Carole Lombard - Twentieth Century - What Goes Good With Ham?

This is my contribution to the Carole-tennial (Plus 3) blogathon, sponsored by Carole and Company from October 6-9. Click here to view the 4-day day all-about-Carole roll call!

Ham and Applesauce - great together!

"Since most hams are a bit salty even after soaking /scrubbing / roasting, I'd go with a couple of slightly sweet (naturally that is) dishes and at least one tart and one somewhere in the middle."  - Googled reply to the question "What goes good with ham?"

Sharing the screen with the world's biggest soaked, scrubbed and roasted ham (otherwise known as John Barrymore) is no easy feat, especially when the salty old ham rallied to the top of his main course form. But side dishes can be a great compliment to the main course, as in the case of naturally slightly sweet and tart Carole Lombard in 1934's "Twentieth Century."

Since most hams are hogs, the great JB does tend to overpower the proceedings. But little Carole, in her first great comedic role after years of thankless glamour-puss and boring leading-lady roles, takes a page from the master, asserts herself right into the center of things and gives the old boy a real run for his money. And like the old thoroughbred he is, he ups his game to the finish line.

The Story

The film, written by Ben Hecht and Charles MacArthur and directed by Howard Hawks, tells the story of Broadway producer/director/impresario Oscar "OJ" Jaffe, a Belasco-like egomaniac of epic proportions. As a sly reference to Barrymore's earlier hit, "Svengali," Oscar takes a no-talent little model named Mildred Plotka (Carole) and, through sheer will and ego, proves that he can transform a Plotka into a Lily Garland, great star of the stage. Turns out, she is a willing subject. Their association starts off well, with OJ and Lily making hit after hit, as well as love. However, as her fame and ego grows, Lily tires of OJ's possessive and domineering ways. She breaks free from him and becomes a great movie star. Meanwhile, OJ flounders without her and hits the skids. What is a megalomaniac to do?


Luckily for Oscar and the audience, he and Lily end up on the same train, the Twentieth Century Limited traveling from Chicago to New York. OJ sees this as his last chance to get into Lily's good graces and use her fame for another hit show. Mayhem and madness and mirth ensue, Oscar gets his way (through outrageous duplicity) and Lily is once again on Broadway, appearing in an Oscar Jaffe production.

Making Love and Making War

I love the chemistry between Lombard and Barrymore in this film. They make love and war with equal passion. They are both flamboyant, dramatic divas who blur the lines between heat and hate. Carole's Lily squeals, kicks, bites, claws, and coos, while JB's OJ declares his love and peddles his lies and double-dealing shenanigans with an equally grandiose sweep of the hand and piercing gaze. She's a sentimental and self-absorbed mess and he is as slippery and slimy as a gallon of snake oil. Boy, are they fun!

Favorite Scenes

Barrymore and Carole's scene where he describes how he will star her in a Broadway version of the Passion Play is hysterical. "Sand from the holy land!" She almost buys it, but not quite.


Carole telling her dull-as-dishwater boyfriend George Smith (Ralph Forbes) that she is too good for him:


George Smith: And you wanted my respect!
Lily Garland: Who cares about respect? I'm too big to be respected! The men I've known have understood that.
George Smith: Men you've known? Jaffe, you mean.
Lily Garland: Yes, Jaffe. He'll tell you what I am: a first-class passenger entitled to privileges! 
George Smith: oh, and artist!
Lily Garland: You're darn tootin' I am!


She pulls out all of the stops, but he has already left the room. All that drama and no audience!


My favorite scene is the one where Oscar pretends to be dying and connives Lily into signing a contract. He is over the top nutty, adorable, flamboyant and hysterical. It's really his scene, but Carole matches him in her overblown histrionics and utter outrage when she finds out he'll live.

Comments from Her Director and Co-Star

Howard Hawks, Carole and JB

Howard Hawks: "Marvelous girl. Crazy as a bedbug."
John Barrymore: "She is perhaps the greatest actress I ever worked with." Imagine JOHN BARRYMORE saying that!
I think Carole Lombard appreciated both sentiments!

Afterward: One Door Closing, Another Opening

While Barrymore was in the throes of his long decline, he still had a few more aces up his sleeve and this film brought out his best. Carole, on the other hand, stood on the threshold of a great career. This film proved her talent and that she was the genuine article - a star.

The Details

Twentieth Century (1934) - Columbia Pictures
Director: Howard Hawks
Producer: Howard Hawks
Writers: Charles MacArthur, Ben Hecht (Uncredited: Gene Fowler, Preston Sturges); based on an unproduced play ("Napoleon of Broadway") written by Charles Bruce Millholland
Starring: John Barrymore, Carole Lombard, Walter Connolly, Roscoe Karns, Ralph Forbes, Charles Lane, Edgar Kennedy


The supporting cast is superlative. They lend perfect comedic support and make the 2 stars shine even brighter. There is a lot of yelling in this film, which sometimes makes me edgy, but it is all done in such high spirits and fun that I am truly sorry when that train finally pulls into the station.