ABSTRACT
Quartets of characters in To Have and Have Not, and Bringing Up Baby, and Rio Bravo further reinforce Hawks’s central concern of group formation through music-making. To Have and Have Not stages political resistance through group music-making, and Bringing Up Baby’s interspecies quartet helps along the formation of its central couple. Rio Bravo’s song sequence, although much maligned, offers a portrait of four different types of musical masculinity that come together despite their differences.
