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"Bombshell" does for the Hollywood of the 1930s what "The Player" does for the Hollywood of the 1990s. It's quite interesting to see how well established the Hollywood System was already in the early 1930s when this film was made. Already at that time the film world was centered on stars, studios, and a sycophantic support network that was focused on a false facades and phoniness. There are plenty of hilarious scenes in "Bombshell" sending up the studio system in a way that I found quite surprising given the year (1933) that this film was produced. It seems to present a sensibility - sarcastic, witty, honest - that I don't usually associate with the Golden Age of Hollywood. So many jokes about alcohol and drunkenness! "Bombshell" makes "The Thin Man" seem like an advertisement for AA by comparison.

Good supporting cast - nice to see Frank Morgan (aka the Wizard of Oz) as the inebriated father of star Jean Harlow. Lee Tracy is completely convincing as the smooth-talking oily agent who harbors a secret passion for his client. But what really makes "Bombshell" work - and which explains why I rate it at 8 out is 10 - is the tremendously self-effacing performance of Jean Harlow. She's just terrific!

Jean Harlow shines as a movie sex starlet who's tired of all the negative publicity drummed up by her studio's publicist (Tracy) to promote her career. she wants to adopt a baby and play "respectable" roles, but society's mavens continually reject her (this "picture girl") and everything she tries to do for herself is thwarted by Tracy, who (more or less) secretly loves her. Very funny and well directed by Fleming, not slapstick as some claim, but more like Hawks/Sturges/Wilder style "screwball."

Bombshell is one hysterically funny screwball comedy about a movie star played by Jean Harlow, bearing no small resemblance to the real Jean Harlow. Contemporaries of Jean have testified to her wonderful sense of humor and I'm sure she saw the ironies in this film tied to her own life where she too dealt with family hangers-on.

Jean lives with and supports father Frank Morgan, sister Una Merkel, and brother Ted Healy all on her salary as a film star. Being the reigning sex symbol of the screen, she's got men lining up who are interested in her. Those include director Pat O'Brien, playboy Franchot Tone, and no account phony count Ivan Lebedeff and studio press agent Lee Tracy who is relentless in his quest for publicity for Harlow. She's even got some wackadoo played by Billy Dooley who is stalking her claiming to be her real husband. That was actually kind of over the top, we've seen too many stories about people stalking celebrities, that gag did not go over, especially nowadays.

Out of this whole lot, you'll have to figure out who she might get and in my opinion though the deck is clearly stacked towards one of them, for myself I don't think it would have been Jean's lot to have found happiness with any of them.

MGM put a great cast of identifiable character players to support Jean and they make this a most enjoyable film. Yet knowing what we know about Harlow's real life and the leeches she actually did have in it, there is an air of sadness for me permeating the film. Still it's a great example of why Jean Harlow was the star and sex symbol she was back in those Depression days.

In the mid '30's, Myrna Loy penned (ostensibly) an article for Photoplay titled, "So You Want To Be A Movie Star," which went into grim detail about the grind that is the real life of a star studio player both on and off the soundstage. BOMBSHELL takes this conceit and runs with it as brilliant and lacerating satire.

Jean Harlow is at her best as Lola Burns, the at-once pampered and put-upon star in question. Depicted are the constant demands for Lola's attention, time, energy and money, and the film has fun with all of it, from fatuous fan-mag interviews and staged photo ops to Hollywood politics and trouble with household and studio staff. Though awakened at the crack of dawn, Lola gets breakfast in bed - but with sauerkraut juice instead of orange juice. "There are are no oranges," apologizes the butler, to which Lola retorts, "No oranges?! This is California, man!" Before she's even out of her boudoir, Lola's had to contend with the pandemonium created by last-minute schedule changes, fussing and bickering from hair and makeup people and the inconvenient attention of her outsized dog. Finally ready to leave the house, she laments, "Well, here goes for another day; 7:00 AM and I'm already dead on my feet!"

Also driving Lola to distraction with his constant headline-grabbing stunts is the scheming studio publicity director played by the irrepressible Lee Tracy, who always gave co-stars a run for their money when it came to on-screen dominance. Harlow more than holds her own with him.

Appearing in able support are reliable players such as Franchot Tone as an apparently blue-blooded suitor unaware of Lola's fame, Pat O'Brien as her understanding director, Una Merkel as a less-than-reliable personal assistant and Louise Beavers as maid Loretta, who is deferential to Lola but takes no prisoners otherwise (responding to Merkel's early-morning crabbiness, she warns, "Don't scald me wit'cher steam, woman...I knows where the bodies is buried!"). As Lola's bombastic father and ne'er-do-well brother, respectively, the usually-lovable Frank Morgan and the never-lovable Ted Healy are ultimately rather tiresome, but that's what their roles require.

In a good-natured way, the film throws in some weirdly biographical elements of Harlow's real life, in which she coped with familial hangers-on in the persons of her domineering stage mother and somewhat sleazy stepfather, and Lola's reference to her palatial home as a "half paid-for car barn" is reported to have been uttered by Harlow herself about her own ostentatious digs. There's even a scene depicting Lola doing retakes on "Red Dust," a hit for Harlow the prior year.

In addition to snappy dialog and a mile-a-minute pace, the picture is enjoyable for its time-capsule look at the Ambassador Hotel and Coconut Grove in their heyday, as well as the grounds of the MGM lot itself, all used as locations.

Although bordering on farce at times (but in a good way), BOMBSHELL gives the impression of an only slightly exaggerated look at what the "real" life of a top-name contract player might have been like at the height of the studio system, with Harlow giving perhaps her most genuine (and least mannered) comic performance.

I missed the first half of the film on TCM but saw enough to follow the story and enjoyed what I did watch--in fact, so much so that I'll have to catch the whole film next time.

JEAN HARLOW seemed to be at the peak of her career as a blonde bombshell, just as she is in this story--and hating every moment of it. Seems she wants desperately to get away from the studio manipulations and particularly those of her ruthless press agent LEE TRACY.

MGM obviously believed enough in the story to surround Harlow with some first-rate performers including Frank Morgan as her whiskey loving father and Franchot Tone as an amorous suitor who declares he wants to "run barefoot through her hair".

It's a witty script and there's a bit of a surprise to the ending. All in all, a delightful romp for Harlow and surely her fans will appreciate her comic flair in this one.

Lola Burns is Hollywood's greatest Blonde BOMBSHELL - but her life is a chaotic wreck thanks to eccentric relatives, sassy staff and studio publicity director Space Hanlon.

Jean Harlow & Lee Tracy are wonderfully matched in this pre-Code Comedy, one of the funniest films of the 1930's, and another proof - if one was needed - that Hollywood had an endless appetite for self-ridicule. With her platinum hair and couturier's parade of billowy fashions, Harlow is still essentially playing a parody of her own unhappy private life. Her constant high-decibel groans of complaint as to her celebrity's misuse at the hands of those closest to her have the ring of veracity. And no one gives her greater grief than Tracy, who is determined to wring every last drop of publicity out of her, even if his meddling in her personal life drives her insane. Immovable object meets irresistible force. Result: laughter.

A most impressive gathering of character actors appear in the supporting cast: sturdy Pat O'Brien as Harlow's director pal; delightful Frank Morgan as her dyspeptic father; Ted Healy as her shiftless brother; Una Merkel as her conniving secretary; and Louise Beavers as Harlow's plain talking maid.

Franchot Tone adds a touch of class to the proceedings as a sophisticated fellow who takes a shine to Harlow; Mary Forbes & marvelous old Sir C. Aubrey Smith are his wealthy parents. Ivan Lebedeff gives some laughs as a penniless marquis who is happy to live off of Harlow's money.

Movie mavens will recognize boxing champ Primo Carnera in the opening montage; Greta Meyer as Harlow's masseuse; Gus Arnheim as the Coconut Grove band leader; Ethel Griffies as one of the orphanage representatives; and Billy Dooley as the lunatic who claims Harlow is his wife - all uncredited.

Although the action takes place in the imaginary Monarch Studios, all the real stars & films mentioned are pure MGM.

This was one of five films Lee Tracy made for MGM in 1933 (CLEAR ALL WIRES!, THE NUISANCE, TURN BACK THE CLOCK, DINNER AT EIGHT, BOMBSHELL), and arguably the best role of his career. It was certainly the culmination of nearly all the other roles he'd had over the past couple of years in various studios, where he'd perfected the depiction of shyster lawyers, unscrupulous talent agents, snoopy reporters & disreputable gossip columnists. There is certainly no telling how far he might have gone with MGM, but his career literally went south in 1934 after a few moments of drunken indiscretion. While in Mexico for location shooting for VIVA VILLA!, Tracy stepped out onto his hotel balcony and urinated on a passing military parade. He was immediately arrested and deported from the country. Embarrassed & furious, Louis B. Mayer fired him instantly from MGM. With only the smaller studios willing to hire him, Tracy's film career largely slipped into obscurity. Years later, no longer young, he did some television work. He had a short comeback, of sorts, in 1964, when he was nominated for a Supporting Actor Oscar for THE BEST MAN. This was to be his cinematic swan song; old and tired, he no longer resembled the hot shot who delighted audiences in the early 1930's. Lee Tracy died in 1968 of cancer, at the age of 70.

I hadn't before watched a Jean Harlow film but will certainly do so again after watching this early hit of hers. She's by far the best thing in this madcap comedy helmed by the future director of "Gone With The Wind" Victor Fleming. She plays the title role, namely Lola Burns, a recently successful glamour-puss actress, who is very much at the centre of a fawning and parasitical entourage taking in her gee-gee loving father, spendthrift brother, plain-Jane sister, a non-stop agent, always looking for an angle, a tough-talking movie director who may or may not be based on the reportedly virile and tough-talking Fleming himself and last and definitely least, a demented male stalker who wants her to marry him.

Directed at breakneck speed with rapid-fire dialogue to boot, the farcical situations just pile up for Lola until she finally decides to walk away from the whole shebang, with harsh words for pretty much everyone around her. She hides herself away, or so she thinks, at a private holiday resort out in the desert, where she's rescued from her indefatigable mad suitor by a dashingly handsome gentleman, who announces himself as coming from blue-chip Bostonian stock and money and who later in the evening proposes to her. Is this the fortuitous happy ending for which she's been hoping and her big chance to stop the world and get off, well let's say there's a twist in the tale and leave it at that.

I must admit that I found most of Harlow's hangers-on to be downright irritating especially Frank Morgan as her dipso-gambler father and Lee Tracy as her incessant press agent "Space" Hanlon so that by the end I actually felt sorry for Lola as she's put back in her box so that her exploitation can continue and the gravy train get back on track. The real life irony of course was that Harlow was herself thrust into the limelight by her own mother who from what I've read took a sizeable cut of her prize daughter's earnings as well as taking a major part in influencing her career.

Whether this background informed Harlow's performance only she would know but she's certainly head and shoulders above the rest of the cast here and likewise rises above the hackneyed and at times demeaning material with which she has to work.

Sure at time she delivers her lines as if she's just been handed them but her energy, vitality and yes, sex-appeal are what make this movie watchable if only barely tolerable.

I would call "The Bombshell" (UK: "The Blonde Bombshell") Jean Harlow's funniest comedy. She exhibits enormous acting range, from emotional anguish to maternal care to melting passion, all in the service of farce. The movie's frenetic dialogue and propulsive urgency also make athletic use of Lee Tracy, the fastest talking lead actor on the screen.

In "Platinum Blonde" (1931) Harlow somewhat stiffly embodies genteel sex in service of a comedy. By 1933's "Dinner At Eight" she stands her own paired with two mighty talents. She spars lustily with Wallace Beery, a Falstaffian scene-seizer. Her lines as straight woman to Marie Dressler could not be more exquisitely rendered.

To an extent Lola Burns in "The Bombshell" spoofs Harlow's own career and image. Her character even does a retake of the rain barrel scene from "Red Dust" (1932), a picture which had Harlow sunnily portraying a good-time girl along the Malay rivers. More broadly, she helps satirize an entire merciless industry which could cruelly grind up creative personnel's egos, private lives, and sanity.

Yet, we don't have the corrosive movie-biz self-criticism of "What Price Hollywood?" (1932) or its "A Star Is Born" descendants. For all the muck it rakes up about the studio system, this remains a fun picture, a supremely good time, and a roisterous showcase for a talented star who died far too soon.

Marilyn Monroe had wanted to play Harlow in a biopic. Both luminous women left impressive, abbreviated legacies.

Hysterical comedy with Jean Harlow playing Lola Burns--an actress being driven crazy by her dysfunctional family and her overzealous publicity man (Lee Tracy).

VERY quick, very risque (this was pre-Code) and very funny spoof/satire on Hollywood, the studios and the stars. One liners fly fast and furious and the film almost never stops for breath.

Harlow is just incredible--she's sexy, funny and one hell of an actress! She carries the whole picture on her shoulders. She's matched by Tracy who plays the role of a slimy publicity man to perfection. Frank Morgan and Franchot Tone offer great comedic support also (especially Tone with his "romantic" lines).

Basically this is a true classic comedy. It deserves a lot more recognition than it gets. It's also a chance to see Harlow in her prime--she was an incredible actress who died tragically at a very young age.

This is an absolute must-see. Don't miss it!

The story isn't bad, although the script is a bit flimsy, but the movie would have benefited from some toning down of the performances. Clearly the director wanted everyone to yell at each other even when it made no sense in the scene. My biggest complaint is the lack of any negative consequences at the end. Shouldn't Space have ended up out of a job, along with Mac? It's a comedy, right? Are we really supposed to accept the Hanlon character as anything but human garbage? It plays more like a sad drama in which the main, likable character is duped by others and finds out that life is miserable and it's never going to change.

Other reviewers have noted how closely this story comes to Jean Harlow's real life. Not so much the nightlife as her personal life with a highly dysfunctional family. I also was surprised, as were a couple of other reviewers, at Hollywood's seeming transparency in the making of this film. If nothing else, "Bombshell" is a scathing exposé of the hype and hoopla that the movie studios used to promote their stars. They even manufactured gossip and scandals to make the news and keep the stars in the limelight. But the limelight began to sour from some scandals, and the movie industry began to back away from and even cover up such publicity - that was no longer to the public's liking.

"Bombshell" is a good movie in showing such a crazy life as Jean Harlow apparently had. She plays Lola Burns in this movie. Harlow was a very good actress who had a markedly different stage persona than all other leading ladies of her day and for decades thereafter. She had a toughness and briskness in her manner. She seldom played a refined woman. In the few scenes in this or other films where she shows gentleness, kindness or softness, it's a real stretch because of that persona. Still, she is very good in this film.

The movie has a nice list of top movie names of the day - Pat O'Brien, Franchot Tone, Frank Morgan, Una Merkel, Lee Tracy. But the movie is mostly about her, and Space Hanlon, played by Tracy. Tracy was an nearly film leading man known for his fast-talking, high-energy roles. The IMDb Web site biography on Tracy nails the guy and his persona. It reads, in part, "this actor with a voracious appetite for high living was a representation of the racy and race-paced style of Hollywood."

It doesn't take long for one to thoroughly dislike Space Hanlon (a credit to the script and Tracy's acting); but after a while this film strikes one as awfully noisy. And, it goes on a bit too long. The cleverness in the film is in the manipulation and management of the press that Hanlon demonstrates. It is peppered with some witty lines here and there, but I think, far too few for a comedy.

Some of the best lines in the movie are telltale about Hollywood - the industry, the life, and the culture. Here are some of my favorites.

Pat O'Brien as Jim Brogan says to Lola, "Say listen, you can't raise a family and make five or six pictures a year."

Tracy's Hanlon says to the press, "Well, listen. Don't you know that Lola Burns can't have a baby?" Some reporters, "No? No? Why?" Hanson, "It's not in her contract."

Hanlon and Burns are talking. Hanlon, "Listen, you can't adopt a baby." Lola, "As if you or anybody else could stop me." Hanlon, "Yeah, but that isn't your line. The fans don't want to see the 'IF' girl surrounded by an aura of motherhood leaning over a cradle, sterilizing bottles. I dubbed you the Hollywood Bombshell, and that's the way they like you. Men! Scrapes! Dazzling clothes! A gorgeous personality. Not pattin' babies on the back to bring up bubbles." Lola, "There's a lot of other people in this business have happy healthy babies."

Later, Hanlon says, "OK, baby, you win. But I'll tell you one thing. The house with your family is about as a fine a place to bring up a baby as an alligator farm."

The first time I watched Bombshell, I actually turned it off. It's so loud, and everyone's shouting their heads off! I gave it another chance and was able to appreciate the story better, but it's still not my favorite Jean Harlow movie. She plays a caricature of herself, a sex symbol movie star who's nothing like her onscreen persona. There's even a scene that shows her on the MGM lot talking about filming reshoots for the barrel scene in Red Dust. It'll make you chuckle, but turn the volume down because everyone shouts.

Jean's publicist is Lee Tracy, and he's extremely unlikable. He's supposed to be in love with her, but he doesn't value her opinions and requests, and he continually goes behind her back to thwart her plans. How is he a redeeming love interest? I prefer the elegant Franchot Tone, who falls in love with Jean's insides and has never seen any of her movies. I love Jean and Franchot together; they have such a sweet chemistry and he always seems to respect her more than the others in her movies.

Also in the movie is an element that I found sad more than funny: Jean's written up by Lee as a glorious, perfect movie star, much like many studios would write up their star attractions during that time period. Behind the scenes, Jean's family treats her terribly and takes money from her. Her dad is played by Frank Morgan, and he's not an admirable character. I have a soft spot in my heart for Jean Harlow, especially knowing what I know about her personal life, so I don't like to see her mistreated by people who are supposed to love her. If you want to see the movie that created her nickname as the "blonde bombshell" then you can rent this early comedy.

Count me in. This slam-bang, snap-crackle-pop picture is a doozy, never pausing for breath as it zips along its nifty, irreverent way, superbly cast so as to let everyone do what he/she does best.

As if its entertainment value were not enough, it has something to say, so cleverly that it mocks itself along with a half-dozen other victims. Where the movie business is concerned, nothing is what it seems to be - except when it is. At the center of it all are a press agent to whom lies come so naturally that he would require a moment of intense concentration before he could utter a word of truth - if he wanted to; and a colossal star, neither educated nor bright, a small-town girl who, without half-trying, becomes what every woman yearns to become - except that she yearns to be something else.

Jean Harlow was considerably more than a glamor girl. Limited (as many studio players were) to one type of screen persona, she brought it off with success in both comedy and drama, perfecting the mannerisms, gestures and nuances. Lee Tracy, born to play the kind of role he was given here (and elsewhere), is without peer as the fast-talking, shifty-eyed conniver, a rascal beholden to no ethical sense but his own. Their supporting cast - with a special nod to Frank Morgan's tipsy, dithering poseur - is uniformly excellent. Don't miss this one.

Jean Harlow is the "Bombshell" of the 1933 film also starring Franchot Tone, Frank Morgan, Lee Tracy, Pat O'Brien, Una Merkel, Isabel Jewell, Louise Beavers, Ted Healy, and C. Aubrey Smith. Harlow plays a star, Lola Burns, who has a career very similar to Jean Harlow's - in fact, she starred in "Red Dust" with Clark Gable! She's the "It" girl where Harlow was the "If" girl.

From the first time we meet Lola, it's obvious that she is overwhelmed by the pressures of her home life, which in turn puts pressure on her career duties:

Her drunken father (Morgan) acts as her business manager but her bills aren't paid and she doesn't have any money; she constantly has to bail her brother out of trouble; there's a newspaper man who prints one lie after another about her; one of the people in her household wears her clothes and steals from her; she has three huge dogs; her brother shows up with a tramp; the assistant director on "Red Dust," Jim Brogan (Pat O'Brien) is in love with her and goes crazy when he sees Hugo, the Marqis de Pisa de Pisa on the set (and it's in his storyline that strong prejudice against immigrants is shown); and her agent (Lee Tracy) is a puppeteer in a sick puppet show - Lola's life.

Lola wants out. She decides that she wants to adopt a child and falls in love with a baby at an orphanage but the home visit is a total disaster. Disgusted with her life and all the leeches around her, she takes off, seeking peace and quiet. It's in peaceful surroundings that she meets the wealthy Gifford Middleton. It's love at first sight. Just when she's meeting Gifford's parents, her father and brother appear.

This is a very funny comedy and also very touching, as Lola's sweet personality and desire for a stable family is evident. She swears to Gifford that she's through with show business but becomes concerned when told there hasn't been anything about her in the papers lately. She's young and has no idea what she really wants. Her agent plays off of this and uses it to his own advantage. To most people, she's a blond gravy train.

All of the actors are terrific. Franchot Tone is hilarious, totally and deliberately WAY over the top saying lines such as the one in the summary box. Harlow is surrounded with the best character actors - Lee Tracy, who despite a scandal in 1934 managed to enjoy a nearly 40-year career is great as Lola's fast-talking scam artist agent; Frank Morgan plays his usual role of a weak man, but not a bad one; Louise Beavers brings spark to the role of a maid; Pat O'Brien is in top form as the volatile Brogan.

But it's Harlow's film, and she keeps up with the frantic pace of the film beautifully. Funny and vulnerable, she's hilarious when she pretends she's upper class, as she's often done in her films - no one has ever pulled that off quite like she has. Certainly one of the most lovable and charismatic actresses ever on screen. It's unbelievable that she didn't have a chance to live a full life. "Bombshell" is one of her best films among a lot of wonderful ones.

Movie star Lola Burns (Jean Harlow) is pissed off and her life is chaos. Her father Pops is an incompetent manager. She is angry at her studio publicist "Space" Hanlon (Lee Tracy). Her boyfriend gets arrested. She's tired of the business and tries to adopt a baby.

The dialogue is rapid fire. It's a lot of yelling. I'm not in love with Lola and that's the biggest problem in this movie. I need to really get invested in her chaos but I don't really care that much. Her life gets much more chaotic and convoluted. I like the energy of the screwball chaos. The humor doesn't strike me as that funny.

For some reason I never saw this movie till last week, even though someone I know recommended it highly.

Well I'm an idiot, cause I LOVE this hysterical movie and I should have had it committed to memory by now!

Jean Harlow..its easy to see why she was adored. The camera worships her..how could it not. What a shame she was taken so young, but I guess we can be glad she was ever in movies at all.

The movie is a riot. There is a gag so hilarious that I am amazed it has not been copied in anything else I've ever seen. It has to do with a press agent, a nightclub fight and the late edition. Just priceless.

10/10. Please, no remakes. I'll give up six of my vices if I can get a guarantee there will be no remakes.

After watching this I saw "Dinner at Eight", also starring Harlow and Lee Tracy. This is better than that, and that's a classic. THIS is better, just ask anyone.

Here you get to see Jean Harlow in her prime, but was there much worth seeing? she's an okay actress, but not great. Here she plays essentially herself but you only see a fickle, whining, baby and it's not the most likeable image. Sure she's good looking, but that's about it. Everyone is exploiting her and some stuff happens. Nothing really changes, nobody learns anything, and it's not all that funny. Kind of a let down really.

This film really was designed for the audiences of 1933 and many who watch it today will miss many of the pointed references or inside jokes. And, while IMDb says that the film was originally a thinly disguised parody of the wild off-screen life of Clara Bow, so much of this film seems like events from Jean Harlow's own life--so much so, that it seems, at times like a biography. Jean's own life off screen was a major mess--with a controlling mother, a greedy step-father, on and off-screen antics that filled the newspapers, a suspicious suicide of Jean's husband and ultimately her own suspicious death in 1937 (both deaths, by the way, were QUICKLY dealt with by MGM and so the whole truth behind them is unknown to this day). So here we have a case where you truly do wonder how much of this hit very close to home for the film's star.

The fictional star in the film does indeed have a chaotic and troubled life--mostly due to her own inability to say NO to anyone. As a result, the film shows a greedy alcoholic/gambling father and brother, a thieving sister, two insanely large and unruly Old English Sheepdogs, super-fast-talking publicity agent, a European gigolo boyfriend AND her desire, out of the blue, to adopt a baby and bring it into this chaotic mess of a life. This was all wonderful parody of the lives of many Hollywood stars. For example, Joan Crawford and Bette Davis later both adopted "cute little orphans" (apparently for publicity photos) and the fictional director in the film seems a lot like the film's actual director, Victor Fleming (who was reportedly quite the lady's man--including affairs with Ms. Bow). And, to top off all this lampoonery, the film actually makes reference to Jean's own career--talking about how she needs to do some re-shoots for her recent film RED DUST.

In addition to all these jabs at celebrity is an amazingly brisk pace that will probably wear out the viewer! Surprisingly, the film was faster paced than Cagney's ONE, TWO, THREE and didn't let up from start to finish. While this MIGHT be too much for most films, it did a great job of showing just how crazy and out of control the lives of celebrities are. There are also so many cute jokes and plot twists (particularly at the end) that the film will provide loads of entertainment for those "in the know".

Fun Jean Harlow movie here as she plays a starlet pretty much created by the media via sensational headlines and her trying to get away from all of it (gee, how times change). The movie has that 1930's crackle where everyone is super hyper talking all at once, and you're struggling to catch up with all of it. Even though Harlow is the title Bombshell, I was really impressed with Lee Tracy as her publicist who seems to know Harlow more than she knows herself. It sort of does get monotonous towards the end, and the twist just doesn't really resolve anything, as a matter of fact, we're right back where we started. But it's still a fun sit through.

You've seen other reviews, you've read the synopsis, you already know what this film is about, and you know who the stars are ... I'm just here to point out something I've not seen mentioned.

Everyone in this movie YELLS THEIR LINES!

Why speak when YOU CAN SCREAM?

It's all very chaotic, and the one-liners come at you fast and furious and LOUD!

I could have enjoyed this film so much more if everyone had toned it down a notch or three. So much of Bombshell is just Jean Harlow SCREAMING about something.

You've been warned.