Twentieth Century
Directed by Howard Hawks
1934/USA
Columbia Pictures Corporation
Second Viewing
Oscar Jaffe worms his way into Lily Garland’s Heart
Theater empresario and master manipulator Oscar Jaffe (John Barrymore) discovers lingerie model Mildred Plotka (Carole Lombard), changes her name to Lily Garland, and bullies her into stardom. They become lovers but his posturing and possessiveness finally drive her away to Hollywood. They meet again on the Twentieth Century Limited, which is taking Oscar from Chicago to New York after a flop and Lily from Hollywood to New York where she has signed to work with another director. The fireworks continue on the train as Oscar seizes on Lily as his last chance to get the financing he needs to save his theater.
Oscar Jaffe: I’m offering you a last chance to become immortal.
Lily Garland, aka Mildred Plotka: Then I’ve decided to stay mortal with responsible management.
This early screwball comedy, written by Ben Hecht and Charles MacArthur, is a lot of fun. Barrymore is especially good as the totally phony and ultra-flamboyant producer. Carole Lombard starts out sane and builds to a fever pitch of diva-itis after her character becomes a Hollywood star. Roscoe Karns and Walter Connelly are excellent as Oscar’s assistants.
When we get the two characters emoting at full blast on the train, the histrionics can go straight over the top but, even in those scenes, there is the wry humor of the assistants to enjoy. Separately both Barrymore and Lombard are hilarious. I can imagine that John Barrymore had a grand time sending up theatrical producers. I loved those crazy chalk marks on the floor and the whole concept of putting on the Passion Play on Broadway complete with camels and an ibis.
Clip – “Anathema, child of Satan!
I suppose “screwball” as a genre has to grow from a seed and I could see the tentative beginnings in this one especially the extremely amusing Owen but, really IMHO that was the only character that saved this from being a dud for me and my wife. I can see what the Barrymore & Lombard characters were written to achieve but, for me, that has aged very badly, going far too long & becoming 90 minutes of shrill hammy overacting. The secondary characters are responsible for a lot of what is good in this.
A few laughs but they need dem camels cos it’s a long way between oases.
Screwball comedy can be exhausting when a director allows them to run riot. Hawks tends in that direction though I think both His Girl Friday and Bringing Up Baby are slightly less over the top. Maybe it’s the replacement of John Barrymore with Cary Grant in the lead.