Twentieth Century (1934)

The Art of Great Over Acting!

This is the great screwball comedy based on the stage play of the same name. It is said that the screwball comedy was basically invented by this film. It was filmed in 1934, about the same time as It Happened One Night. John Barrymore is the playwright, producer and director of plays who discovers a lingerie model played by Carole Lombard and puts her in his newest play. She can't act and everyone tells him to get rid of her but he bullies her into a great actress. She becomes a star and is seduced by him. He dominates her every step and they make 3 plays together in 3 years. She finally seizes an opportunity to run away with another man and escape. Finally, the meet on the train, the Twentieth Century and a show down begins. Will she come back or won't she? The overacting, over dramatizing brings the two together yet throws them apart each time. What shall they do? This is a great comedy and anyone who loves acting, drama and comedy will love this picture. Love is a Farce. July 19, 2008

"Out! I close the iron door."

Howard Hawks filmed this elegantly madcap look at actor's egos. John Barrymore, with some help from Carole Lombard, stayed upright long enough to give one more great performance on film. He's a producer with an ego bigger than the Great White Way and she's a lingere model he molds into the toast of Broadway.

Once she becomes a huge star, however, she wants to live it up rather than sit around and discuss his genius. His hilariously insane jealousy drives her to Hollywood where she becomes the biggest thing in pictures. Meanwhile, he has flop after flop but retains his volatile temperment and ego. Broke and running from creditors, he and his put upon backer Webb (Walter Connolly) take the 20th Century Limited and who should be on the train but Lily Garland (Lombard).

But she now has an ego nearly as big as his and is nearly as big a ham! The script from Ben Hecht and Charles MacArthur shines as they thrust and parry towards the inevitable. While the film does suffer just a bit from lack of a likable and normal lead character usually found in most screwball comedies, it still survives as a terrific example of the genre.

Barrymore has one last hurrah and Lombard isn't just in fabulous form, but her fabulous form is shown to breathtaking advantage as Hawks has her constantly adorned in satin evening dress or lingere. A bit detached but certainly a must see for Lombard fans. February 18, 2008

"The sorrows of life are the joys of art."

"She's marvelous, just as I thought. Fire, passion, everything," John Barrymore's maniacal producer character dramatically declares, speaking of Lily Garland (the woman played by Carole Lombard). "The gold is all there, but we must mine it." And mine it he does. That's the plot of this film---transforming "a shop girl from a talented amateur to a smashing Great White Way success adored by the public and press"---which is based on a play; and it very much feels like a play, with John Barrymore's bellowing theatrical voice seemingly reaching for imaginary balconies. One might be inclined to call Barrymore's portrayal herein over-acting; in which case, if you're so inlined toward this view, you'll rather dislike this film. But if you're a John Barrymore fan; or if you're one who relishes screwball antics (perhaps with a helping of the theatrics of a Norma Desmond playing beyond the camera) then you ought delight in this film.

"Twentieth Century" (the name of a train---which Barrymore's character utilizes to return to New York after having been run out of town in Chicago) is all Lombard and the aforementioned dramatic lead, with delicious sidekick foils played by Walter Connolly and Roscoe Karns; one of which Barrymore's Jaffe character fires three times over the proceedings herein (the first time in this manner: "I've had enough of your treachery. Get out! From now on, I close the iron door on you"). If you liked the back and forth romantic antagonism of "Bringing Up Baby," "The Awful Truth, and/or "Moonlighting," and found the performance of Walter Matthau in "The Sunshine Boys" to be rich, and eccentrically entertaining, then this film might be your cup of tea. Cheers

May 11, 2007

Seminal Screwball Classic Ages a Bit But Still Has Barrymore and Lombard in Peak Form

Master filmmaker Howard Hawks' sure hand at outrageous, character-driven farce is what maneuvers this seminal 1934 screwball comedy into its acknowledged status as a film classic. More than anything else here, he appears responsible for the transformation of Carole Lombard's screen persona from uncertain glamour girl to first-class comedy pro, as she vividly portrays Mildred Plotka, a struggling actress nurtured by Oscar Jaffe, an egomaniacal Broadway impresario. Through his Svengali-like techniques, he has changed the former Mildred into Lily Garland and a major star, but his obsessive behavior leads to her departure to Hollywood for film success and his tailspin into a series of stage flops. By chance, they are both on the Twentieth Century en route from Chicago to New York, and the frenetic plot settles into Oscar's excessive attempts to re-sign Lily to another contract. Screenwriters Ben Hecht and Charles MacArthur, already famous for their fast-talking "The Front Page", apply the same kinetic energy to this broadly theatrical farce.

Even though not all the comedy bits work (for instance, the rich asylum escapee's placing "Repent" stickers everywhere), the feverish pitch never lets up, and the cast is very game for the shenanigans. Precariously dangling himself at the edge of caricature, John Barrymore is in peak form in a ham-fisted turn as Jaffe. Whether drawing the chalk lines for Lily to follow or repeatedly caught in fake-suicide attempts, Barrymore seems to relish every moment in what was to be his last first-class starring role. On the other hand, Lombard blooms with her performance here, as she matches toe to toe with Barrymore. Their chemistry, which only hints at a romantic relationship, seems to be the prototype for all persistently contentious movie couples thereafter. Familiar character actors Roscoe Karns and Walter Connolly breezily play Jaffe's exasperated assistants. The print and audio transfers are surprisingly clean on the 2005 DVD considering the film's age. The only extras are trailers for three vintage films Sony was releasing at the same time. August 24, 2006

Barrymore! Bravo!

When one thinks of great cinematic acting performances the usual associations are with Brando in "Streetcar Named Desire" or DeNiro in "Raging Bull" or Garbo in "Camille". You know, the serious high brow kind of stuff. However another kind of brilliance can be seen in this wonderful 1934 release. It is John Barrymore positively filling the screen with an over the top -- way way over the top --portrayal of theater impresario Oscar "OJ" Jaffe in "Twentieth Century." He is a positive howl, a scream a preening drama king and -- now here's the real trick -- always within character. This is comic acting at its absolute best.
As if that weren't enough the stellar cast includes the queen of screwball comedies, the luscious Carole Lombard. Also on hand is the kind of wonderful supporting cast that typically blessed major studio productions in the 1930's, specifically Walter Connally, Roscoe Karns, Edgar Kennedy and the ubiquitous Charles Lane.
The movie begins with Jaffe guiding his latest discovery, Lily Garland (nee Mildred Plotkin) who he has plucked from obscurity, to give a great performance in her stage debut.
Garland (played by Lombard) goes on to earn great acclaim and star in several more Jaffe plays but eventually splits from him for reasons that add significantly to the film's overall hilarity. As a consequence of losing his star, Jaffe produces a series of flops and goes broke in the process. Meanwhile Garland goes on to even bigger fame in -- horrors! -- Hollywood.
Aboard a train called the Twentieth Century the two meet again and the real fun ensues as Jaffe tries to win her back.
"Twentieth Century" was blessed with the deft direction of Howard Hawks who knew a thing or twelve about directing comedies.
The DVD has no special features to speak of, but it is special enough just to watch Barrymore, a grand master at his craft, go all out. Bravo! June 27, 2006

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