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.
14 Reviews
"You're a national institution...like the Grand Canyon or the Statue of Liberty!"
moonspinner5517 April 2009
The rise of Hollywood's first blonde bombshell, Jean Harlow, who died tragically at the age of 26. Magna Pictures distributed this low-budget venture, which was first shot on an early form of videotape and then transferred to film. It competed with Paramount's version of Harlow's story (also entitled "Harlow" and released in 1965!), but because of its unusual pedigree, this effort (ambitious, if rough) was hardly seen. Carol Lynley portrays Jean not as the raucous, lovable gal who made friends so easily, but as a volatile, impatient, often heartless young woman who wasn't quick to take good advice. Lynley does well in the role, even if her body type isn't right and her voice falls short (her performance actually improves as the movie progresses, and she has a very strong scene with mama Ginger Rogers near the end). Some identities have been changed, and Harlow's first and third marriages are barely mentioned, but the movie makes its point with little pomposity: this was a troubled young woman who had no inkling of her own impact with movie-going audiences, constantly short-changing herself in the romance department. Rogers does solid work; Efrem Zimbalist, Jr., as a movie idol à la William Powell, Hurd Hatfield as tortured producer Paul Bern, and Lloyd Bochner as a director are each excellent in support. Does any of it ring true? Probably not. Writer Karl Tunberg seems to have constructed his script out of fan magazine articles, and the picture is fairly useless for those wanting to know the real dish on the 1930s superstar. Still, there are interesting accents and attributes throughout "Harlow", and it is seldom dull. **1/2 from ****
This Is The Better Of The (2) 1965 Harlow Bios !!!
Kelt Smith20 October 2000
Definitely better than the splashy Joseph E. Levine version with Carroll Baker, this biographical movie was released in the same year and stars CAROL LYNLEY. Though neither version was particularly accurate regarding the life of JEAN HARLOW, this one is more on the money. LYNLEY evens looks more like the real HARLOW. Most of the actual players in the life of HARLOW are represented here, although EFREM ZIMBALIST'S character called William Mansfield is no doubt apparently supposed to be WILLIAM POWELL. HURD HATFIELD is effectively creepy portraying JEAN'S second husband PAUL BERN. GINGER ROGERS is quite good as MAMA JEAN, who cares about her daughter, but not as much as she does about her shady husband MARINO BELLO. LYNLEY does an excellent job showing the angry side of HARLOW, but never conveys any of her appeal or vulnerability. The way that she carries on as if she's in a constant state of fed up irritation, you wonder why anyone actually cared about the real HARLOW. Still, this is an interesting film, and in B&W it has an eerie slightly morbid aura . Look for HERMOINE BADDELEY in a brief scene portraying MARIE DRESSLER. TRIVIA : This was the first movie that NOLAN MILLER designed the clothing for.
Second of Competing "Harlows", with Better Lead, Weak Plot...
cariart2 April 2004
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!
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!
Carol Lynley as Jean Harlow in Black & White
wes-connors7 June 2009
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.
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.
"Nothing like her"
bkoganbing17 October 2015
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.
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.
What a dog
jjnxn-114 May 2013
As if insulting the memory of Jean Harlow with one bad fictitious screen biography wasn't bad enough they had to go and make two! At least the Carroll Baker one was in color with a decent budget but this cheap quickie was shot in only eight days and looks it.
Filled with terrible performances from everyone but Ginger Rogers as Mama Jean this has at its center an actress, Carol Lynley, of limited skill none of which is on display here and absolutely zero approximation of the real Jean Harlow's screen charisma or magic.
The incredible thing about both of these bad bios is that the real Jean Harlow had an event filled life, packing an awful lot into 26 short years, yet both movies fabricate stupid untruths which they present as fact. Why bother to make the film, and shed a negative light on the subject, if you can't be bothered to tell the truth. Oh well maybe someday she will receive her due, in the meantime skip both of these pieces of trash and watch Jean's classic films. A much better use of your time.
Filled with terrible performances from everyone but Ginger Rogers as Mama Jean this has at its center an actress, Carol Lynley, of limited skill none of which is on display here and absolutely zero approximation of the real Jean Harlow's screen charisma or magic.
The incredible thing about both of these bad bios is that the real Jean Harlow had an event filled life, packing an awful lot into 26 short years, yet both movies fabricate stupid untruths which they present as fact. Why bother to make the film, and shed a negative light on the subject, if you can't be bothered to tell the truth. Oh well maybe someday she will receive her due, in the meantime skip both of these pieces of trash and watch Jean's classic films. A much better use of your time.
Which Harlow Bio Is Worse?
vert0011 November 2016
Warning: Spoilers
Hard to say, they're both pretty awful. If the Carol Lynley version ever had a chance, the bizarre filming technique of Electronovision ruined it before it had even begun. Used so they could shoot quickly (8 days!), it made the film look like a cheap television show shot on videotape. But with the script they used, it probably didn't matter much anyway.
I'm no expert on the personal life of Jean Harlow, but on screen she was a raucously brilliant comedienne who projected very overt sexuality, an unusual combination. Lynley's Harlow gives no indication of comedic ability, is petulant all the time, seems angry at the world for little reason, and yearns to be a serious actress. She's sexually frustrated, is broadly hinted to be frigid, and has no luck with men. Most of this has little to do with the real Jean Harlow, by all accounts a sweet, unassuming personality who seems to have been far from overwhelmed with sex and didn't take it all that seriously, wasn't especially ambitious, but did, indeed, have little luck with men. Her relationship with her mother (Ginger Rogers) is possibly accurate. Mama Jean was something less than a horror but did seem pushy and used her daughter to a degree. If one wants to get a real idea of Jean Harlow, better than these film biographies is a roman a clef that she made called 'BOMBSHELL', a very good self-referential comedy that has the added advantage of starring Harlow herself.
As for HARLOW, Carol Lynley seems woefully miscast (Carroll Baker seemed better cast and was a better actress, but it didn't help), while some of the supporting actors (Ginger Rogers, Hurd Hatfield, Efrem Zimbalist, Jr., Hermionne Baddely) do well under impossible circumstances. This was Ginger's last film role, though she worked steadily on stage for another 20 years. Seeing this great contemporary of Jean Harlow is the only reason I could give for watching HARLOW today.
I'm no expert on the personal life of Jean Harlow, but on screen she was a raucously brilliant comedienne who projected very overt sexuality, an unusual combination. Lynley's Harlow gives no indication of comedic ability, is petulant all the time, seems angry at the world for little reason, and yearns to be a serious actress. She's sexually frustrated, is broadly hinted to be frigid, and has no luck with men. Most of this has little to do with the real Jean Harlow, by all accounts a sweet, unassuming personality who seems to have been far from overwhelmed with sex and didn't take it all that seriously, wasn't especially ambitious, but did, indeed, have little luck with men. Her relationship with her mother (Ginger Rogers) is possibly accurate. Mama Jean was something less than a horror but did seem pushy and used her daughter to a degree. If one wants to get a real idea of Jean Harlow, better than these film biographies is a roman a clef that she made called 'BOMBSHELL', a very good self-referential comedy that has the added advantage of starring Harlow herself.
As for HARLOW, Carol Lynley seems woefully miscast (Carroll Baker seemed better cast and was a better actress, but it didn't help), while some of the supporting actors (Ginger Rogers, Hurd Hatfield, Efrem Zimbalist, Jr., Hermionne Baddely) do well under impossible circumstances. This was Ginger's last film role, though she worked steadily on stage for another 20 years. Seeing this great contemporary of Jean Harlow is the only reason I could give for watching HARLOW today.
Talky and Trite Disappointing Soap Opera
jayraskin118 October 2015
Saying that this is the better of the two movies about Jean Harlow in 1965 isn't saying much. The other Carol Baker one ranks as one of the worst movies ever made by a major studio. When the only good performance in a movie comes from Red Buttons, you know there's a problem. As opposed to the Baker-Harlow disaster, this one is merely bad, occasionally it rises to the level of being mediocre, mostly when Ginger Rogers is on-screen. How sad that this last performance of this legendary actress should be in this pale and dull quickie. Carol Lynley looks like Tuesday Weld. Both were beautiful and talented and had a few good roles, but neither really got the breaks to get to the stardom they deserved. "Bunny Lake Is Missing," "The Night Stalker" and "Poseidon Adventure" are probably her best works. Its funny that she is so sexy when she's not trying to be, and here, when she's trying to be, not sexy at all. She gives it the old college try, but whenever she starts channeling Jean Harlow, the poor script and poor production values undercuts her.
This is a must see for all Jean Harlow film fans, but lower your expectations so you won't be too disappointed.
This is a must see for all Jean Harlow film fans, but lower your expectations so you won't be too disappointed.
"Harlow": Rare and enjoyable!
hollywwood2 October 2007
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.
Not up to Par
Originator199429 May 2017
I watched this film and was astounded that is is really awful. The acting is pathetic at best. Ginger Rogers was at her worst and for the most part, most of them were like they had never acted before...wooden. The dialogue was horrible. The basic appearance of the movie looked like a play that was filmed. I found myself thinking of one of the worst movies ever filmed, Plan 9 From Outer Space and thought this was worse than that and that is saying a lot. It doesn't appear that anyone took any pride in the making of this movie as the writing could have been better done by a second grader. The acting , with some of the top stars of the day, was worse than worse. The actual film itself was lacking in the way it was projected for the rest of us to view. Boring would be putting it nicely for this less than stellar film. Time to relegate it to the burial it deserves only deeper
TV anthology, perfect for that. Big screen? No way!
mark.waltz11 May 2020
Warning: Spoilers
Also the fact that this was rushed out to interfere with the success of a big-budget version (not very good in its own right) and looks so cheap shows how Hollywood tries to sabotage itself. Neither version did Justice to the memory of Jean Harlow, but fortunately her reputation has survived the two fiasco's of 1965. Two Carol/Carroll's, two future musical Mame's, and neither got it right. The Carol here is the actress Carol Lynley who later sang "The Morning After in "The Poseidon Adventure". Here, she's on a sinking ship of another kind, a cheap looking drama that looks like it should have been made for TV, not released in the theaters. It is grainy, the sound is tinny, and every actor (including the pro's) seem to be shouting their lines. It is as if they went back to the year when Harlow made her talking debut and didn't know where the microphone was.
The very beginning of the film, we see actors doing impressions of Al Jolson and Laurel and Hardy, and even though Laurel and Hardy are not shooting and just out for lunch, they are acting bumbling like their characters which they certainly were not off screen. Close-ups of Ginger Rogers as Harlow's mama are very unflattering, but she does to get to put on some glamorous outfits as Harlow rises to the top of her profession. Lynley has a passing resemblance to Harlow, but there is a cruelty in her that is off-putting. Barry Sullivan as her stepfather and Hurd Hatfield as Paul Bern seem to bellow every line. Hermione Baddeley does come off well as Marie Dressler even though her casting is questionable.
The film also seems to have messed up on many of the facts, rushing a script together that is filled with cliched dialogue and one-dimensional characters. Lloyd Bochner, Jack Kruschen (as Louis B. Mayer) and two Audrey's (Totter and Christie) manage to come off of this with some dignity. Certainly, people will want to see this as a curiosity especially with a starry cast, unfortunately, the film is a mess. Maybe one day someone will do a proper story of Harlow that truly expresses her magnetism, but the two films of 1965 were not it.
The very beginning of the film, we see actors doing impressions of Al Jolson and Laurel and Hardy, and even though Laurel and Hardy are not shooting and just out for lunch, they are acting bumbling like their characters which they certainly were not off screen. Close-ups of Ginger Rogers as Harlow's mama are very unflattering, but she does to get to put on some glamorous outfits as Harlow rises to the top of her profession. Lynley has a passing resemblance to Harlow, but there is a cruelty in her that is off-putting. Barry Sullivan as her stepfather and Hurd Hatfield as Paul Bern seem to bellow every line. Hermione Baddeley does come off well as Marie Dressler even though her casting is questionable.
The film also seems to have messed up on many of the facts, rushing a script together that is filled with cliched dialogue and one-dimensional characters. Lloyd Bochner, Jack Kruschen (as Louis B. Mayer) and two Audrey's (Totter and Christie) manage to come off of this with some dignity. Certainly, people will want to see this as a curiosity especially with a starry cast, unfortunately, the film is a mess. Maybe one day someone will do a proper story of Harlow that truly expresses her magnetism, but the two films of 1965 were not it.
Average as a TV movie - has its good points, but over all cheaply done
bbmtwist31 May 2017
Warning: Spoilers
The Carol Lynley HARLOW has the feel of a 1950s Playhouse 90 production. The black and white Electronovision technique is not that far removed from the old television kinescopes. The year after this was released proved to be the last year Hollywood would make black and white feature films. The entire industry moved to color only in 1967.
Lynley is actually not that bad. She does create a character, even if that character hardly resembles Jean Harlow. She would be judged much more fairly on the performance alone were it not for the inevitable comparisons. Her character may not be educated, but she is smart and wiley.
Ginger Rogers does not do well in this her last film role. Luckily, there are character actors galore, who do give fine performances. Audrey Christie as a kindly make-up artist is as usual warm and professional. Hermione Baddeley as Marie Dressler may have only two scenes, but she makes the most of them and does an excellent job.
Barry Sullivan is excellent as the gigolo stepfather, Marino, as is Hurd Hatfield as the emasculated Paul Bern. Zimbalist plays the stand-in for William Powell and they have given him the first name of "Bill" to make it easier for us to relate to him.
The script has an excellent twist in that Mama Jean is warned about Bern's impotence before the wedding, but keeps the news deliberately from Harlow as the marriage would be a further money ticket for her.
The constant reference to "the baby" is right out of the script of GYPSY, made as a film in 1962.
The script has Harlow deliberately cruel to Bern, which seems somehow out of character and it is this unforgiving cruelty that leads to his suicide.
Did Harlow really study with Ouspenskaya? Odd since she was not under contract to MGM and it is doubtful either Mayer or Ouspenskaya's studio would have permitted it.
The production is fair as a drama. Entertaining, professionally done, although on the cheap. It is not awful, just not very good. Taken as a TV drama, it can be judged much more gently than as a studio release. Worth a watch. It's on Youtube in its entirety.
Lynley is actually not that bad. She does create a character, even if that character hardly resembles Jean Harlow. She would be judged much more fairly on the performance alone were it not for the inevitable comparisons. Her character may not be educated, but she is smart and wiley.
Ginger Rogers does not do well in this her last film role. Luckily, there are character actors galore, who do give fine performances. Audrey Christie as a kindly make-up artist is as usual warm and professional. Hermione Baddeley as Marie Dressler may have only two scenes, but she makes the most of them and does an excellent job.
Barry Sullivan is excellent as the gigolo stepfather, Marino, as is Hurd Hatfield as the emasculated Paul Bern. Zimbalist plays the stand-in for William Powell and they have given him the first name of "Bill" to make it easier for us to relate to him.
The script has an excellent twist in that Mama Jean is warned about Bern's impotence before the wedding, but keeps the news deliberately from Harlow as the marriage would be a further money ticket for her.
The constant reference to "the baby" is right out of the script of GYPSY, made as a film in 1962.
The script has Harlow deliberately cruel to Bern, which seems somehow out of character and it is this unforgiving cruelty that leads to his suicide.
Did Harlow really study with Ouspenskaya? Odd since she was not under contract to MGM and it is doubtful either Mayer or Ouspenskaya's studio would have permitted it.
The production is fair as a drama. Entertaining, professionally done, although on the cheap. It is not awful, just not very good. Taken as a TV drama, it can be judged much more gently than as a studio release. Worth a watch. It's on Youtube in its entirety.
For keen Rogers, Hatfield and Lynley fans only!
JohnHowardReid15 October 2016
Warning: Spoilers
Two Harlow pictures came out in 1965. This is the Carol Lynley one, and it features some really excellent performances, including Miss Lynley's of course, plus Ginger Rogers and Hurd Hatfield's. Lynley's make-up is extremely good, but unfortunately, the script contrives to be both novelettish and naïve. Only people who are conveniently dead are presented with any semblance of verisimilitude. And with the death of Paul Bern – and this itself is very tamely handled – one loses interesting in the proceedings. The rest of the plot is impossibly corny. Matters are not helped by Alex Segal's static direction nor by the Electronovision photography which has no contrast or depth and often makes movements seem curiously jerky. As presented here, Jean Harlow is not only over-simplified but sketched to tedious length.
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