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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 <firstname.lastname@example.org>
I haven't seen this film for some time, but I used to have a TV transfer copy of it I would watch with friends on "Bad Movie" nights.
Aside from the bad dialog and the overly sincere performance of Red Buttons as the benevolent Hollywood agent from mars, the most hilarious thing about the movie is that it seems like a time warp feature. The 30's and 60's keep clashing in the oddest moments.
Women sport bullet bras and big 60's lacquered hairdos yet drive around in old 30's jalopies. The clothes are period only when it suits the purpose of the plot, otherwise you have men with 60's Jerry Lewis haircuts (10 lbs of Vaseline) and golf sweaters. The women's makeup is all 60's liquid eyeliner and false eyelashes.
Things are so topsy turvey that when Harlow is seduced by the sleazoid Leslie Neilsen, we see that he has an electronic 60's bachelor pad straight out of an issue of Playboy.
However, my favorite idiotic anachronism is when Harlow is onstage at a personal appearance for one of her films, and to the accompaniment of the strains of 60's twist music, actually engages in an energetic twist while reading questions from the audience! What were they thinking? This movie blows, but in a lot of fun ways. There's that cheesy theme song by whiny Bobby Vinton, then there is stolid and expressionless Carroll Baker playing not jean Harlow but the Cheryl Barker role from "The Oscar." The males assembled (Leslie Neilsen, Peter Lawford and Mike Connors) are an oddly bland, sexless bunch; and throughout nothing rings even remotely true to life.
Forget about seeing a film about Jean Harlow. Watch this mess like you would "Valley of the Dolls," strictly for laughs
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