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Twentieth Century

 
Movies:

Twentieth Century

  • Director: Howard Hawks
  • AMG Rating: starstarstarstar
  • Genre: Comedy
  • Movie Type: Screwball Comedy, Sophisticated Comedy
  • Themes: Actor's Life, Train Rides, All Washed Up
  • Main Cast: John Barrymore, Carole Lombard, Walter Connolly, Roscoe Karns, Etienne Girardot
  • Release Year: 1934
  • Country: US
  • Run Time: 91 minutes

Plot

Flamboyant, egomaniacal theatrical impresario Oscar Jaffe (John Barrymore) transforms chorus girl Mildred Plotka (Carole Lombard) into leading lady Lily Garland, the toast of Broadway. Once she's ascended to stardom, Mildred/Lily cannot abide Jaffe's obsessive control of her life and career. When he hires a private detective (Edgar Kennedy) to keep tabs on her, it's the last straw. Lily whisks herself off to Hollywood, where she quickly becomes a top movie star. Months pass: without his "creation" to star in his productions, Jaffe goes bankrupt. With his faithful stooges O'Malley (Roscoe Karns) and Webb (Walter Connolly) in tow, Jaffe boards the Twentieth Century Limited, one step ahead of his creditors. By an incredible coincidence, Lily is also on the Twentieth Century, accompanied by her stuffy fiance George Smith (Ralph Forbes). With near-maniacal glee, Jaffe undertakes the herculean task of signing Lily to star in his upcoming spectacular staging of "The Passion Play". Now the laughs, which have been erupting at safe intervals for the past 45 minutes, really begin to cascade, with Oscar, Lily, and a wide variety of eccentrics chasing each other around the Twentieth Century as it speeds its way from Chicago to New York. Based on the Broadway play by Ben Hecht and Charles MacArthur, Twentieth Century is "screwball comedy" at its screwiest. Director Howard Hawks once claimed that he was the first to treat his romantic leads like comedians: whether he was or not, it is true than Barrymore and Lombard deliver two of the funniest performances of the 1930s. Nearly 50 years after the release of Twentieth Century, the property was revived as a Broadway musical, On the 20th Century, starring Kevin Kline and Madeline Kahn. ~ Hal Erickson, All Movie Guide

Review

Adapted by Ben Hecht and Charles MacArthur from their Broadway play, Howard Hawks's Twentieth Century (1934) paired John Barrymore and Carole Lombard in a prickly romance that helped usher in the heyday of 1930s screwball comedy. Poking fun at his master thespian image, Barrymore's hammy Broadway impresario Oscar alternately threatens to shut "the Iron Door" on his associates or kill himself to get his way, but ultra-spirited Lombard as shopgirl-Mildred-turned-diva-Lily proves his equal in acting chops and screen strength. With most of the action confined to the eponymous train, Oscar's machinations to get the estranged Lily to star in his next show rise in hysterical pitch as the quarters get increasingly close, culminating in another Oscar death spectacle for an audience of passengers. Swiftly paced by Hawks, the rapid-fire jokes and arguments never let up, setting the standard for the genre's speed and humor. With equally superb supporting performances from Walter Connolly and Roscoe Karns, Twentieth Century became a box office hit, turning Lombard into a star comedienne and joining It Happened One Night (1934) as the prototype for the screwball genre. ~ Lucia Bozzola, All Movie Guide

Cast

Ralph Forbes - George Smith; Edgar Kennedy - McGonigle; Dale Fuller - Sadie; Billie Seward - Anita; Clifford Thompson - Lockwood; James P. Burtis - Train Conductor; Gigi Parrish - Schultz; Herman Bing - First Beard; Lynton Brent - Train Secretary; Anita Brown - Stage Show Girl; James Burke - Chicago Detective; Eddy Chandler - Cameraman; Nick Copeland - Treasurer; Pat Flaherty - Flannigan; Snow Flake; Edward Gargan - Sheriff; Clarence Geldert - Southern Colonel; Sherry Hall - Reporter; Howard Hickman - Dr. Johnson; Fred Kelsey - Detective on Train; Lee Kohlmar - Second Beard; Mary Jo Matthews - Emmy Lou; Gaylord "Steve" Pendleton - Brother in Play; George H. Reed - Uncle Remus; Harry Semels - Artist; Fred "Snowflake" Toones - Porter; Lillian West - Charwoman; Buddy Williams - Stage Actor; Charles Lane - Max Jacobs; Ted Offenbecker - Stage Carpenter; King Mojave - McGonigle's Assistant; Irene Thompson - Stage Actress

Credit

Howard Hawks - Director, Gene Havlick - Editor, Joseph H. August - Cinematographer, Howard Hawks - Producer, Edward Bernds - Sound Recordist, Ben Hecht - Screenwriter, Charles MacArthur - Screenwriter, Ben Hecht - Play Author, Charles MacArthur - Play Author, Charles Bruce Milholland - Play Author, Charles Bruce Milholland - Short Story Author

Similar Movies

Dinner at Eight; A Night at the Opera; The Palm Beach Story; Silver Streak; The Impostors
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Quotes About: Twentieth Century
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Quotes:

"The defiance of established authority, religious and secular, social and political, as a world-wide phenomenon may well one day be accounted the outstanding event of the last decade." - Hannah Arendt

"All that Swinging Sixties nonsense, we all thought it was pass? at the time." - David Bailey

"The marriage of reason and nightmare which has dominated the 20th century has given birth to an ever more ambiguous world. Across the communications landscape move the specters of sinister technologies and the dreams that money can buy. Thermonuclear weapons systems and soft drink commercials coexist in an overlit realm ruled by advertising and pseudo-events, science and pornography. Over our lives preside the great twin leitmotifs of the 20th century -- sex and paranoia." - J. G. Ballard

"As the end of the century approaches, all our culture is like the culture of flies at the beginning of winter. Having lost their agility, dreamy and demented, they turn slowly about the window in the first icy mists of morning. They give themselves a last wash and brush-up, their oscillated eyes roll, and they fall down the curtains." - Jean Baudrillard

"At no previous period has mankind been faced by a half-century which so paradoxically united violence and progress. Its greater and lesser wars and long series of major assassinations have been strangely combined with the liberation of more societies and individuals than ever before in history, and by the transformation of millions of second-class citizens -- women, workers and the members of subject races -- to a stage at which first-rate achievement is no longer inhibited even if opportunities are not yet complete." - Vera Brittain

"Our civilization survives in the complacency of cowardly or malignant minds -- a sacrifice to the vanity of aging adolescents. In 1953, excess is always a comfort, and sometimes a career." - Albert Camus

See more famous quotes about Twentieth Century

Wikipedia: Twentieth Century (film)
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Twentieth Century

theatrical poster
Directed by Howard Hawks
Produced by Howard Hawks
Written by Unproduced Play:
Charles Bruce Millholland
Play & Screenplay:
Charles MacArthur
Ben Hecht
Uncredited:
Gene Fowler
Preston Sturges
Starring John Barrymore
Carole Lombard
Music by Howard Jackson
Louis Silvers
Harry M. Woods
Cinematography Joseph H. August
Editing by Gene Havlick
Distributed by Columbia Pictures
Release date(s) May 3, 1934
(NYC premiere)
May 11 (US)
Running time 91 minutes
Country United States
Language English

Twentieth Century is a 1934 American screwball comedy film set on the 20th Century Limited train. The film was directed by Howard Hawks, stars John Barrymore and Carole Lombard, and features Walter Connolly, Roscoe Karns and Edgar Kennedy. Ben Hecht and Charles MacArthur adapted their Broadway play of the same name[1] – itself based on the unproduced play Napoleon of Broadway by Charles Bruce Millholland[2] – with uncredited contributions from Gene Fowler and Preston Sturges.

Along with Frank Capra's It Happened One Night, also released in 1934, Twentieth Century is considered to be a prototype for the screwball comedy.[3]

Contents

Plot

Larger-than-life Broadway impresario Oscar Jaffe (John Barrymore) takes an unknown lingerie model named Mildred Plotka (Carole Lombard) and makes her the star of his latest play, despite the grave misgivings of everyone else, including his two long-suffering assistants, accountant Oliver Webb (Walter Connolly) and Owen O'Malley (Roscoe Karns). Through intensive training, Oscar transforms his protegée into the actress "Lily Garland", and both she and the play are resounding successes. Over the next three years, their partnership spawns three more smash hits, and Lily is recognized as a transcendent talent.

Then Lily tries to break off their professional and personal relationship, fed up with Oscar's overpossesiveness and control of every aspect of her life. Oscar talks her out of it, promising to be more trusting and less controlling in future. Instead, he secretly hires a private detective agency run by McGonigle (Edgar Kennedy) to watch her every move, even to the point of tapping her telephone. When she finds out, it is the last straw; she leaves for Hollywood and becomes a great movie star.

Without Lily, Oscar produces flop after flop. After the latest one, he is forced to disguise himself to board the luxurious Twentieth Century Limited train travelling from Chicago to New York City's Grand Central Terminal without being thrown in jail by his creditors. By chance, Lily Garland boards the train at a later stop with her boyfriend George Smith (Ralph Forbes). Oscar sees a chance to restore his fortunes and salvage his relationship with Lily.

He schemes to get her to sign a contract with him. However, Lily wants nothing more to do with him, either professionally or romantically. She is on her way to see Oscar's rival (and former employee), Max Jacobs (Charles Lane), to star in his play. However, Oscar manages to get George to break up with her. Then Oliver thinks he has found somebody to finance Oscar's next project, fellow passenger Mathew J. Clark (Etienne Girardot), not realizing that Clark is a harmless escapee from a mental asylum. When Oscar is slightly wounded in a scuffle with Clark, he pretends to be dying and gets a distraught Lily to sign his contract. The film ends with their first rehearsal, where Oscar is his usual domineering self.

Cast

Cast notes:

  • Etienne Girardot, whose part was the little man who goes around the train sticking up "Repent!" signs, was the only actor from the original Broadway cast of Twentieth Century to appear in the film.[4] Girardot had a long career as a character actor is both silent and talking films, appearing in 76 films altogether.[5]

Production

The genesis of Twentieth Century was Napoleon of Broadway, a play by Charles Bruce Millholland about his experiences in working for the legendary and eccentric Broadway producer David Belasco.[6] His play was not produced, but it became the basis for the Hecht-MacArthur comedy, which lasted for 152 performances on Broadway, beginning on December 29, 1932,[1] and which they later adapted for the big screen.

Howard Hawks was not the first choice; Roy Del Ruth and Lewis Milestone had been set to direct before Hawks got the job. Columbia tried to get William Frawley from the Broadway cast, but instead borrowed Roscoe Karns from Paramount instead.[7]

Before Lombard was cast, Columbia boss Harry Cohn negotiated with Eugenie Leontovich, who had played the part on Broadway, and then considered Gloria Swanson and Miriam Hopkins. Other reports say that Cohn also approached Ina Claire, Tallulah Bankhead, Ruth Chatterton, Constance Bennett, Ann Harding, Kay Francis and Joan Crawford. However, Hawks believed that Lombard was a brilliant actress who had yet to be unleashed on film. He convinced a reluctant Columbia to borrow her from Paramount Studios.

During Barrymore's initial reading with her, he looked to Hawks with an expression that showed he did not believe in Hawks' intuition. The rest of the production went dryly, with Lombard staggering through one scene after another and playing the same stoic characters that she had been taught to portray. Hawks took her aside and asked her what she was being paid for the film. Lombard told him and Hawks asked her what she would do if a man said "something" about her, coming up with an example from the back of his mind. Lombard said, "I would kick him in the balls." Hawks said, "Well, Barrymore said that, so why don't you kick him?" Of course Barrymore had said nothing of the sort, but the plan worked and after Lombard yelped a few profanities, she continued through the shoot with an unforgettable vigor. For the rest of her career, before beginning a film, Lombard would always send a telegram to Hawks saying, "I'm going to kick him!"

Lombard and Barrymore became lifelong friends during filming. When Barrymore's career was declining, Lombard raised hell to get him to work on her film True Confession (1937).

Preston Sturges was hired to write the screenplay around late November 1933, but was removed from the project a week later because he hadn't made sufficient progress. Columbia then tried to get Herman Mankiewicz to write it, with Felix Young to produce.[7]

Twentieth Century – a title which Columbia considered changing because they feared that many westerners would not be familiar with the name of the train[7] – was in production from February 22 to March 24, 1934.[8]

During the filming, there were some problems with the censors at the Hays Office, who were concerned about the religious angle in the comedy of the film, and requested that it be toned down. Joseph I. Breen, who ran the Office, worried that "there will be serious difficulty in inducing an anti-Semitic public to accept a [motion picture] play produced by an industry believed to be Jewish in which the Passion Play is used for comedy purposes." The Office ultimately asked that one line be removed, which it was. They also requested that it be made less clear where Oscar jabs Lily with a pin.[7]

The film was premiered in New York on May 3, 1934 and went into general release on May 11.[9] Its success propelled Carole Lombard into the front ranks of film commediennes.[3]

Adaptations

In 1978, Cy Coleman (music), Betty Comden and Adolph Green (book and lyrics) created the musical On the Twentieth Century based on this film, the original Hecht and MacArthur play and the unpublished play by Millholland. It ran on Broadway for 460 performances,[10] and was revived for a special benefit performance in 2005.[11]

References

External links


 
 

 

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