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In baseball, screwball is a pitch spinning in the opposite direction to its original path. This resembles the common antiheroes in the screwball comedy genre. Contradicting to the traditional  heroes such as  the selfless Geoff Carter in Only Angles Have Wings or the dominant male figure Dexter in Philadelphia Story, screwball men not only lack the values applauded by the public but also fail to behave in a socially accepted way.  Leach quotes Peter Wollen that ‘craziness implies difference, a sense of apartness from ordinary, everyday, social world’. In  Bringing Up Baby, His Girl Friday and Love Crazy, Howard Hawks shows this craziness is essential to the screwball men by first comparing the maverick and irresponsible antiheroes to the traditional and responsible men; second, reversing the gender roles; and third, emphasizing the protagonists’ refusals to accord to the social norm.
To begin with, the contrast between the antiheroes and other male characters highlights the craziness of the screwball men. In these three movies, Hawks presents the audiences with the weird and immoral antiheroes in comparison with some other male characters with qualities of seriousness and integrity. Although the screwball men appear to be awkward and unable to control the situation in front of the women they try to attract, they are crazily smarter and eventually achieve their personal goals. This can be perfectly exemplified in His Girl Friday. Walter, the protagonist, is an self-centered and unsympathetic editor who would do anything for his own benefits. To get his ex-wife and star reporter Hildy back, he determines to break up the relationship between Hildy and her fiancé Bruce. Bruce, gentle and considerable, is the representation of traditionally good man. Walter sets innocent Bruce up and gets him into jail three times for crimes he certainly has not committed. Nevertheless, when facing the choice of newspaper life and respectful life, Hildy eventually chooses Walter. From the plot above, we discover that in the crazy screwball world, morality is downplayed. Instead, the screwball society is remade according to the rules of antiheroes. Thus, the aggressive and immoral people are more likely to accomplish their goals. The female preference for the antiheroes also proves the value placed on these rules.
Moreover, the sexual reversal is repeatedly shown in these three films. The women are always smarter, more dominating and even aggressive while their male counterparts appear to be foolish and passive. This ‘humiliation of the male, his loss of mastery’ (134) contradicts to the social norm that women are weak and needy and fail to meet the expectation of the audiences. However, the screwball men are designed to have these traits to show their craziness. In terms of appearance, Hawks creates circumstances that force the antiheroes to dress up like women in order to escape. For instance, David, in Bringing Up Baby, has no choice but to wear Susan’s female gown. In Love Crazy, Steve also disguises himself as his sister to hide from the police. Furthermore, the screwball men are designed to reflect their stronger demands for the female characters. This can be exemplified from the relationship between Steve and Susan. Susan decides to divorce Steve after Steve makes a mistake in their anniversary. To get his girl back, Steve pretends to have a mental breakdown in front of the judge. In fact, Steve loses control of the night and even his life after he encounters Isobel, another strong female character, and Susan takes the initiative. This is also true for Walter. He wants Hildy back in that he needs her help to succeed in his business and he always loves her.  We can see the disappointment on his face when he learns Hildy is going to remarry to Bruce tomorrow. In these three movies, Hawks constantly emphasizes the weakness of the male character and the advantages the women have. This reversal of gender roles thus contributes to the craziness of the screwball men. 
Besides the two mentioned above, Hawks illustrates the craziness by highlighting the inconsistency of the screwball men with the social mainstream with respect to their attitudes towards traditional rules and authority. This can be perfectly reflected in the way that the old people are treated. In all three movies, the main characters show their disrespect to the seniors. Walter asks Louis to “kidnap”  Bruce’s mother and even shuts her mouth with a handkerchief. David behaves improperly in front of Susan’s aunt and speaks to her in a rude tone. Steve is impatient when Susan’s mother is injured. Antiheroes also enjoy poking fun with the authorities. Steve is so disrespectful to the judge that he plays paper plane in the court. These main characters do so many socially unaccepted things that might harm others but they do not have a sense of guilt at all. “The dominant psychological trait in Hawks’ comedies is ego. If his characters seem loony, it is simply because they are wrapped in their own heads (Mast, 14).” In fact, not only do the antiheroes live in their own minds, but also have we, the audiences, accepted the rules of the screwball society. The main reason is that the authorities are depicted to be either more corrupted or incompetent in these movies. The keystone cops never get the right guys; the highly-educated psychiatrist always make silly diagnosis. The screwball men are not afraid to challenge the people in power, which conforms to the rules of screwball world.
In conclusion, we examine the craziness of the screwball men through the reversal of gender rules, the comparison with the traditional heroes and antiheroes’ failure to cope with “normality”. All these aspects shows that the antiheroes live in a society where all rules are reversed. Their seemingly lunatic behaviors represent 

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