The 4 Nov 1963 LAT noted that Carroll Baker had been chosen to portray the late actress Jean Harlow in a biographical film. Baker had recently played “Rina Marlow,” A character based on Harlow, in the Joseph E. Levine production, The Carpetbaggers (1964, see entry). Ten months later, the 1 Sep 1964 NYT reported that at least three films based on Harlow’s life were in process, following the publication of Irving Shulman’s controversial 1964 book, Harlow: An Intimate Biography.
       Levine announced his provisionally titled project, Jean Harlow, with an elaborate press conference at the Beverly Hills Hotel in Beverly Hills, CA, during which Baker entered in character, seated in a 1930s Isotta Fanchini automobile. Levine purchased screen rights to Shulman’s book for $100,000, although this would not discourage competitors, as Harlow’s life story was in the public domain. The producer admitted in the 2 Dec 1964 Var that the book was not very inaccurate and would not be a major influence on the screenplay. However, he was prepared to sue any competing production that incorporated elements of the Shulman biography.
       The article claimed that Baker had previously negotiated her role with columnist Sidney Skolsky, whose treatment on Harlow was being considered by Columbia Pictures. Twentieth Century-Fox Film Corporation was also planning a Harlow picture, based on a scenario by veteran screenwriter Adela Rogers St. John. Both Skolsky and Fox had originally intended for their pictures to star the late Marilyn Monroe.
       On 21 Oct 1964, NYT reported that William Sargent’s Electronovision Productions had recently entered the so-called “Harlow Sweepstakes.” Meanwhile, Fox and Columbia cancelled their projects, and a proposed tribute film from Metro-Goldwyn-Mayer (MGM) was in limbo. An item in the 5 Oct 1964 LAT suggested that Levine was attempting to “buy out” two competing Harlow productions.
       According to the 6 Dec 1964 LAT, Levine staged another media event as he and Baker were departing for the European premiere of The Carpetbaggers. He hosted approximately 150 journalists at a party on the Queen Mary, after which twenty-one traveled to England with Levine as his personal guests. The 25 Nov 1964 DV reported that rehearsals would begin at Paramount Studios in Los Angeles, CA, after Baker and Levine returned from Europe. The 17 Dec 1964 issue noted that Levine had already spent approximately $300,000 on the project, split evenly between screen rights to the source book, publicity, and “research and development” of the screenplay. Levine and Paramount president Howard Koch denied rumors that they were making a sexually explicit film, and foresaw no conflicts with either the Production Code administration or the National Legion of Decency.
       As stated in the 31 Dec 1964 DV, filming was delayed while screenwriter Blanche Hanalis made script revisions. Several months later, the 4 Mar 1965 NYT revealed that the screenplay, originally written by Sidney Boehm and Irene Kamp , was revised by John Michael Hayes at Carroll Baker’s request. He was compensated with one third of her fifteen percent share of profits.
       Principal photography began 24 Feb 1965, as stated in a 12 Mar 1965 DV production chart. The 7 Mar 1965 LAT reported that Levine launched the picture with a champagne-and-caviar breakfast at Paramount Studios for 250 members of the news media. Baker arrived in a 1931 Cadillac convertible, accompanied by at least two Russian Wolfhounds. As part of the ceremony, she and Levine placed their footprints in concrete. Two unidentified guests commented on Baker’s poor resemblance to Harlow, in terms of both appearance and sex appeal. A related article in the 26 Feb 1965 LAT noted that Howard W. Koch and Paramount founder Adolph Zukor were also in attendance. The reporter described the affair as “the most depressing event of the week.”
       Prospective cast members included George Jessel as Arthur Landau (3 Sep 1964 DV) ; Alec Guinness as Paul Bern (2 Oct 1964 DV) ; Gilbert Roland as Marino Bello (25 Nov 1964 Var) ; Peter Falk as “an agent” (2 Dec 1964 DV) ; Edmond O’Brien as Arthur Landau (6 Feb 1965 LAT) ; and Roger Smith as the love interest (18 Feb 1964 DV). Joining the cast were character actor Fritz Feld (25 Feb 1965 DV) ; silent film comic Billy Bletcher (2 Mar 1965 DV); Mike Mahoney and Steve Brodie (10 Mar 1965 Var); Phil Arnold (12 Mar 1965 DV); Larry Blake (7 Apr 1965 DV) ; Don Haggerty and Larry Mann (13 Apr 1965 DV) ; Janet Watson and Judy Shernen (14 Apr 1965 DV) ; and Ginny Baker, sister of Carroll Baker (13 May 1965 DV). The 10 Mar 1965 Var noted that the picture required as many as 250 background actors, with an average of fifty per day on set. A “large group of wardrobe people” would also be needed to supply period costumes. According to the 23 Apr 1965 DV, a full orchestra and 125 background actors arrived on set that day. The same number of actors would be required the following week. The film marked the screen debut of orchestra conductor Irvin Talbot, as stated in the 30 Apr 1965 DV. A news brief in the 12 Mar 1965 LAT noted that the crew included former MGM hair designer Sydney Guilaroff, who had styled Jean Harlow’s hair thirty years earlier.
       On 10 Apr 1965, NYT reported that filming was postponed when Carroll Baker’s health was apparently compromised by working long hours with no days off. The schedule was necessitated by Levine’s intended release date of 25 Jun 1965. Several days earlier, Levine encountered rival producer William Sargent at the Academy Awards banquet. “A heated exchange” ensued after Levine discovered Sargent’s identity, prompting Howard Koch to separate the two competitors. The 19 Apr 1965 DV stated that Baker had returned to work following an eleven-day absence. The 3 May 1965 DV later described a mishap on set, during which the actress tripped over a pair of wolfhounds. The incident was to be included in the final edit.
       The 18 May 1965 DV announced that filming was scheduled for completion the following night at Zuma Beach in Malibu, CA. According to the 23 May 1965 NYT, the $4 million picture was rescheduled to open in Jul 1965. A news item in the 13 May 1965 DV stated that Levine and Paramount were spending an additional $150,000 for advertising to differentiate the two Harlow films. The first six installments were planned for the following week’s editions of NYT .
       As the release date drew closer, the 27 Jun 1965 NYT reported that Levine had embarked on an “Operation Harlow” tour, during which he made personal appearances, held screening events for exhibitors, and conducted “merchandising forums.” A series of sneak previews was also scheduled, with the goal of stimulating “‘word of mouth’ interest.” The 14 Apr 1965 Var noted that Levine’s touring entourage included a group of “Harlow girls.” A news item in the 7 Jul 1965 issue announced a contest sponsored by RKO Theatres and Lerner Shops (later known as New York & Company), offering a trip for two to Hollywood, CA, as first prize. Contestants were required to attend the film’s New York City debut at either RKO’s Palace or 58th Street theaters and write a review in no more than fifty words.
       Harlow opened 21 Jul 1965 in New York City, followed by an 11 Aug 1965 opening in Los Angeles. Reviews were generally negative, with the 22 Jul 1965 NYT describing the picture as “a mishmash of slush and mawkishness.” Although the 7 Jul 1965 Var anticipated gross receipts of $6 million over the next two months, the film was ultimately labeled a “flop” in the 5 Jan 1966 edition. Red Buttons’s portrayal of Arthur Landau earned him a Golden Globe nomination for best supporting actor.
       On 19 May 1965, DV reported that distributor Magna Pictures had filed a $2.1 million anti-trust suit against Levine’s Embassy Pictures and its distributor, Paramount Pictures, claiming the companies forced exhibitors to boycott Electronovision’s Harlow (1965, see entry). Damages totaling $6.3 million were also sought. As stated in the 11 Jun 1965 NYT, Sargent filed his own suit against Embassy and Paramount, as well as 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.” Paramount and Embassy filed “defense and counter-suits” totaling $1 million, as reported in the 28 Sep 1965 DV.
       The 30 Sep 1965 DV listed Harlow among five U.S. entries at the Rio de Janeiro Film Festival in Brazil. The screening was subsequently canceled without explanation.
       The 16 Sep 1965 DV reported Carroll Baker’s plans for a five-year moratorium on scripted television “to protect her corporate percentage interest” in Harlow, which was estimated at $1 million. According to the 3 Nov 1965 Var, Baker filed suit against Paramount for reneging on an agreement to star her in the film version of Tropic of Cancer, based on Henry Miller’s 1961 novel. The suit was dismissed after studio documents revealed that Baker diverted John Michael Hayes from completing the screenplay with her invitation to revise Harlow. Production of Tropic of Cancer (1970, see entry) was postponed until 1969.
       The 2 Jun 1965 Var noted that revived interest in Jean Harlow resulted in the publication of a novel she had written thirty years earlier. 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.”
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