• Twentieth Century

9/27/21 (Mon)

Howard Hawks’ hilarious 1934 screwball comedy, boasting an ever-quotable script by Ben Hecht and Charles MacArthur based on their Broadway hit of two years earlier. I knew the basic story via the stage musical: a high-strung NY stage producer, down on his luck, finds himself on the same train liner from Chicago as his ex, now a big Hollywood star. He sees a golden opportunity to return to the spotlight – he just needs to create an entire play and sweet-talk her into starring in it by the time they arrive in New York. And the race is on.

The film has the usual breathless pace, screaming and exaggerated acting that characterize this genre, but it’s all done in great style. John Barrymore is in ham’s heaven as the frantic producer, laying it on even thicker than in the previous year’s Dinner at Eight. The comedy wouldn’t work without a powerhouse at its core, and it has one in Barrymore, from his constant outbursts to his hysterical threats to kill himself to his wild inspirations over his next piece as a means of winning the actress over. If an actor’s going to do this material, he has to go all the way, and Barrymore’s over-the-top approach was perfect, including great line delivery: “I never thought I should sink so low as to become an actor.” “She loves me. I could tell through that screaming.” He reportedly considered this late role the best of his career, and I can see why. He looked eerily like Kevin Klein, who did this role years later.

He’s matched in every way by Carol Lombard in the role that made her a star. She gives a fearless performance that doesn’t shy from slapping, kicking and other physical humor along with some great lines of her own: “I’m too big to be respected.” To Barrymore’s offer to make her immortal: “Thanks, I’ve decided to stay mortal – with responsible management.” Other cast members were great fun as well, especially Walter Connolly as the manager, but the show really rests on the shoulders of the main two, who do not disappoint.

The book and direction range from frantic to extremely frantic, and while not every subplot works as well as others – Lombard’s lover barely makes an impression, and the religious nut is a shaky device – the movie, like the train, moves so fast that we hardly notice. A great ride.