Jean Harlow Movies

Jean Harlow, with her soft come-hither body, platinum blonde hair, and keen sense of humor, is recognized as one of the most gifted and blatantly sensual stars of the 1930s. Harlow endured much pain during her 26 years. Born Harlean Carpenter in Kansas City, she was the daughter of Jean Harlow Carpenter (whose name the actress appropriated for the marquee), the complex, often oppressive force behind her daughter's sudden rise to fame. When she was only 16, the young Harlow eloped with a businessman and moved to Los Angeles, where she began appearing as an extra in silent films. She was particularly noticed for her appearance in a 1929 Laurel and Hardy short Double Whoopee. That year she also played a small role opposite reigning sex symbol Clara Bow in The Saturday Night Kid. In 1930, Harlow got her first real break from Howard Hughes, who cast her in his World War I drama Hell's Angels after he found the film's original star Greta Nissen's Swedish accent incomprehensibly thick. It was in this film that she uttered the immortal words "Would you be shocked if I changed into something more comfortable?" Harlow's wise-cracking presence in the film soon attracted much attention, and Hughes sent her out on a publicity tour and loaned her to other studios. In 1931 she appeared in six films; while her performances were often panned by critics and audiences were initially shocked by her almost lurid onscreen sexuality, she gradually began to develop a following. She achieved real fame in 1932 when MGM bought her contract and decided to give her more substantial parts. In films such as Red-Headed Woman and Red Dust (both 1932) Harlow demonstrated that she was not only extremely sexy and funny, she was also a first-rate actress; by the year's end she was a bonafide star playing opposite some of the industry's most popular men, including Clark Gable and Spencer Tracy. Unfortunately, as her professional career flourished, her personal life began to deteriorate, beginning with the alleged suicide of her second husband Paul Bern. Though there was a subsequent scandal surrounding his demise, it did not impact Harlow's popularity. Later she ended up briefly married to cinematographer Harold Rosson, and then had a long engagement with MGM star William Powell. While filming Saratoga in 1937, Harlow suddenly fell ill; ten days later, on June 7, she died at age 26. During her reign, Harlow had starred in less than twenty films. At the time of her death, no details as to why she died were released, but several years later it was revealed that Harlow had suffered from kidney disease most of her life, and that she died of acute uremic poisoning. Her life has been chronicled in several biographies and two subsequent movies, both named Harlow. ~ Sandra Brennan, All Movie Guide
1936  
 
Suzy is the film in which Cary Grant, overcome by the beauty and vivacity of Jean Harlow, sings her a love ballad! This lighthearted moment aside, Suzy, adapted from a novel by Herbert Gorman is a standard-issue love triangle, set against the tapestry of World War I. Harlow plays a London showgirl, married to Irish engineer Franchot Tone. When foreign spy Benita Hume shoots Tone, mistaking him as a threat against her mission, the terrified Harlow flees into the night, certain that she will be accused of her husband's murder. After the war breaks out, Harlow, believing herself a widow, falls in love with handsome aviator Cary Grant. She marries the well-bred but irresponsible young ace, only to discover that Tone has not been killed after all! This being an idealized World War I film, somebody is going to end up sacrificing his/her life on behalf of somebody else, but we're not about to reveal any more. ~ Hal Erickson, All Movie Guide

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Starring:
Jean HarlowFranchot Tone, (more)
1932  
 
A reluctantly appointed police chief in a crime-riddled city takes his job seriously and works hard to clean the streets of gangsters and to shape up his own corrupt department in this brutal, gritty film noir. Jean Harlow plays a luminescent but ill-fated gun moll. ~ Sandra Brennan, All Movie Guide

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Starring:
Walter HustonJean Harlow, (more)
1967  
 
The second of Robert Youngson's compilations of the silent comedies of Stan Laurel and Oliver Hardy, The Further Perils of Laurel & Hardy suffers a bit from too much repetition and gee-whiz obvious narration. Still, the vignettes offered herein are first-rate, as fresh and funny as they were when first released seven decades ago. Among the L&H shorts represented in this collection are Do Detectives Think and Sugar Daddies, two 1927 releases made before Stan and Ollie were an official team. We are also treated to generous portions of such rib-tickling 2-reelers as Should Married Men Go Home? (1928), Early to Bed (1928), That's My Wife (1929) and Angora Love (1929). The film is rounded out with choice selections from the work of such Hal Roach contractees as Charley Chase, Jean Harlow and Snub Pollard. ~ Hal Erickson, All Movie Guide

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Starring:
Stan LaurelOliver Hardy, (more)
1934  
 
Originally titled Eadie was a Lady, this Jean Harlow vehicle was slated for release under the title Born to be Kissed, but the new Production Code vetoed this "suggestive" cognomen. After a brief and uncomfortable period as One Hundred Percent Pure, the film was finally shipped to theaters as The Girl From Missouri. Harlow plays Eadie, a sexy gold-digger who promises to remain chaste until she finds a wealthy husband. Travelling to New York in the company of her best friend Kitty (Patsy Kelly), Eadie manages to keep that promise, though for a while it looks as though she'll succumb to the charms of playboy T. R. Paige Jr. (Franchot Tone). Once Paige has proven that his intentions are basically honorable, Eadie must break down the resistance of T. R. Paige Sr. (Lionel Barrymore), who is dead-set against his son's romance and intends to frame the girl in a compromising position. She gets even with Paige Sr. by framing him, but there's still a couple of reels to go before the happy ending. Except for some provocative costuming, Jean Harlow's character is essentially decent, thereby "cleansing" some of the more risque elements of this enjoyable romantic comedy. The film's best line is delivered by Patsy Kelly who, when propositioned by an elderly roue, snarls "Look at this! Death takes a holiday!" ~ Hal Erickson, All Movie Guide

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Starring:
Jean HarlowLionel Barrymore, (more)
1958  
 
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The first of documentary producer Robert Youngson's feature-length silent comedy compilations, The Golden Age of Comedy began life as a short subject, consisting of vintage clips from the Mack Sennett vaults. When Youngson struck a deal with the Hal Roach studios, he was able to expand the film's running time with pristine-quality vignettes from the Roach catalogue. While many past greats are highlighted in Golden Age, the compilation's true "stars" are Stan Laurel and Oliver Hardy, shown at their very best in lengthy excerpts from such 2-reel classics as The Second Hundred Years (1927), You're Darn Tootin' (1928) Two Tars (1928) and Double Whoopee (1929) (the latter featuring a 17-year-old starlet named Jean Harlow). Thanks to Youngson, the legendary pie fight scene from Laurel and Hardy's Battle of the Century (1927) was saved from the brink of extinction and is included herein. The rest of the film offers choice comic bits from the likes of Ben Turpin, Billy Bevan, Will Rogers, Charley Chase, Harry Langdon, and even Carole Lombard. Our only carp is that the narration is frequently superfluous; we can see the gags, we don't need them explained to us. The Golden Age of Comedy was the surprise hit of 1958, spawning several future Youngson compilations, including a brace of 1960s films devoted almost exclusively to Laurel and Hardy. ~ Hal Erickson, All Movie Guide

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Starring:
Harry Langdon
1931  
 
In this boxing drama, a prizefighter is left by his money-grubbing showgirl wife who aspires to be a movie star. The fighter's manager is tickled by the turn of events and immediately snaps the boxer out of his love-struck funk and sets him a challenging training program. Sure enough the fighter makes a strong comeback. As soon as the fame and fortune starts rolling in, the avaricious wife shows up at his door. She fires his manager and hires her secret lover in his place. Soon the fighter begins losing again. Just before the championship bout the old manager proves that his wife is being unfaithful. That is only the beginning of the end for the champ. ~ Sandra Brennan, All Movie Guide

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Starring:
Lew AyresRobert Armstrong, (more)
1965  
 
One subject that has always been popular in the movies -- and is likely to stay that way for a long time to come -- is beautiful women, and this 1965 documentary explores the history of the Hollywood sex symbol, from the earliest days of Thomas Alva Edison's first silent films to such then-contemporary bombshells as Sophia Loren and Elizabeth Taylor. Along with celebrating some of the most beautiful women to grace the silver screen, including Marilyn Monroe, Rita Hayworth, Marlene Dietrich, Jean Harlow, Ingrid Bergman, and Greta Garbo, The Love Goddesses discusses the shifting attitudes about the onscreen portrayal of love and sex, and how some actresses found their images changing as they went from ingenues to pinups, and sometimes vice-versa. Actor Carl King serves as narrator; Percy Faith composed the score. ~ Mark Deming, All Movie Guide

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1929  
 
Director Ernst Lubitsch's first talking picture, The Love Parade was a witty souffle about a royal "marriage of state." Jeanette MacDonald, the queen of Sylvania, is required to take a husband. Maurice Chevalier is a highborn Sylvanian diplomat called back to his country due to his amorous escapades. It is arranged for Chevalier to marry MacDonald, but though he is ostensibly the "king" of the boudoir, he is not allowed to participate in any affairs of state. Gradually the royal protocol erodes the marriage, as the formerly footloose Chevalier bristles at being a mere consort. After numerous complications and misunderstandings, Chevalier asserts his authority over the secretly willing MacDonald. Counterpointing the main plot is the backstairs romance of servants Lupino Lane and Lillian Roth, who, like the stars, get to cut loose in the occasional musical number. ~ Hal Erickson, All Movie Guide

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Starring:
Maurice ChevalierJeanette MacDonald, (more)
1931  
 
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William Wellman's landmark gangster movie traces the rise and fall of prohibition-era mobster Tom Powers. We are first shown various episodes of Tom's childhood with the corrupting influences of the beer hall, pool parlor, and false friends like minor-league fence Putty Nose. As young adults, Tom (James Cagney) and his pal, Matt Doyle (Edward Woods), are hired by ruthless but innately decent bootlegger Paddy Ryan (Robert Emmett O'Connor). The boys quickly rise to the top of the heap, with all the accoutrements of success: custom-tailored tuxedoes, fancy cars, and gorgeous girls. All the while, Tom's loving (and somewhat addlepated) mother (Beryl Mercer) is kept in the dark, believing Tommy to be a good boy, a façade easily seen through by his older brother Mike (Donald Cook). Tommy's degeneration from brash kid to vicious lowlife is brought home in a famous scene in which he smashes a grapefruit in the face of his latest mistress (Mae Clarke). Some dated elements aside, The Public Enemy is as powerful as when it was first released, and it is far superior to the like-vintage Little Caesar. James Cagney is so dynamic in his first starring role that he practically bursts off the screen; he makes the audience pull for a character with no redeeming qualities. The film is blessed with a superior supporting cast: Joan Blondell is somewhat wasted as Matt's girl, Mamie; Jean Harlow is better served as Tom's main squeeze, Gwen (though some of her line readings are a bit awkward); and Murray Kinnell is slime personified as the deceitful Putty Nose, who "gets his" in unforgettable fashion. Despite a tacked-on opening disclaimer, most of the characters in The Public Enemy are based on actual people, a fact not lost on audiences of the period. Current prints are struck from the 1949 reissue, which was shortened from 92 to 83 minutes (among the deletions was the character of real-life hoodlum Bugs Moran). ~ Hal Erickson, All Movie Guide

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Starring:
James CagneyEdward Woods, (more)
1929  
 
Clara Bow and her sister Jean Arthur are wisecracking department store employees with ever-roaming eyes for eligible bachelors--particularly those with fat bank accounts. Both girls fall for the same wealthy man (James Hall) but Bow temporarily loses out to Arthur, who is just a tad craftier and a whole lot nastier. On the occasion of a wild costume party, the truth of Arthur's gold-digging duplicity comes out, and true-blue Bow wins the hero. Saturday Night Kid is a remake of the 1926 silent film Love 'Em and Leave 'Em, in which the female leads were played by Evelyn Brent and Louise Brooks. Both films were based on a stage play by George Abbott--which, in turn, was adapted from a verse novel by Townsend Martin. ~ Hal Erickson, All Movie Guide

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Starring:
Clara BowJames Hall, (more)
1931  
 
Bootleggers Louis Scorpio (Wallace Beery) and Johnny Franks (Ralph Bellamy), with the advice of their alcoholic lawyer Richard Newton (Lewis Stone), try to muscle in on the territory of gangster "Smiling Joe" Colimo (John Miljan). Franks kills Colimo's brother and tries to frame Scorpio, but Scorpio kills both him and olimo. Newspaper reporters Hank Rogers (Johnny Mack Brown) and Carl Luckner (Clark Gable) investigate with help from "The Secret Six," a consortium of businessmen eager to fight crime, but when Scorpio's moll Anne Courtland (Jean Harlow) tries to help them, Scorpio kidnaps her and Carl. The two hostages are rescued by "The Secret Six" and the police, and Scorpio and Newton shoot each other fighting over their money. ~ Nicole Gagne, All Movie Guide

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Starring:
Wallace BeeryJohnny Mack Brown, (more)
1929  
 
In this comedy, a lonesome fellow returns from Peru with a fortune and begins looking for a wife. While still single, he has a real estate agent show him a home or two. The agent invites him to dinner. During the meal the agent and his wife bicker constantly, causing the poor fellow to rethink the idea of matrimony. He decides that he still wants to share his new home with someone and so ends up having the agent's sister-in-law move in. She performs all the wifely duties but one... The two go on dating other people until they both realize that they have fallen in love with each other. Look carefully for brand new starlet Jean Harlow in a bit part. ~ Sandra Brennan, All Movie Guide

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Starring:
Edmund LoweConstance Bennett, (more)
1932  
 
Glamorous Jean Harlow had her first big starring role in this standard story of an innocent small town young woman corrupted by big city life. Harlow plays Cassie Barnes, who is bored with her life and jumps at the chance to move to New York City to join her old friend Gladys Kane (Mae Clarke). She gets an apartment with Gladys' friend Dot (Marie Prevost), whose life is not so glamorous -- she addresses envelopes to make money. Cassie quits her first job after her boss hits on her then becomes a model in the department store where Gladys works. There she falls for a philandering tycoon named Jerry Dexter (Walter Byron). Cassie eventually discovers that he is married. Jerry tries to claim that he's going to divorce his wife, but Cassie doubts it and dumps him. Gladys is the mistress of another married man, Arthur Phelps (Jameson Thomas), who keeps her happy with a well-furnished Park Avenue apartment. ~ Michael Betzold, All Movie Guide

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Starring:
Jean HarlowMae Clarke, (more)
1936  
 
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Magazine publisher Clark Gable is happily married to Myrna Loy. Clark's devoted, super-efficient secretary Jean Harlow may have once harbored a secret desire for her boss, but she's perfectly content with boyfriend James Stewart. Accompanying Gable on a crucial business trip, Jean answers the phone in her boss' suite. Myrna, on the other end of the line, misunderstands, thereby setting the stage for a series of subsequent misunderstandings. As one can see, nothing much really happens in Wife vs. Secretary. The film is a vehicle in every sense of the word, totally reliant on the appeal of its stars. But it works beautifully, and remains as entertaining now as it did sixty years ago. One film historian has wondered what Wife vs. Secretary would have looked like had it been made before the imposition of the production code: would Jean have really had an affair with Clark, thereby giving Myrna something to really worry about? No matter; while it may have been racier, it's not likely the film could have been any more entertaining than it already is. ~ Hal Erickson, All Movie Guide

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Starring:
Clark GableJean Harlow, (more)

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