical song, a musical or an opera, you start feeling it, not thinking about it. Big Sleep is a perfect example, another would be either Hatari or Air Force, it's never to me so much about the plot in his films, it's all about the situations within the plot. This kind of originality can be often misunderstood, as it has inspired many filmmakers, who also prefer to focus on the characters or situations in the story, including Elaine May, Garry Marshall, Norman Jewison, P.T.Anderson or James Cameron when he made Avatar, it's not the story where originality is, it's about the situations, interactions of actors, their emotions, their lines. It is so subtle that aybe only more perceptive viewers can notice that. Hawks' cinema seems to be less for analyzing mind, it's rather for those who watch films to feel and have a good time.