Very very predictable, including the post credit scene !!!

everything you have heard about this movie is true.

A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Being the devil's advocate, I hazard to say that, as a progenitor of screwball comedy under the craftsmanship of Howard Hawks, who would in due course bring into fruition of quintessential specimens like BRINGING UP BABY (1938) and HIS GIRL Friday (1940), TWENTIETH CENTURY has lost much of its luster compared with his nearest cousin, Frank Capra's more sought-after IT HAPPENED ONE NIGHT (1934), came out in the same year, and another commonality: both movies have Walter Connolly and Roscoe Karns in the supporting cast. The plot can be boiled down to a sado-msochistic relationship between an egoist Broadway impresario Oscar Jaffe (Barrymore) and a prima-donna Lily Garland (Lombard), née Mildred Plotka, a lingerie model turns theatre star under his exclusive tutelage. While it seems that the Jaffe- Garland collaboration is synonymous with success, their relationship actually comes apart at the seams due to Oscar's ingrained controlling nature and objectification of Lily as his private property. When Lily eventually leaves him and Broadway, and subsequently becomes triumphant in Hollywood, Oscar's theatre output continues to slump sans his muse, his company is going to the wall, only two put-upon sidekicks Oliver Webb (Connolly) and Owen O'Malley (Karns) show their loyalties, both have an inclination of intemperance though, a career hazard by working for Oscar far too long. But fate reunites them and Lily on the 20th Century Limited from Chicago to New York, can Oscar win her heart back, or if that is quite a long shot, at least he can persuade her to sign a new contract with him, to halt his business downturn?Both Barrymore and Lombard chew up the scenery to the hilt and apparently wallow in their verbal tit-for-tat, but in the eyes of a new audience from the 2lst century, unfortunately Barrymore's overbearing lunacy and Lombard's sentimental tomfoolery do not chime with today's aesthetic values, there is no sympathy or empathy can be teased out, in spite of its initially charming divertissement of the duo's two-play rehearsal segment, the story begins to pall once the train journey starts. A subplot pivots around a lunatic on board (is there only one?) , Mr. Clark (Girardot), a diminutive but harmless asylum escapee, actually makes for a wackier farce than the central bawling game, it is an ominous sign for this odd satire, don't tell me it represents the hallmark of talkie in that era, that simply cannot be true!

Twentieth Century (1934)*** (out of 4)Screwball comedy has John Barrymore playing a play producer who makes a star out of Lily Garland (Carole Lombard) but she leaves him after three years of fights. Soon after she's a major star in Hollywood while he's broke and luck would have it that the two end up on the same train and he'll stop at nothing to sign her for his next play. TWENTIETH CENTURY is a film I really enjoyed, although I didn't love it as much as many people do. Perhaps this is just do to my thinking that Howard Hawks wasn't always the perfect person for comedy. Yes, I know many consider him a master of the genre but I've never fully bought into his comedy skills. With that said, there's no question that the two leads do a remarkable job with their performances and it's their work that makes this film as special as it is. I think Barrymore was downright superb in the part of the producer. Much like the director, when one thinks of Barrymore they don't think of comedy but he actually does a very good job in his over-the-top way. I really enjoyed how far out there the actor was willing to go for a laugh and I think he delivered especially with his line delivery. Lombard is also exceptionally good here and I thought she handled both sides of her character about as good as you could hope for. I really enjoyed her early scenes where she's playing the weak pre-star who is getting pushed around by Barrymore. She's also superb when it comes time for her to be the diva and give the orders. The two really do have a wonderful chemistry together and contain a spark that sets the film off. Both Roscoe Karns and Walter Connolly are also very good as is Etienne Girardot as the crazy man going around putting stickers all over the train. The dialogue is extremely fast and I thought the entire cast did a good job at delivering it. TWENTIETH CENTURY is considered a masterpiece by many and while I wouldn't go that far, there's still no question that it contains charm, laughs and two great performances.

Wow this one was a total surprise. What a fantastic treat for a quiet night of film viewing. Don't let the decade spoil you off of watching this comedy gem.Basic premise is a very talented/successful Broadway Producer finds a very untalented model turned actress. He sees something in her and decides to push her to her abilities that she doesn't know she has. He pushes and pushes and finally...she and her personality...spring to life. She becomes successful and highly praised for her performances but his grip on her is so tight...she decides she's had enough and leaves...for the dreaded...Hollywood.Fast forward a few years and many of his plays have failed miserably since she departed but a chance meeting on a New York bound train...The Twentieth Century...turns into a chance to get his career...and her...back in his life.By the end of this film you are laughing so much you forget that this was made back in 1933. Proves that old stuff can easily rival new comedies. The main point in this film is the acting performances. I can't tell you how great John Barrymore and Carole Lombard are this. He is so over the top it's hysterical. He acts his way through this like the theater trained actor that he is. Carole Lombard is so funny as the nothing turned to diva it rivals any performance she's ever done by a country mile.What you'll get in the end, if you think about it, is the characters played by Barrymore and Lombard...are one in the same. The end scene is so drop dead funny but also poetic. She fights him in the end again about how to act on the stage and when you take it into account...she's turned into him...Overly Dramatic and over the top.An absolutely wonderful film.

Roscoe Karns: "Who was it that said it's always darkest before the dawn?"John Barrymore: "I don't know who it was, but he was an ass."This is pretty much the tone of "Twentieth Century", an hilarious comedy which features Barrymore in his best comedic role, as megalomaniac theater producer Oscar Jaffe, and his equally egotistical protégé, Lily Garland, played by the lovely Carole Lombard.Cynical, sarcastic humor that Ben Hecht was quite adept at.The "Twentieth Century" refers to the train that is taking Lombard to Hollywood to make movies, after her success on Broadway due to the efforts of Oscar Jaffe, consummate ham.Barrymore, who was already drinking himself to death, gives a fine, over-the-top performance. Unlike later films, where he sadly burlesqued himself.Carole Lombard is a jewel. Her greatness was that she could look beautiful and be terribly funny at the same time. Not many actresses accomplish this, but as far as I'm concerned, she is the quintessential screwball comedy actress.The script pokes big holes in the vanity of stardom, and there is an awful lot of satire about religion included.The cast is excellent, with reliably sanguine Walter Connolly, goofy Roscoe Karns, slow-burn par excellence Edgar Kennedy and the forever old Charles Lane.I enjoy this film, as well as "Nothing Sacred" more than "My Man Godfrey". They are all three fine films, but "Nothing Sacred" and "Twentieth Century" make me laugh out loud.It's fun stuff!