Twentieth Century (1934)

The screwball comedy began in the early thirties and went out of fashion before the second world war. The Twentieth Century of 1934 is a first class screwball comedy especially written for Barrymore who fits the role like a leather glove. The style however is too smart for the general movie consumer outside of large cities like New York where there is real cosmopolitan theater. Lombard is total perfection and excellent opposite to Barrymore. They are funny and dramatic with perfect exact timing seldom seen in film today. One of Howard Hawks extremely over looked movies but will hopefully change now with a new generation. A zany comedy which barely pauses for any kind of romance but is about romance. If you are one of those who love the silver screen and crazy screwball comedy genre of the 30's this is a must.

Fmovies: As soon as this gem begins, we're dipped into great comedy. An egomanical producer (a very funny John Barrymore) takes lowly fashion model Mildred Plotka (equally funny Carole Lombard) and makes her the darling of Broadway. She rebels from his Svengali-like grasp and heads for Hollywood. Years later, Barrymore, armed with his sidekicks (tipsy Roscoe Karns and whiner Walter Connely) meet Lombard on a cross country train. During this insane adventure there's hammy Euro-trash Passion Play actors (They think "Moocher" is some sort of compliment), a kindly old religious nut (armed with repent stickers and bouncing checks) The finale verbal-physical spat of Lombard vs. Barrymore is not for the faint of heart! A Classic comedy Goldmine!!

This film represents the pinnacle of Hollywood's Golden Age. The dialogue is witty and fast-paced, the acting is perfect, and most of all you will laugh until your sides split! Carol Lombard deserves to be called the queen of comedy, and John Barrymore will surprise you, especially if your only knowledge of him was from Grand Hotel. The supporting cast is great, especially Walter Connolly as Barrymore's much-put-upon associate.

Twentieth Century fmovies. I have seen Twentieth Century several times and even quote one of the great Barrymore lines: After me, she's mousing around with that boy?

Barrymore succeeds so well in this film since he is parodying himself. He exaggerates and the voice is used like a singer who scoops the bottom and then rises an octave or two. It is great fun to hear him ham-up the lines. Lombard matches him in her own fashion and together they create a great comedy team. Unfortunately it is a one-time gag: there are just so many times an actor can parody himself without repeating or ruining any serious moments he might try in another film. (--or herself as Tallulah learned when she tried to perform "Streetcar Named Desire").

John Barrymore leads a great cast in this zany comedy of life in the theater. His performance alone is worth seeing as he proves what a gift he had for comedy. The rest of the cast is wonderful too. And if you disagree, I'll close the iron door on ya!

Howard Hawks' early foray into screwball comedy pits the wonderful pairing of John Barrymore and Carole Lombard against each other. She is Lily Garland, a Broadway actress about to break in Hollywood; he's her theatrical producer and on-off beau, desperate for her to stay. Around half of the film is taken up with them screeching at each other, leaving the supporting actors with very little to do.

There is a lot of sparkle here, great performances from the two leads, who work together just fine, and a screenplay which moves almost as fast as the train which gives the movie its title. Ten years after this was made, both Barrymore and Lombard were dead, but this stands as a fine epitaph for them together.