Rent Twentieth Century (1934)

Enjoyably insane - Twentieth Century review by MS

John Barrymore is hilarious as the megalomaniac theatre director. The best bits are the most bonkers -- all the scenes from the train station disguise on. I especially enjoyed his depiction of his proposed Mary Magdelene movie -- "she'll be covered in emeralds!" "There will be camels! Elephants! Sand!" (or words to that effect).

The rest of the cast is good, too, but he is brilliant.

Proto-Screwball. - Twentieth Century review by Steve

This early Howard Hawks comedy is a landmark of the emerging screwball style of the early '30s, with the fast talking dames, the duped, disorientated male, the crazy, improbable consequences, and the slapstick visual gags- all set in contemporary urban America.  

John Barrymore plays a Broadway producer who discovers a smalltown wannabe (Carole Lombard) and turns her into a stage sensation. Enraged by her svengali's constant egotistical dominion, she flees to Hollywood and becomes a triumph, while he slumps into debt. He must win her back while they return to New York by train.  

Barrymore is just hilarious, overacting brilliantly, with his melodramatic catchphrases, like 'I lower the iron door' for when he sacks someone, which is often. Lombard gets buffeted a little in the whirlwind of his performance, but she puts up a fight in a role that would make her a big star (the final irony). The support cast doesn't stand a chance.  

It is very, very funny.  It isn't all that emotionally nourishing. But as pure comedy, it is a triumph. Preston Sturges did some work on this and his hand is very evident. It's so much fun watching Carole transform from a timid novice to an egomaniac, who almost capable of going into combat with the great impresario.

All Screech, No Chill - Twentieth Century review by griggs

Watching Twentieth Century, I expected a slick screwball classic. I came out more frazzled than smitten. John Barrymore’s deranged Broadway impresario spotting “potential” in lingerie model Mildred Plotka, renaming her Lily Garland and browbeating her into stardom is a terrific setup. He chews every bit of scenery in sight, and Carole Lombard keeps pace, shifting from nervous newcomer to full-blown diva with real sparkle – you can see why this made her a star.

The trouble is how often the film turns into a sustained shouting match. Hawks keeps things moving, but whole stretches become pure racket, the sharp lines trampled under sheer volume. The “Repent” sticker business and bad cheques gag feel like a creaky vaudeville turn that’s wandered in from another show.

By the time we’re stuck on the train with this lot, I was more worn out than delighted. The ending’s nicely sour, but it doesn’t quite make up for the headache on the way there.