Presumably in preparing for the role of Oscar Jaffe Jack Barrymore immersed himself in Charles Laughton, Donald Wolfit and Al Jolson and then multiplied the result by ten thus emerging as a ham's ham. The difference is, of course, that Barrymore was creating a character whilst his role models were merely being themselves. Whatever, this is a bravura performance, arguably the last great performance from a Titan who, momentarily, arrested his descent into pygmyhood for one last hurrah. Though he has the benefit of a fine screenplay, fine direction and admirable co-actors this is a classy, stylish one-man band brushing aside the symphony and philharmonic orchestras of minor cities. With no superlatives worthy of describing Barrymore's Master-Class we are free to admire the support of Carole Lombard, Walter Connolly, Roscoe Kearns and Charles Lane, and nod to one of the earliest examples of Screwball Comedy. Impossible to derail.

Bombastic Broadway producer John Barrymore (as Oscar "OJ" Jaffe) turns untalented underwear model Carole Lombard (as Mildred Plotka) into a star actress, then takes her to bed. After getting too big for her britches, Ms. Lombard (as Lily Garland) leaves Mr. Barrymore and makes it bigger. When Barrymore's career falters, he plots to get Lombard back. It happens in madcap fashion, aboard the "Twentieth Century" train...This is a classic "art imitates life" plot, very well adapted by Ben Hecht and Charles MacArthur. Barrymore delivers one of his finest late career performances; certainly, it helps that the role seems tailor made for the star. Lombard increased her worth considerably and Howard Hawks directs it skillfully. They receive wonderful support from the crew at Columbia. Surprisingly, this film was not a big favorite with organizations giving out awards in the 1930s. Although Barrymore was often great, many in the film industry did not think he was trying and considered his stage performances the real Barrymore. However, the actor had long ago mastered the different ways to present his theatrics on film. This characterization was worthy of a "Best Actor" nomination – they would have called it, "An Oscar for his Oscar." In hindsight, "Twentieth Century" looks increasingly like it was - one of the best.********* Twentieth Century (5/3/34) Howard Hawks ~ John Barrymore, Carole Lombard, Walter Connolly, Roscoe Karns

John Barrymore appears on screen under an ostensibly ego-centric persona. It's Oscar Jaffe's Oscar Jaffe by Oscar Jaffe in the Oscar Jaffe theater, so it's suffice to say he thinks highly of his craft... until he meets his match with Lily Garland (once Mildred Plotka), a tender actress who just wants to act and shows passion in one moment of desperation that floors him. But Barrymore takes this character, and the subsequent ups and downs (mostly eccentric and crazy downs) he has with Carole Lombard and makes it something special. He claws his fingers and widens his eyes and curves and does maniacal things with his eyebrows, sometimes carrying a cane or a black cloak or at "the end of his rope" with a gun. He's like Count Dracula, Norma Desmond and a villain out of a comic-book all rolled into one devilishly clever and diabolical and wonderfully nutty package.This also means that Howard Hawks's film, a very good if not great comedy on the theater biz and BIG personalities that feed off one another whether they love it or despite it, gets a boost from Barrymore's performance. Make that a BIG boost, so much so that even Carole Lombard, who isn't any kind of slow-poke as far as whipping from one over-the-top emotion or another, can't keep up with how incredible a performance it is. It fills up the screen in every frame and almost threatens to come off the screen and take a few audience members as hostages. Oscar Jaffe is called everything from a phony and fake to a weasel and horror, more or less, and it's all deserved. But one thing he isn't is disingenuous, which makes him always compelling on screen. Some of his actions on the train of the movie's title goes almost TOO far, which is part of the point and some of Hawks's brilliance here.Trying to edge it back and it wouldn't work, and go any further (which sometimes, like the argument scene with the kicking from Lombard) and it goes into feverish melodrama. As it stands Hawks controls his stars just enough, and gets some inspired bits from supporting players like the guy compulsively posting stickers everywhere on the train and writing bad checks, and at worst it's maybe a bit stagy. At best it's inspired and genre-defining lunacy where all you can do at the end is roll your eyes at the characters' shenanigans and know they deserve each other. Which works for us, since we wouldn't want it any other way.

As far as comedies go, this film isn't anything special. What is special is John Barrymore. As many other reviewers have noted, his performance in Twentieth Century is just brilliant.There were some parts of this film that weren't that interesting to me, but I was transfixed by Barrymore. Yes, his performance as Oscar Jaffe is over the top, but that's precisely the point.Carole Lombard doesn't quite keep up with Barrymore (who can?), but her performance is also excellent. She may not keep up with the master, but she's certainly not overshadowed.While I thought the storyline of this movie was pretty run of the mill, it was the performances by Barrymore and Lombard that make it something special. Fans of classic movies should see this movie simply to see John Barrymore at his best.