Harlow

In 1965, in yet another classic example of "Copycat Movie Making" Hollywood produced not one, but two film biographies of Jean Harlow, the 30s 'Blond Bombshell' whose tragic, short life was reminiscent of Marilyn Monroe. One was a gaudy, ambitious big-budget production starring theater and film actress/sex symbol Carroll Baker; the other was a low-budget, experimental film starring television actress/sex 'kitten' Carol Lynley. Both films failed, both in capturing the essence of Jean Harlow, and as film biographies. While the Lynley film, which I'll discuss here, stars the actress who 'looked' more like the real Harlow, poor production values and a fabricated story would 'do it in'.

The 'real' Harlow, born Harlean Carpenter, in 1911, arrived in Hollywood at 16, with an over-ambitious mother and newlywed husband in tow. Divorcing her husband, she appeared in 'bit' parts until Howard Hughes 'discovered' her, and cast her "Hell's Angels", in 1930. She was a sensation, despite possessing a tinny, twangy speaking voice (which voice coaches would work on, throughout her career.) Eventually signing with MGM, she would become a sensation, frequently co-starring with Clark Gable, and her off-screen life would be even more sensational; her second marriage, to producer Paul Bern, would last only two months, and he would soon commit suicide, fueling rumors of his inability to 'perform' his duties as a husband; a third marriage, to cameraman Harold Rosson, soon followed, only to last eight months. She finally found happiness with actor William (The Thin Man) Powell, but before they could marry, she developed uremic poisoning and kidney failure, dying in 1937, at 26.

Lynley's "Harlow" dumped any references to Gable and Powell (Efrem Zimbalist Jr. plays the character 'based' on Powell), offered the legendary Ginger Rogers as her mother (which must have felt like deja-vu for the actress, as her mother accompanied HER to Hollywood), and offered a brittle, angry, ultimately bitter Harlow, fighting both the studio and the men who attempted to 'use' her.

Jean Harlow was an optimist, self-reliant and resilient, with a ready laugh, and an often too-generous nature. She never took her sex appeal too seriously, and preferred 'being comfortable' to creating illusions. She was adored by her co-workers, and the grief everyone felt at her death was genuine, not staged.

If "Harlow" had gotten even a part of this right, it would have been a far better film!

Shot in only 8 days on video tape, this version of the story of Jean Harlow didn't set the world on fire any more than the big screen big budget version of Harlow that Paramount put out with Carroll Baker.

No true story of Jean Harlow could possibly be filmed. Too many people were still alive, most importantly William Powell, William Mansfield in this version of Harlow. Powell in retirement then saw both films and said that the Jean he knew was nothing like what was shown on screen. One of her contemporaries in her memoirs Rosalind Russell said that Harlow of all the people at MGM when she was just starting was the most thoughtful and kind to a young player looking to succeed.

The story of how she was a meal ticket to her stage mother mother and her second husband played here by Ginger Rogers in her farewell screen performance and Barry Sullivan is well known. They actually named Louis B. Mayer in this Harlow and he's played with a certain verisimilitude by Jack Kruschen. There's also a good performance by Hermione Baddely as Marie Dressler who did co-star with Harlow in Dinner At Eight. Other than Hell's Angels none of her films is given a title here.

The issue of her the impotency of her second husband Paul Bern is dealt with most delicately. Irving Schulman's biography of Harlow on which the Baker film is based goes into that throughly. Hurd Hatfield really never develops his character with what he's given to work with.

Two beautiful blondes named Carol played Jean Harlow in 1965 in different films. Both films were trashy and exploitive with little difference save in budget.

After appearing in the Laurel and Hardy silent "Double Whoopee", curvy Carol Lynley (as Jean Harlow) is discovered by actor Lloyd Bochner (as Marc Peters), and invited to appear in a screen test for the sound re-make of Howard Hughes' unreleased "Hell's Angels". Although she is nervous about having to wear a bra, Ms. Lynley tests positive, and becomes an overnight sensation. Lynley is also nervous around smarmy star Efrem Zimbalist Jr. (as William Mansfield), who observes her screen test - but, later, they will fall in love.

With pushy "Mama" Ginger Rogers (as Jean Bello) and stepfather Barry Sullivan (as Marino Bello) soaking up her coattails, Lynley becomes one of Hollywood's biggest stars. But, Lynley is unhappy. She resents "bathtub scenes", and wants to be an Actress, like "Dinner at Eight" co-star Hermione Baddeley (as Marie Dressler). In her personal life, Lynley is devastated when she learns groom Hurd Hatfield (as Paul Bern) is impotent; she calls him a "pathetic cripple," drinks gin, and hires studly Michael Dante (as Ed) to satisfy her sexually.

This "Harlow" is the one with quick, low budget production values; the other one, released simultaneously, has Carroll Baker, Technicolor, and better production values. Both movies found greater success when resurrected for trashy television airings. As you might suspect, neither film is accurate or respectful as a biography of Jean Harlow. This film's strengths are its soundtrack (by Nelson Riddle & Al Ham), occasionally effective supporting cast, and teleplay "look" - as directed by Alex Segal in "electronovision".

***** Harlow (5/14/65) Alex Segal ~ Carol Lynley, Ginger Rogers, Efrem Zimbalist Jr.

This version of "Harlow" used to be a staple on local television until the mid-1970's. Then it suddenly vanished. It was nice to finally catch up with this film again. It has generally been acknowledged as a slipshod filmization of the life of Hollywood's Blonde Bombshell, Jean Harlow. Apart from the film mixing fact with fiction, it's really not a bad movie. It was shot in just eight days, and it looks like a live TV show. But that's fine! The inexpensive process used for filming the movie ultimately creates an appropriate atmosphere for the film. Carol Lynley is good as Jean Harlow. Had she been given more than three weeks rehearsal, she might have given a stronger performance. Ginger Rogers (who had only a couple of days rehearsal after being chosen as a fast replacement when Judy Garland quit the production) simultaneously gives a bravado performance and shows her unmistakable star quality as Mama Jean. Hurd Hatfield, ever a fine actor, is very moody as producer Paul Bern. Lloyd Bochner has an ongoing role throughout the film as a Hollywood big shot. Undeniably low-budget, this production of "Harlow" is much more enjoyable than the alternate version made the same year. I'd seek this one out. It works better as entertainment on all levels.

More of a curiosity than a movie, this shot-in-8-days quickie was made to beat the release date of the big budget Joseph E. Levine production of Harlow. Lasting in a few theaters for just about as long as it took to shoot it, it utilized the experimental "Electronovison" process (as was The T.A.M.I Show and Richard Burton's Hamlet) which was basically a step up from kinescopes. The effect is like watching a shot-on-video soap opera from the 60s and one not quite as polished as say, Dark Shadows. As for the content, this Harlow trivializes the image of the great 30s star as much as the Carroll Baker Harlow yet in different ways. Here she's petulant, demanding, and obnoxious. With its shot-on-the-fly direction, writing, and performances, it doesn't get much deeper than the video tape allows. Oddly enough, what this movie most reminded me of was Inserts, the low-budget Richard Dreyfuss movie about the shady adult-film industry in the 30s. Yet, if you get a chance to see it don't miss it. It's one-of-a-kind.