IN THE 1930s, a young actress took the HOLLYWOOD film industry by storm. With her platinum blonde hair, Jean HARLOW (1911-1937) became a pioneer of later Hollywood blondes such as Lana TURNER and Marilyn MONROE. However, her limited lifespan makes it clear that this life could not have been as glamorous as Jean HARLOW's films suggest.
And that's exactly what this biopic from the 1960s shows, in which ACADEMY AWARD nominee (she was nominated for BABY DOLL in 1957) and later queen of the Italian giallo shocker Carroll BAKER slips into the role of her famous predecessor Jean HARLOW. Everything starts out very difficult. Young Jean gets work in the studios relatively quickly, but only to be pelted with cream pies in popular slapstick comedies. It was only through her manager, played by ACADEMY AWARD winner Red BUTTONS (he won the award in 1958 for SAYONARA), that HARLOW got better roles in crime film classics such as THE PUBLIC ENEMY (1931) and SCARFACE (1932). And then everything happens very quickly and the platinum blonde is signed by MGM (Metro-Goldwyn-Mayer). More Stars Than There are in Heaven was the motto of the leading Hollywood studio at the time! And the titles of the films that were written for HARLOW were real announcements: PLATINUM BLONDE (1931) / RED-HEADED WOMAN (1932) / HOLD YOUR MAN (1933) / BOMBSHELL (1933) / THE GIRL FROM MISSOURI ( 1934).
But not all that glitters is platinum! There are of course the powerful and demanding men of the industry, played by ACADEMY AWARD winner Martin BALSAM (awarded in 1966 for A THOUSAND CLOWNS) and Leslie NIELSEN. Strange husbands (Peter LAWFORD and Mike CONNORS) cross the path of the diva longing for love. And of course mom (three-time ACADEMY AWARD nominee Angela LANSBURY) and virile stepfather (CINECITTA Divo Raf VALLONE) want to cook their own soup with the blonde star's gold. It happens as it has to happen: a now almost forgotten superstar from the early days of Hollywood dies far too soon...
The fact that the film is interesting despite its predictability is due to the director Gordon DOUGLAS (1907-1993). Gordon who? Even though I hadn't heard of this busy studio director before, his involvement here really makes sense. From a very young age, Mr. Douglas was an assistant director in the nascent film industry. The man knows what he's talking about. And you notice that very clearly in the film, especially in the opening scenes. The PARAMOUNT PICTURES have earned an insider's insight into the depths of the studio system.
Maybe the film is also a welcome opportunity to watch all the Pre-Code classics with Jean HARLOW again or for the first time. Hollywood films have never been this wicked and daring since then. And Jean HARLOW was right in the middle of it all!
And that's exactly what this biopic from the 1960s shows, in which ACADEMY AWARD nominee (she was nominated for BABY DOLL in 1957) and later queen of the Italian giallo shocker Carroll BAKER slips into the role of her famous predecessor Jean HARLOW. Everything starts out very difficult. Young Jean gets work in the studios relatively quickly, but only to be pelted with cream pies in popular slapstick comedies. It was only through her manager, played by ACADEMY AWARD winner Red BUTTONS (he won the award in 1958 for SAYONARA), that HARLOW got better roles in crime film classics such as THE PUBLIC ENEMY (1931) and SCARFACE (1932). And then everything happens very quickly and the platinum blonde is signed by MGM (Metro-Goldwyn-Mayer). More Stars Than There are in Heaven was the motto of the leading Hollywood studio at the time! And the titles of the films that were written for HARLOW were real announcements: PLATINUM BLONDE (1931) / RED-HEADED WOMAN (1932) / HOLD YOUR MAN (1933) / BOMBSHELL (1933) / THE GIRL FROM MISSOURI ( 1934).
But not all that glitters is platinum! There are of course the powerful and demanding men of the industry, played by ACADEMY AWARD winner Martin BALSAM (awarded in 1966 for A THOUSAND CLOWNS) and Leslie NIELSEN. Strange husbands (Peter LAWFORD and Mike CONNORS) cross the path of the diva longing for love. And of course mom (three-time ACADEMY AWARD nominee Angela LANSBURY) and virile stepfather (CINECITTA Divo Raf VALLONE) want to cook their own soup with the blonde star's gold. It happens as it has to happen: a now almost forgotten superstar from the early days of Hollywood dies far too soon...
The fact that the film is interesting despite its predictability is due to the director Gordon DOUGLAS (1907-1993). Gordon who? Even though I hadn't heard of this busy studio director before, his involvement here really makes sense. From a very young age, Mr. Douglas was an assistant director in the nascent film industry. The man knows what he's talking about. And you notice that very clearly in the film, especially in the opening scenes. The PARAMOUNT PICTURES have earned an insider's insight into the depths of the studio system.
Maybe the film is also a welcome opportunity to watch all the Pre-Code classics with Jean HARLOW again or for the first time. Hollywood films have never been this wicked and daring since then. And Jean HARLOW was right in the middle of it all!