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Twentieth Century (1934)
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Reviews Counted:23
Fresh:21
Rotten:2
Average Rating:7.9/10
Synopsis: In TWENTIETH CENTURY, Oscar Jaffe (John Barrymore), a temperamental Broadway producer with a history of success and an ego to match, turns his tyrannical energies on young starlet Mildred Plotka... In TWENTIETH CENTURY, Oscar Jaffe (John Barrymore), a temperamental Broadway producer with a history of success and an ego to match, turns his tyrannical energies on young starlet Mildred Plotka (Carole Lombard). Before long she's renamed Lily Garland and has become the toast of the town, amid a tempestuous romantic relationship with Jaffe. Years and several successful plays later, Lily leaves for Hollywood, and Jaffe's plays begin to flop. After a disastrous show in Chicago, Jaffe encounters Lily on a train and tries everything to get her to return to Broadway, but Lily doesn't want anything to do with her former mentor. A dazzling showcase for the skills of Barrymore and Lombard and one of the first screwball comedies, TWENTIETH CENTURY boasts rapid-fire dialogue, entertainingly oddball supporting characters, and terrific writing. The film is adapted from the Hecht-MacArthur play NAPOLEON OF BROADWAY, which is based loosely on the life of producer David Merrick. [More]
Starring: John Barrymore, Carole Lombard, Walter Connolly, Roscoe Karns
Starring: John Barrymore, Carole Lombard, Walter Connolly, Roscoe Karns, Etienne Girardot, Ralph Forbes, Edgar Kennedy, Dale Fuller, Charles Lane
Director: Howard Hawks
Director: Howard Hawks
Producer: Howard Hawks
Screenwriter: Charles MacArthur, Ben Hecht
Reviews for Twentieth Century
[Howard Hawks'] mix of frantic pacing, whiplash shifts in tone and devil-may-care direction of glamorous stars in wacky parts launched the defining comedy genre of the thirties.
One of the sharpest ever comedy film scripts is turned in by Charles MacArthur and Ben Hecht.
Often credited as the first screwball comedy… an acerbic satire of show-business ego and superficiality.
Classic screwball romance between overbearing Broadway producer and his gorgeous but empty headed protege
Funny, but it gets too repetitious in the last act and slowly crumbles into the relatively obscure minor work it has become today.
Less a backstage farce than prototypical screwball, Howard Hawks’ brilliantly funny Twentieth Century set the stage for the subgenre that most consider the peak of American screen humor.
Casually reverses and undermines its frumpy thesis by validating the effortlessly supple benefits of the seventh art.
Hawks was gifted above all at this kind of fast-paced farce, and somehow made it work without the aid of padding or rest periods.
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