The 21 Oct 1964 NYT announced that Electronovision Productions intended to be the first to release a film about the life of actress Jean Harlow. Company president William “Bill” Sargent, Jr., planned a ten-day production schedule, budgeted at $500,000. He attributed this efficiency to his proprietary videotape-to-film system, which had simpler lighting requirements, and accommodated as many as fifteen cameras at one time. Sargent promised the screenplay would not scandalize the late actress, who would be played by “a relative unknown.”
       Electronovision was one of five companies involved in what entertainment reporters labeled the “Harlow Sweepstakes,” inspired by the publication of Irving Shulman’s salacious, semi-fictional biography, Harlow. Other participants included Embassy Pictures, owner of the movie rights to Shulman's book; Columbia Pictures, using a 1946 treatment by publicist Sidney Skolsky; and Metro-Goldwyn-Mayer, Inc., Harlow’s home studio, which was preparing a tribute comprised of film clips. Twentieth Century-Fox Film Corp. had already abandoned their proposed project.
       A news item in the 21 Oct 1964 DV noted that Sargent had signed actresses Anna Capri and Meri Welles for the project. Four week later, the 17 Nov 1964 issue noted that he was in New York City interviewing Barbara Loden for the title role. The 20 Jan 1965 Var mentioned Jill St. John as a candidate, and estimated the budget at between $600,000 and $1 million. The soundtrack album would be released on Electronovision Records in advance of the picture.
       After Columbia Pictures cancelled their Harlow project, the 19 Jan 1965 LAT reported that Sargent had acquired Sidney Skolsky’s treatment. Skolsky was also supposed to be credited as associate producer. The partnership ended three weeks later, when the 10 Feb 1965 DV announced that Skolsky’s scenario had been rejected in a favor of a screenplay by Karl Tunberg. Sargent, who purchased the script for an undisclosed amount, explained that it was simply “better” than Skolsky’s offering. On 3 Mar 1965, DV reported that Skolsky was suing Electronovision. The plaintiff demanded $40,000 to cover a “bounced” check from Sargent, and another $100,000 for “mental suffering and damage” to his reputation. Sargent countered that Skolsky’s treatment was only “three of four percent” dialogue, and focused more on its writer than on Jean Harlow. He added that Skolsky had received a $5,000 “option payment,” to which he was no longer entitled. However, Sargent preferred not to seek restitution.
       According to the 3 Mar 1965 Var, composer Al Ham had recently completed his musical score, which would then be added to the picture during principal photography. This was reported as the first attempt at such a process. The next day’s NYT stated that Dorothy Provine, known for the character “Pinky” in The Roaring 20’s (ABC, 15 Oct 1960--20 Jan 1962), had been chosen to star in the film. The seven-day shooting schedule was expected to begin 24 Mar 1965, for release the following May, approximately two months in advance of Embassy Pictures’ Harlow (1965, see entry). That same day, however, DV revealed that Marshall Naify, president of distributor Magna Pictures, preferred actress Carol Lynley for the lead. Provine expressed her desire to do the film, but not if it was going to be “a hassle.” Her salary would have been $10,000 per day. The 10 Mar 1965 DV noted that Anne Francis was also a candidate for the lead. Sargent reportedly invited his “Harlow” rival, Embassy president Joseph E. Levine, to appear in the film as MGM studio chief Louis B. Mayer. An item in the 6 Feb 1965 LAT also suggested Edmond O’Brien for the role, which ultimately went to Jack Kruschen. The next day, LAT confirmed Lynley in the starring role, with Judy Garland as “Mama Jean.” Filming was to follow three weeks of rehearsal. Sargent told the 13 Apr 1965 LAT that Lynley was given the starring role after an artist drew “platinum-blonde” hair on photographs of the candidates. He claimed that Lynley bore the closest resemblance to Harlow and had identical measurements.
       On 24 Mar 1965, DV announced that Garland suddenly left the production, reportedly over a dispute concerning her screen billing. Her likely replacement was Eleanor Parker. However, the next day’s issue reported that Parker had rejected the role after reading the screenplay. Sargent accused her agent of undermining the deal by demanding a salary increase, which the agent denied. Veteran actress Ginger Rogers accepted the role and was expected at Desilu Studios in Hollywood, CA, the next morning. Also joining the cast was Jamie McRae, according to the 9 Apr 1965 DV. Joe Seiferth was credited as the film’s publicist in the 23 Jun 1965 Var. The 17 Mar 1965 LAT noted that Fred Klein, publisher of Photoplay, was hired to reenact an incident from the 1930s, during which Jean Harlow told him, “I won’t be a star until my face is on the cover of your magazine.”
       Principal photography began 31 Mar 1965, as stated in a 2 Apr 1965 DV production chart. Film critic Philip K. Scheuer reported in the 13 Apr 1965 LAT that Bill Sargent was able to monitor the production in his West Hollywood, CA, office as it took place more than three miles away. He could also communicate remotely with director Alex Segal while watching the film’s progress on closed-circuit television, which reproduced the image in the “1:85 to 1” aspect ratio of a movie screen. Segal viewed completed scenes in a “mobile-truck unit” parked on the studio lot.
       Principal photography was completed 10 Apr 1965, as noted in that day’s LAT. Afterward, DV stated that Carol Lynley performed her final scene in a mud bath. In a celebratory gesture, the crew pushed Alex Segal and producer Lee Savin into the mud as well. The close of production was marked by a party, during which two crewmembers engaged in a fistfight. One required hospitalization.
       According to the 8 Apr 1965 DV, Sargent appeared at the Hollywood Press Club’s “Night Out With The Ghouls” event, accompanied by his “Harlow” girls, who were scheduled to tour in support of the picture.
       The 31 Mar 1965 Var noted that Sargent intended to hire the Goodyear blimp to fly over the Santa Monica Civic Auditorium during the 5 Apr 1965 Academy Awards ceremony. The name “Harlow” would be emblazoned on the vessel in electric lights, and the musical score would be played through an onboard sound system. The 10 Apr 1965 NYT reported that Sargent encountered Joseph E. Levine at the event. Despite Sargent’s cordial introduction, a heated argument ensued and Paramount Pictures executive Howard Koch was forced to separate the rival producers.
       The 13 Apr 1965 LAT noted that a premiere was tentatively planned for three cities on 11 May 1965, followed by several openings the next day. Six hundred prints were ordered for the initial release. Expenses connected with producing and distributing the picture totaled $1.5 million, including $600,000 for production.
       Harlow opened 12 May 1965 in Los Angeles, CA, and on 14 May 1965 in New York City. Reviews were generally negative, and the National Legion of Decency disparaged the picture’s “inept treatment of unsavory events.” Box office receipts were equally discouraging, as noted in the 19 May 1965 Var.
       On 19 May 1965, DV reported that Magna Pictures had filed a $2.1 million anti-trust suit against Embassy and its distributor, Paramount Pictures, claiming the companies forced exhibitors to boycott Electronovision’s Harlow. Damages totaling $6.3 million were also sought. As stated in the 11 Jun 1965 DV, Sargent filed his own suit against Embassy and Paramount, along with Technicolor Corporation of America and five theater circuits. One of those circuits, National General Corporation, was charged with boycotting the picture to “protect its own Talaria electronic film process.”
       The 28 Apr 1965 DV reported that Electronovision had issued bad checks to cast members Ginger Rogers and Ephrem Zimbalist, Jr. Sargent insisted that the checks had since been covered. The 17 May 1965 edition noted that the company owed cast members Jack Kruschen and Hermione Baddeley a total of $10,000. The Screen Actors Guild (SAG) responded by canceling its contract with Electronovision, as stated in 19 May 1965 LAT. That day’s Var included a statement from Sargent, claiming that both Kruschen’s and Baddeley’s agents agreed to delays in payment. Months later, the 26 Aug 1965 DV reported the decision of a SAG arbitration panel, which determined that Sargent still owed Kruschen $2,000 in unpaid wages.
       On 28 Jul 1965, Var announced the demise of Electronovision Productions, brought about by the aftermath of Harlow. Sargent’s lawsuits at the time totaled $25.2 million. More than a year later, the 21 Sep 1966 issue estimated his outstanding lawsuits at $18.75 million.
       Aside from Irving Shulman’s book, revived interest in Jean Harlow resulted in the publication of a novel she had written thirty years earlier, as noted in a 2 Jun 1965 Var news item. Titled Today Is Tonight, the book debuted in the Jul 1965 issue of Mademoiselle magazine, followed by a hardback edition from Grove Press on 12 Jul 1965. The magazine’s fiction editor described the plot as “campy.”