Director Howard Hawks, impressed by Carole Lombard acting skills in her recent movies, took a gamble by giving the biggest role to her yet in May 1934's "Twentieth Century." The twenty-six year old actress had never been placed in such a prominent part in a big-budgeted major Hollywood movie before, this playing opposite the legendary, but temperamental John Barrymore. Hawks stuck out his neck to cast her as Mildred Plotka, a lingerie model-turned-actress, despite several more popular stars wanting the part for the Columbia Pictures movie.
Thus, the director was somewhat puzzled by Lombard's lack of spark in the first few days of filming. Hawks speculated it was either through a case of the jitters or from her previous experiences playing unemotional roles that was causing her to hold back. During a break, Hawks posed a question to the actress about what she would do if she heard from others that Barrymore said something derogatory about her behind her back. Lombard replied she would kick him in the groin. "Well, Barrymore said that, so why don't you kick him?" Such backstabbing got her blood pressure up, and she tore into the bewildered Barrymore, the actor not knowing where she was coming from. From that moment on, Lombard played Mildred with the energy Hawks was expecting from her. In fact, Barrymore, who played opposite of many of the screen's most respected veteran actresses, wrote on a photograph of himself to Lombard after filming wrapped, "To the finest actress I have worked with, bar none."
"Twentieth Century" is labeled as one of film's earliest screwball comedies. Adapted from a Charles Millholland unproduced play, 'Napoleon of Broadway,' the work was based on long-time eccentric theater producer David Belasco. He's the one who gave Gladys Marie Smith her stage name, Mary Pickford, reworking the young actress' middle name while selecting her mother's maiden name. The Ben Hecht/Charles MacArthur script shows Oscar Jaffe (Barrymore) treating Mildred (Lombard) harshly during the first days of a play's rehearsal. In one controversial scene where he wants the restrained Mildred to scream, Oscar picks up a sharp pin and jabs her in the buttocks. The incoming head of the Hays Production Code Office, Joseph Breen, not yet in total control of the censor bureau, was troubled with Barrymore's action with the pin.
Hawks had shot a close-up of the pin's penetration into the buttocks, which Breen promptly excised.
Barrymore was approached by Hawks to play the quirky stage producer. The actor asked why would the director think he was a good fit for the role? "It's the story of the biggest ham on earth, and you're the biggest ham I know," said Hawks. Barrymore agreed. Once filming began, the director encouraged his two leads to ad-lib their dialogue. He recalled later, "When people are as good as those two, the idea of just sticking to lines is rather ridiculous." Despite Barrymore's problematic drinking causing delays and reshoots in his recent productions, he was more dedicated to his craft under Hawks' watchful eye. In a rare day's absence from an evening of heavy drinking, Barrymore was so distraught he offered to work for two days for free. He made suggestions in several scenes that are seen on the screen, such as his disguise as a Kentucky Colonel to sneak onto the Twentieth Century train, which at the time was the most modern and fastest train used for the Chicago-New York express.
Lombard and Hawks were aware of Columbia studio head Harry Cohn's habit of making physical passes at new actresses working on his pictures, which he did with Carole. Cohn scheduled a meeting with the director in his office on the progress of the film. While the two were in conversation with Hawks far off to one side, Lombard barged in and exclaimed "I've decided to say yes!" pretending as though the studio president was alone. With the puzzled Cohn's mouth wide open, the actress began removing some of her clothes. Then Hawks cleared his throat and said, "I'd better get out of here if this is the kind of studio you run." The flustered Cohn politely asked the two to leave. The actress never got a wayward grouping of Cohn's hands nor any free-love comments from him again.
Lombard always remembered Hawks' sneaky maneuver at the expense of Barrymore to make her a better actress. Before every movie she was appeared, she sent the director a telegram announcing "I'm going to kick him." "Twentieth Century" proved pivotal in Lombard's career, with studios offering her larger, more prominent roles while her popularity soared worldwide.
Thus, the director was somewhat puzzled by Lombard's lack of spark in the first few days of filming. Hawks speculated it was either through a case of the jitters or from her previous experiences playing unemotional roles that was causing her to hold back. During a break, Hawks posed a question to the actress about what she would do if she heard from others that Barrymore said something derogatory about her behind her back. Lombard replied she would kick him in the groin. "Well, Barrymore said that, so why don't you kick him?" Such backstabbing got her blood pressure up, and she tore into the bewildered Barrymore, the actor not knowing where she was coming from. From that moment on, Lombard played Mildred with the energy Hawks was expecting from her. In fact, Barrymore, who played opposite of many of the screen's most respected veteran actresses, wrote on a photograph of himself to Lombard after filming wrapped, "To the finest actress I have worked with, bar none."
"Twentieth Century" is labeled as one of film's earliest screwball comedies. Adapted from a Charles Millholland unproduced play, 'Napoleon of Broadway,' the work was based on long-time eccentric theater producer David Belasco. He's the one who gave Gladys Marie Smith her stage name, Mary Pickford, reworking the young actress' middle name while selecting her mother's maiden name. The Ben Hecht/Charles MacArthur script shows Oscar Jaffe (Barrymore) treating Mildred (Lombard) harshly during the first days of a play's rehearsal. In one controversial scene where he wants the restrained Mildred to scream, Oscar picks up a sharp pin and jabs her in the buttocks. The incoming head of the Hays Production Code Office, Joseph Breen, not yet in total control of the censor bureau, was troubled with Barrymore's action with the pin.
Hawks had shot a close-up of the pin's penetration into the buttocks, which Breen promptly excised.
Barrymore was approached by Hawks to play the quirky stage producer. The actor asked why would the director think he was a good fit for the role? "It's the story of the biggest ham on earth, and you're the biggest ham I know," said Hawks. Barrymore agreed. Once filming began, the director encouraged his two leads to ad-lib their dialogue. He recalled later, "When people are as good as those two, the idea of just sticking to lines is rather ridiculous." Despite Barrymore's problematic drinking causing delays and reshoots in his recent productions, he was more dedicated to his craft under Hawks' watchful eye. In a rare day's absence from an evening of heavy drinking, Barrymore was so distraught he offered to work for two days for free. He made suggestions in several scenes that are seen on the screen, such as his disguise as a Kentucky Colonel to sneak onto the Twentieth Century train, which at the time was the most modern and fastest train used for the Chicago-New York express.
Lombard and Hawks were aware of Columbia studio head Harry Cohn's habit of making physical passes at new actresses working on his pictures, which he did with Carole. Cohn scheduled a meeting with the director in his office on the progress of the film. While the two were in conversation with Hawks far off to one side, Lombard barged in and exclaimed "I've decided to say yes!" pretending as though the studio president was alone. With the puzzled Cohn's mouth wide open, the actress began removing some of her clothes. Then Hawks cleared his throat and said, "I'd better get out of here if this is the kind of studio you run." The flustered Cohn politely asked the two to leave. The actress never got a wayward grouping of Cohn's hands nor any free-love comments from him again.
Lombard always remembered Hawks' sneaky maneuver at the expense of Barrymore to make her a better actress. Before every movie she was appeared, she sent the director a telegram announcing "I'm going to kick him." "Twentieth Century" proved pivotal in Lombard's career, with studios offering her larger, more prominent roles while her popularity soared worldwide.