A screen adaption of the blistering best-seller which examines the story of the platinum blonde bombshell (Baker) who rose to fame in the reckless Hollywood of the 1930's.

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Cast

Complete credited cast:
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Jack Harrison (as Michael Connors)
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Mary Murphy ...
Hanna Hertelendy ...
Beatrice Landau (as Hanna Landy)
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Hansen - Assistant Director
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Marie Tanner
Peter Leeds ...
Parker
Bobby Vinton ...
Theme Song Singer (voice)
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Storyline

In this story, Harlow starts in the movies as set dressing, the pretty girl who is used for the glamour shots. Refusing to descend to the casting couch for work, she finds that she is soon blacklisted from the industry. But an agent named Arthur sees something in Jean and begins representing her. For a long time, the jobs are scarce and consist mostly of receiving the pie in the face in low budget comedies. But Arthur's belief in Jean never wavers and when she finally graduates to featured roles, the critics say that she cannot act, but she is unforgettable. Polishing the image as the girl next door, but with some fire, she begins her climb to the top and becomes the girl every woman wants to look like and every man wants to have. But her own life is a disaster - unlike her screen life. Written by Tony Fontana <tony.fontana@spacebbs.com>

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Taglines:

Harlow stood for only one thing - as no woman ever has - before or since! See more »


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Release Date:

23 June 1965 (USA)  »

Also Known As:

A Mulher Que Não Queria Amar  »

Box Office

Budget:

$2,500,000 (estimated)
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(Technicolor)

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2.35 : 1
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Did You Know?

Trivia

Mamie Van Doren was considered for the lead role. See more »

Goofs

While on personal appearance tour, Harlow performs 1960s-style twist dance steps in scene supposedly set in the 1930s. See more »

Quotes

Arthur Landau: [to Jean] You have the body of a woman and the emotions of a child!
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Connections

Featured in Mad Men: The Forecast (2015) See more »

Soundtracks

Lonely Girl
(theme from Harlow)
Words by Jay Livingston and Ray Evans
Music by Neal Hefti
Sung by Bobby Vinton
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User Reviews

Big-Budget Harlow Flick Rings False...
2 April 2004 | by (Las Vegas, Nevada) – See all my reviews

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 Baker film, which I'll discuss here, had enough lurid titillation for three films, the sweet-natured girl who was loved by nearly everyone who knew her never makes an appearance.

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.

Baker's "Harlow" dumped any references to Gable and Powell (Mike Connors, in an off-beat piece of casting, plays the character 'based' on Powell), created an agent who served as a confidant (Red Buttons), and showed a decline in Harlow's spirit, until she became as sleazy as some of the characters she occasionally played (which those who knew her best flatly denied; the sensational headlines did not 'cost' her a career, or her 'soul', they maintain). The film presents her finally 'cleaning up her act', but dying before she can share her new-found joy.

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!


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