I would call "The Bombshell" (UK: "The Blonde Bombshell") Jean Harlow's funniest comedy. She exhibits enormous acting range, from emotional anguish to maternal care to melting passion, all in the service of farce. The movie's frenetic dialogue and propulsive urgency also make athletic use of Lee Tracy, the fastest talking lead actor on the screen.
In "Platinum Blonde" (1931) Harlow somewhat stiffly embodies genteel sex in service of a comedy. By 1933's "Dinner At Eight" she stands her own paired with two mighty talents. She spars lustily with Wallace Beery, a Falstaffian scene-seizer. Her lines as straight woman to Marie Dressler could not be more exquisitely rendered.
To an extent Lola Burns in "The Bombshell" spoofs Harlow's own career and image. Her character even does a retake of the rain barrel scene from "Red Dust" (1932), a picture which had Harlow sunnily portraying a good-time girl along the Malay rivers. More broadly, she helps satirize an entire merciless industry which could cruelly grind up creative personnel's egos, private lives, and sanity.
Yet, we don't have the corrosive movie-biz self-criticism of "What Price Hollywood?" (1932) or its "A Star Is Born" descendants. For all the muck it rakes up about the studio system, this remains a fun picture, a supremely good time, and a roisterous showcase for a talented star who died far too soon.
Marilyn Monroe had wanted to play Harlow in a biopic. Both luminous women left impressive, abbreviated legacies.
In "Platinum Blonde" (1931) Harlow somewhat stiffly embodies genteel sex in service of a comedy. By 1933's "Dinner At Eight" she stands her own paired with two mighty talents. She spars lustily with Wallace Beery, a Falstaffian scene-seizer. Her lines as straight woman to Marie Dressler could not be more exquisitely rendered.
To an extent Lola Burns in "The Bombshell" spoofs Harlow's own career and image. Her character even does a retake of the rain barrel scene from "Red Dust" (1932), a picture which had Harlow sunnily portraying a good-time girl along the Malay rivers. More broadly, she helps satirize an entire merciless industry which could cruelly grind up creative personnel's egos, private lives, and sanity.
Yet, we don't have the corrosive movie-biz self-criticism of "What Price Hollywood?" (1932) or its "A Star Is Born" descendants. For all the muck it rakes up about the studio system, this remains a fun picture, a supremely good time, and a roisterous showcase for a talented star who died far too soon.
Marilyn Monroe had wanted to play Harlow in a biopic. Both luminous women left impressive, abbreviated legacies.