Early 1930s Hawks just isn't quite all there yet, but you can see lots of Hawksian characters and themes struggling to come together and be their ideal selves... Here [Johann is] great, rather fiery and appealing and receiving loving attention, in exquisite close-up after close-up, from cinematographer Tony Gaudio.
Hawks is noted for working deftly within genre, tactfully utilizing convention in his favor, and TIGER SHARK is no exception; the seemingly cliché setup serves only to accentuate the individual characters rather than reduce them to stereotype. Hawks' remarkable economy extends to how he establishes the angular romance. There is no how, just why, and all of this ties into overtly Hawksian themes of fate and self-respect.