People are voting emotionally.

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

My husband and I sat through this last night on TCM. We should have been warned by the lead-in, where Robert Osborne issued a list all the positive words in his vocabulary, and Drew Barrymore mewled for five minutes over how much she missed, or loved, or whatever her grandfather, John Barrymore. Neither one said anything very specific about the movie. Just that it was a great great treasure, yada, yada, yada.Rather than a great anything, it's one of those grossly-overrated 'comedies' written by two guys the cultural gatekeepers worship: Charles McArthur and Ben Hecht. Their idea of comedy was to keep people running around, yelling as loud as their lungs will permit. Maybe people found that hilarious in 1934. The plot has John Barrymore as an impossible theatre producer (gee, that's something new) and Carole Lombard as a clueless would-be actress, who flourishes under his tutelage, even to the point of dumping him and becoming a star in Hollywood.Then she hates him, and he needs money, they both accidentally show up on the same train, and amazingly, no one else on the train complains about the endless screaming of Lombard, Barrymore, and the pool of supporting players.The only redeeming thing about this movie is that it shows John Barrymore really was a good actor, and not one of those talent-free critics' darlings so many of his contemporaries were.What he could have done with a far FAR better script is a tragic missed opportunity.

John Barrymore in Twentieth Century. Simply put. Every once in a while I may stumble upon a screen performance which leaves an indelible impression, brings me new levels of respect towards a performer and to even write a review. That's the effect John Barrymore's tour de force had on me in Twentieth Century. Barrymore is an absolute beast as the ego maniac Oscar Jaffe delivering one of my favourite film performances ever. Barrymore had earned the reputation of being a ham actor although that's perhaps the nasty way of putting it. Theatrical style acting may seem outdated and laughable to many nowadays but it is a style onto itself. When Barrymore asked director Howard Hawks why he should play the role of Oscar Hawks replied "It's the story of the biggest ham on Earth and you're the biggest ham I know". The film even foreshadowed Barrymore's own future as he himself became a washed up actor in the final years of his life like how the character of Oscar Jaffe becomes a shadow of his former shelf. Really has there ever be a more impassioned performance which is hammed up to 11 than this. Barrymore doesn't just chew the scenery in every scene he is in, he devours it like a ravenous dog; he's the definitive representation of the angry stage director stereotype. Just look at his breakdown scene when his Tribley leaves him for Hollywood, one of the greatest displays of histrionic acting poweress. Oscar Jaffe really is a fascinating character. It isn't just enough for him to tell an employee of his theater that they have been fired, he has to tell them in the most melodramatic fashion "I close the iron door on you!", or what about his constant comparisons to his present occurrences to scenes from famous plays or historical events. Half of what this man says is more melodramatic than Charlton Heston and William Shatner combined. Barrymore was known as The Great Profile and rightfully so; talk about an enigmatic screen presence.The sheer energy between Barrymore and Carole Lombard is incredible in this ultimate battle of the egos; both of these two performers cross that line in comedy of playing hateful, selfish, disciple characters you can't help but love. Carole Lombard herself has an endearing, childlike quality to her, getting overly emotional when Jaffe insults her acting ability; appropriate though since much of the film is two adults acting like children. The first portion of the film is comprised of a stage rehearsal, showcasing an impressive display of actors playing actors giving bad performances with Jaffe insulting them at every turn ("The old south does not yodel") but it's the film's second half in which things really get crazy, taking place onboard the Twentieth Century Limited. When I first watched the film I found the subplot with the religious fanatic to feel out of place at first but trust me when I say the payoff is worth it. Twentieth Century is very screamy and very shoutey but there are many little subtle touches such as the establishing shot at the start of the film of a poster advertising the Jaffe theater (showcasing the man's insane ego); possibly the funniest establishing shot I've ever seen. Also keep an ear out for several references to Svengali, adapted to film in 1931 also starring John Barrymore. I also must give a shout out to Mary Jo Mathews, the actress who plays Valerie Whitehouse. She only has several lines in the entire film yet I'm intrigued by her; she appears to have star quality to her.Along with It Happened One Night released the same year, Twentieth Century movie marks the birth the screwball comedy. I can never get enough of these films, they're incredibly addictive and they always leave me with the feeling of wanting more. I don't like to be labeled as one of those "they don't make 'em like they used to" people actually who am I kidding, of course I do.

one of the gems, like ninotchka, thin man, glorious black and white, hotel rooms and offices the size of milwaukee, intelligent, witty writing, crisp directing, good to great acting, and only a 9 because it's not about anything particularly important; it's entertainment, with brilliant lombard gradually growing in every way more like her bamboozling impresario; this is the one that put her star up forever, though her role in my man godfrey is hard to beat; B characters all solid, and the brilliant profile, though hard to beat his dinner at eight- yes, the drunk gets a bit weary, but the slow, silent suicide is impeccable; open some champers and have fun watching

Broadway director Oscar Jaffe has found a new talent to his play.This woman, a lingerie model called Mildred Plotka doesn't seem to know how to act.So Mr. Jaffe only has to have some patience and teach her.She has re-named her Lily Garland and he uses a pin to make her scream.And soon she is a great actress, and Jaffe is in love with her.But he becomes too jealous and they break up.Then we are in a train called Twentieth Century and he tries to win her back.This is some great comedy from the sound era, and you really can hear it.The actors really SPEAK their lines.John Barrymore sure does make himself heard as Oscar Jaffe.He is over-dramatic in every word that comes out of his mouth.Then there's the lovely Carole Lombard, who doesn't keep quiet as Lily Garland.In my country, Finland this movie is a real rarity.Before last Sunday (Oct 11) it was shown in 1971.I'm glad I saw this early screwball comedy.The passion play thing is funny.The religious nut plasters the train with religious stickers and claims to finance the play.Step on this train with lots of laughs.