Jean Harlow Movies

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

No one was surprised in 1929 that aviation mogul Howard R. Hughes would produce a paean to World War I flying aces like Hell's Angels. Given Hughes' comparative inexperience as a moviemaker, however, everyone was taken slightly aback that the finished film was as good as it was. The very American Ben Lyon and James Hall play (respectively) Monte and Roy Rutledge, a couple of British brothers who drop out of Oxford to join the British Royal Flying Corps. Several early scenes establish Lyon and Hall's romantic rivalry over two-timing socialite Helen (Jean Harlow). While flying a dangerous bombing mission over Germany, the brothers are shot down. The commandant (Lucien Prival), who'd earlier been cuckolded by one of the brothers, savors his opportunity for revenge. He offers the boys their freedom if they'll reveal the time of the next British attack; if they don't cooperate, they face unspeakable consequences. Roy, driven mad by his combat experiences, is about to tell all when he is shot and killed by Monte. The latter is himself condemned to a firing squad by the disgruntled commandant -- who, it is implied, will soon meet his own doom at the hands of the British bombers. Nobody really cares about this hoary old plot, however; Hell's Angels culls most of its strength from its crackerjack aerial sequences. The highlight is a Zeppelin raid over London, one of the most hauntingly effective sequences ever put on film. From the first ghost-like appearance of the Zeppelin breaking through the clouds, to the self-sacrificing behavior of the German crew members as they jump to their deaths rather than provide "excess weight," this is a scene that lingers in the memory far longer than all that good-of-the-service nonsense in the finale. Also worth noting is the star-making appearance of Jean Harlow. When Hell's Angels was begun as a silent film, Norwegian actress Greta Nissen played the female lead. During the switchover to sound, producer Hughes decided that her accent was at odds with her characterization, so he reshot her scenes with his latest discovery, Harlow. While she appears awkward in some of her scenes, there's no clumsiness whatsoever in her delivery of the classic line about slipping into "something more comfortable." Originally, Marshall Neilan was signed to direct the film, but became so rattled by Howard Hughes' interference that he handed the reins to Hughes himself, who was in turn given an uncredited assist by Luther Reed. Also ignored in the film's credits are the dialogue contributions by future Frankenstein director James Whale, who'd been hired as the film's English-dialect coach. Modern audiences expecting a musty museum piece are generally surprised by Hell's Angels' high entertainment content: they are also startled by the pre-code frankness of the dialogue, with phrases like "The hell with you" bandied about with reckless abandon. In recent years, archivists have restored the film's two-color Technicolor sequence, providing us with our only color glimpses of the radiant Jean Harlow. ~ Hal Erickson, All Movie Guide

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

A hotel is gearing up to welcome its prestigious new guest, a European Prince (Captain John Peters). But before he appears, Stan Laurel and Oliver Hardy walk in. After much confusion, it is discovered that the two are not the Prince and his Prime Minister, but are the hotel's new doorman and footman. The real Prince grows ever more furious as he falls into the elevator shaft numerous times, always because of either Stan or Ollie. Finally the boys take their positions outside the hotel, where they irritate a taxi driver (Charlie Hall) and a policeman (Tiny Sanford). Stan, Ollie, and the cabbie proceed to destroy each other's uniforms, until the cabbie accidentally grabs the policeman's jacket. The cabbie takes off, and another taxi appears. A sexy blonde (Jean Harlow) emerges and is personally escorted by Ollie. What he doesn't know is that Stan shut the cab's door on her dress and it has ripped right off. Finally, he sees what has happened, and, horrified, he removes Stan's coat to cover up the young lady. The boys start bickering, and soon the whole lobby is in an uproar. The Prince comes in and gets in the way of a flying cake. Nearly rabid with anger, he swears to report this indignity to the King and Queen -- then falls into the elevator shaft once again.
This two-reel silent is best remembered for the scene in which Jean Harlow's dress is caught in the taxi cab door. Harlow doesn't appear in a later Laurel and Hardy film, Beau Hunks, but a still photo of her from Double Whoopie does, and she's identified there as "Jeannie-Weenie," Ollie's faithless girlfriend. And if the Prince in Double Whoopie looks quite a bit like Erich von Stroheim, he should -- the actor who played the part was von Stroheim's stand-in. Double Whoopee was re-released in 1969 in a "talkie" version dubbed by new actors. ~ Janiss Garza, All Movie Guide

This Laurel and Hardy short film has a thin plot but plenty of laughs. The two have escaped from prison, but the guards are hot on their tail. Some confederates pick them up, and Stan and Ollie change out of their prison uniforms in the car while a motorcycle policeman pursues them. In their haste, they put on the wrong pants, but they manage to elude the police. For most of the rest of the film, they try to find a inconspicuous place to switch their pants. Future star Jean Harlow has an early bit part as a lady who attempts to enter a taxi while the boys are without trousers. They finally get their pants switched, but find themselves on a construction elevator which takes them up to the top of a skyscraper. Now, they have to find their way back down to the ground without falling. ~ Bruce Calvert, All Movie Guide

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