La comedia de la vida

John Barrymore is in rare form in Twentieth Century (1934), Howard Hawks's hilarious, fast-paced screwball comedy. He plays flamboyant Broadway director-producer Oscar Jaffe, a man for whom the whole world is truly a stage. The always enchanting Carole Lombard co-stars as Mildred Plotka/Lily Garland. (Oscar demanded the name change because Mildred Plotka isn't nearly as glamorous sounding as Lily Garland.) Mildred, an aspiring Broadway actress, is remade by Oscar into a star of the New York stage. For three years he directs her plays, guides her career, and is her lover. But after they have a big disagreement, she takes off for Hollywood. Her career soars; his plummets. Time passes and then on board the Twentieth Century heading for Grand Central Station, they meet again. As usual in a Hawks film, the supporting cast is outstanding; and Ben Hecht and Charles MacArthur's screenplay is one of their finest.

Funny and intelligent comedy features a brilliant performance by Barrymore, spoofing his earlier "Svengali" role. He looks and acts a lot like Peter Sellars would in later similar performances; now morose, then practically jumping with energy. Lombard also turns in a right-on performance.

Here is a film where Hawks really finds his mark, because the comedic action is perfectly timed, flows nicely, and feels natural, and even includes some early Hawks "overlapping dialogue".

Hardly a dull moment, miles above its peers.

Completely over the top, silly but very funny, Twentieth Century makes the most of Carole Lombard and John Barrymore's comedic talents. This film marked the beginning of Lombard's fabulous career (tragically cut short in 1942) and the end of Barrymore's. They truly are two of the best performers that motion picture history has ever seen. I really envy Lombard's ability to laugh on cue, and Barrymore's ability to pull hilarious facial expressions.

Oscar Jaffe, (John Barrymore), a big time director, made Mildred Plotka – now named Lily Garland – a star, but HIS career is taking a battering after Lily packed up her life with him and on stage for Hollywood stardom. They accidentally meet on the Twentieth Century Limited – and hilarity ensues! There is some fantastic physical comedy here and both Barrymore and Lombard are fantastic as the overly dramatic actor/director couple who are only real "from curtain to curtain". It's a great balance of drama/comedy.

My favourite part was definitely the start. I laughed out loud when Barrymore says "Dinga-linga-ling". After seeing him in Dinner at Eight (1933), I was surprised he had THIS much talent for comedy. Carole of course is her usual perfect self. I believe neither overshadows each other. I was very impressed with both of them. However, I have not forgotten the brilliant supporting cast, with the likes of Walter Connolly, Roscoe Karns and Ralph Forbes.

Twentieth Century is a classic screwball comedy which could please the harshest of critics. Dramatic, funny but in many ways climatic. I would have enjoyed it even it had been disappointing as all the fashions were absolutely divine! Wonderful to see Hollywood's greatest actors produce such fine work together. A classic through and through.

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.

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!!