The story of trench life during World War I through the lives of a French regiment. As men are killed and replaced jaunty Lt. Denet becomes more and more somber. His rival for the affection of nurse Monique is Capt. La Roche.
War veteran pilots Dizzy Davis, Texas Clark and Jake Lee are working in an airline in Newark. Dizzy is flirting with the girlfriend of a younger pilot and, due to this, he feigns illness to... See full summary »
A newspaper man, his ignored fiancée, and his former employee, a down on his luck reporter, hatch an elaborate scheme to turn a false news story into the truth in order to prevent a high-society woman from suing for libel.
Broadway director Oscar Jaffe (John Barrymore) is a bigger ham than most actors, but through sheer drive and talent he is able to build a successful career. When one of his discoveries, Lily Garland (Carole Lombard), rises to stardom and heeds the call of Hollywood, Oscar begins a career slide. He hits the skids and seems on his way out, until he chances to meet Lily again, on a train ride aboard the Twentieth Century Limited. Oscar pulls out all the stops to re-sign his former star, but it's a battle... because Lily, who is as temperamental as Oscar is, wants to have nothing to do with her former mentor.Written by
Dan Navarro <firstname.lastname@example.org>
Although a November 16, 1933 Hollywood Reporter news item noted that Gregory Ratoff was signed for the role he had enacted on the stage, he was not in the original Broadway production nor the finished film. See more »
When Jaffe takes over direction, he addresses Lily by her new name and she responds, even though she hasn't heard it before. This gap was caused by the deletion of a brief scene in which O'Malley informs her that Jaffe has changed her name. See more »
Lily Garland, aka Mildred Plotka:
All those opera tenors, acrobats, that Italian bicycle rider I told you about... they're all lies. The only man in my life was that cavalier in there. Oscar Jaffe.
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Howard Hawks' early foray into screwball comedy pits the wonderful pairing of John Barrymore and Carole Lombard against each other. She is Lily Garland, a Broadway actress about to break in Hollywood; he's her theatrical producer and on-off beau, desperate for her to stay. Around half of the film is taken up with them screeching at each other, leaving the supporting actors with very little to do.
There is a lot of sparkle here, great performances from the two leads, who work together just fine, and a screenplay which moves almost as fast as the train which gives the movie its title. Ten years after this was made, both Barrymore and Lombard were dead, but this stands as a fine epitaph for them together.
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