She was fucking ugly for a movie star back then.
|by Anonymous||reply 47||May 16, 2009 1:34 AM|
The weird thing about Jean Harlow is that it's impossible to tell what she really looked like because of the platinum hair, drawn-on eyebrows and heavy make-up. I've wondered what she must've looked like underneath all of that.
|by Anonymous||reply 1||April 23, 2009 5:25 PM|
A plumber, R1.
|by Anonymous||reply 2||April 23, 2009 5:30 PM|
She had the knockout body that was accentuated by the almost see through satiny dresses she was told to wear by the controlling moguls of that era.
|by Anonymous||reply 3||April 23, 2009 5:31 PM|
You're just being mean. Many studio shots plus her films show an attractiveness that lent itself well to the deco stylings she perfected. This at a time when people did not redo their noses, shoot wax into their faces, or have their facial bones filed or augmented.
But the voice - there's something you can carp about.
|by Anonymous||reply 4||April 23, 2009 5:35 PM|
She had an incredibly body and gave good still. Her shots with Hurrell are amazing. But in her movies, she looks pretty ordinary.
|by Anonymous||reply 5||April 23, 2009 5:40 PM|
I think she was probably the epitome of beauty for a lot of (straight) men back then. Complete artifice, something to project a fantasy onto. I've never found her particularly beautiful. Actresses like Garbo, Crawford, and Dietrich were also manipulated and controlled by the studios, but you can tell they were true beauties based on bone structure alone. Harlow had a baby face and a pug nose attached to a great figure. Very appealing to those attracted to gamine, pliable child-like women.
|by Anonymous||reply 6||April 23, 2009 5:44 PM|
The young Joan Crawford was stunningly beautiful. It's amazing how her looks hardened into a frightmask as she got older, but when she was young she was a fucking knockout.
|by Anonymous||reply 7||April 23, 2009 5:52 PM|
I've always liked the Hurrell photo of Joan Crawford where her freckles aren't covered up. There's a vulnerability to the photo that she didn't really show in any roles. It's like that for Crawford make-up was literally "war paint," she put it on and became someone else, the tough unbreakable dame.
|by Anonymous||reply 8||April 23, 2009 6:17 PM|
That pic doesn't look like Crawford's nose at all but it is a stunning picture.
Jean Harlow was definitely a product of her time. She did soften her hair from the platinum white to a softer brown/blond in Suzy and in her last unfinished pic so her "evolution" might have revealed a different "look" eventually. I always wondered how she would have photographed in 40's hairstyles and padded shouldered Adrian clothes. She never made it that far.
|by Anonymous||reply 9||April 23, 2009 6:55 PM|
Yes R8, such a very pretty young woman.
Gay boy here: I just don't understand all the war paint women seem to apply which makes them look old, harsh and worn. Women are so naturally beautiful with freckles, laugh lines and just a bit of lip gloss. So glad guys don't wear make-up.
|by Anonymous||reply 10||April 23, 2009 7:02 PM|
Is this ugly? Not to me.
|by Anonymous||reply 11||April 23, 2009 7:06 PM|
Crawford showed vulnerability, especially in her early films, you just have to look for it.
|by Anonymous||reply 12||April 23, 2009 7:06 PM|
One of my favorites of Miss Crawford
|by Anonymous||reply 13||April 23, 2009 7:08 PM|
Miss C. is looking damn good in this one, too.
|by Anonymous||reply 14||April 23, 2009 7:11 PM|
I have a coffee table book on Hurrell and he said that Crawford was one of his favourites to shoot. She always had new ideas she wanted to try out, and she knew instinctively how to pose.
|by Anonymous||reply 15||April 23, 2009 7:49 PM|
I don't find that one to be attractive R14.
|by Anonymous||reply 16||April 23, 2009 8:40 PM|
>> ugly for a movie star back then.
And today we have lumpy lips and bulging eyes on Angelina Jolie.
|by Anonymous||reply 17||April 23, 2009 8:55 PM|
Crawford is a great example of someone whose personality eventually takes over their looks.
Loved Jean Harlow. Great tragedy she died so young with such a promising career ahead. Great screen comedienne.
|by Anonymous||reply 18||April 23, 2009 8:58 PM|
I love R11's photo. Jean Harlow was just as beautiful without the artifice, though. I remember seeing some newsreel footage of her on the golf course where she's wearing little if any makeup--and come to think of it, no bra either--and she's a knockout.
|by Anonymous||reply 19||April 23, 2009 9:32 PM|
OP, you're a crass fool.
|by Anonymous||reply 20||April 23, 2009 9:53 PM|
Jean Harlow had a somewhat piggish look to her. My vote goes for ugly, too.
|by Anonymous||reply 21||April 23, 2009 9:56 PM|
When MGM starting closing up in the 70s, they started going through all the photos. There were more pics of Crawford than anyone else. A LOT more...
|by Anonymous||reply 22||April 24, 2009 12:21 AM|
You nits who consider Harlow "ugly" need to get a new pair of bifocals.
Harlow was very pretty, but it was hard to tell due to all the makeup that MGM cosmeticians plastered on her face. The makeup they used was really harsh; I guess they thought it was "sexy". Remember, she was considered THE sex symbol of her time. But when she didn't have on all that makeup she was very fresh faced. I saw a picture of her when she was just 16 and she was absolutely lovely.
Jean Harlow was, by all accounts, incredibly well-liked by everyone who knew her. She was unassuming, friendly, easy to work with, with very little ego. The only people who didn't like her were Wallace Beery (who was a disagreeable sort as a whole) and the aforementioned Joan Crawford. Crawford was jealous of Harlow, jealous of her beauty and popularity. But then Crawford was jealous of just about everybody, jealous of their beauty (Harlow, Marilyn Monroe) or talent (Bette Davis) or connections (Norma Shearer).
|by Anonymous||reply 23||April 24, 2009 1:44 AM|
One of the reasons B&W films were not superseded by color films earlier was because makeup could be applied heavier and that unearthly artifice, as someone said above, was the desired effect in those desperate times of the early Depression. Audiences didn't want reality then.
I'm not sure that Jean Harlow's career would have survived by the end of the 30s had she lived that long. She was a star who was perfectly made for the glories of B&W.
|by Anonymous||reply 24||April 24, 2009 3:28 AM|
If you follow Ginger Rogers image from the early 30s to 1940 you can easily see how platinum blondes and pencilled in eyebrows evolved into something much more natural during that decade.
|by Anonymous||reply 25||April 24, 2009 3:30 AM|
Technicolor lighting required JUST as much heavy make-up, r24. It just produced a different garish and glamorous "look" than the shimmery silver nitrate film look produced in B/W. No one stepped before a camera in the 1930's OR 40's without being completed slathered in thick pancake make-up and lacquered hair. (Lucille Ball used to have to crack her hair with a hairbrush at night to break the hairspray crust on it, for instance.)
Jean Harlow might have been even MORE beautiful made up for the artificial 40's Technicolor color camera. Ginger Rogers did change her look by the 40's but her look was no less "artificial" than the 30's. Just different.
WWII audiences didn't want realism either.
And r24 is kinda talking out of his ass.
|by Anonymous||reply 26||April 24, 2009 3:45 AM|
Well I thought I was the only one who wasn't too impressed with Harlow's looks.
|by Anonymous||reply 27||April 24, 2009 3:49 AM|
I'd prefer stars today looked like JH (bottle-blonde)than someone like Liz Hurley (starved, botoxed, upper lip stuffed full of collagen) or Angelina (ana/H-addicted; at least 10 cosmetic procedures and counting).
I was surprised when reading Gloria Swanson's memoirs to see from the photos included that in her youth she was more striking with stronger features than any mainstream leading lady today. Better her than a bland-as-fuck moppet like Meg Ryan that we had to tolerate seeing on the cover of every fucking tabloid in the 80's and 90's.
|by Anonymous||reply 28||April 24, 2009 4:26 AM|
[italic]She was fucking ugly for a movie star back then.[/italic]
Oh shut up, you're fucking ugly.
|by Anonymous||reply 29||April 24, 2009 4:31 AM|
OP = stupid shit
|by Anonymous||reply 30||April 24, 2009 4:35 AM|
For decades tens of thousands of middle-aged and older women cursed the memory of Jean Harlow for having inspired them to shave off their eyebrows when they were young. Penciling them back in every day for the rest of your life gets old real quick.
|by Anonymous||reply 31||April 24, 2009 5:53 AM|
Joan was amazing:
|by Anonymous||reply 32||April 24, 2009 6:07 AM|
"I always wondered how she would have photographed in 40's hairstyles..."
See Iris Adrian.
|by Anonymous||reply 33||April 24, 2009 11:36 AM|
|by Anonymous||reply 34||April 24, 2009 12:24 PM|
This is a thread about Jean Harlow. What the hell is Joan Crawford doing in it?
Jean Harlow was about a million times better looking than Joan Crawford.
|by Anonymous||reply 35||April 24, 2009 9:45 PM|
My favorite of Joan. Even with the retouching on her freckles, I still see vulnerability in her eyes here.
|by Anonymous||reply 36||April 24, 2009 9:56 PM|
Jean Harlow had a lot of Jade Goody about her. And chin-buttocks.
|by Anonymous||reply 37||April 24, 2009 10:09 PM|
I remember reading that she was difficult to photograph not only because of the hair, but also her chin and her eyes.
I actually like her look in the late 20s early 30s with the gobs of make-up and black kohl eyeliner. Her face is sharper and the harsh make-up reminds me of glam rock in the 70s.
But I love her. She wasn't much of an actress (see those same early films) but she's incredibly hot in RED DUST, very funny in RED HEADED WOMAN and LIBELED LADY and perfect in BOMBSHELL.
|by Anonymous||reply 38||April 24, 2009 10:17 PM|
Makeup in Technicolor films often looks so creepy, it's as though everyone has grey skin with some pinkish makeup applied over it. I was watching "On the Town" last night and you could really see that grey-pink effect on Betty Garrett and Ann Miller.
Harlow would have looked 1,000 times better without those pencilled eyebrows.
|by Anonymous||reply 39||April 24, 2009 10:49 PM|
That pink grey pallor is an MGM Technicolor thing. A lot of mid to late 40s color movies at MGM had that look you refer to, R39. It's like a Technicolor mausoleum.
And yeah, Jean Harlow probably wouldn't have looked good in color.
|by Anonymous||reply 40||April 24, 2009 11:03 PM|
I think it was Harlow's body that made her a star, not so much her somewhat Cagney-like face.
Specifically, her nipples.
Though here, she looks yummy from top to bottom.
(And you can rinse your eyeballs after the hideousness of R34. Enough Crawfish, thank you.)
|by Anonymous||reply 41||April 24, 2009 11:05 PM|
There's a picture out there somewhere of her on a golf course with a couple of other big stars, maybe Gable was one of them. The wind was blowing toward them and plastering her flimsy dress to her body. Not only can you see her nipples in full relief, but her bush is clearly outlined. She was wearing NO underwear of any kind.
|by Anonymous||reply 42||April 24, 2009 11:29 PM|
"And yeah, Jean Harlow probably wouldn't have looked good in color."
Actually, it's lamented that there is no color film footage of Harlow. There was her platinum hair, which really would have stood out in color. She had beautiful blue-green eyes. And her skin was said to be exquisite. Makeup artists said it was like "milk and honey" or "pink ivory."
Harlow never wore bras or underwear, which is why her nipples can be seen in some photographs. And if you watch her movies, it's obvious from the way her breasts move that she's not wearing a bra.
A biography of her entitled "Platinum Girl" describes her like this:
"She was no breathtaking beauty, but she did have a quirkily compelling look. She was small: 5'3, a little over a hundred pounds. Her most arresting feature were her blue-gray eyes; large, round and deep-set, they seemed made for the movie camera. She had good "camera bones" as well, with the essential strong, high cheekbones. Her forehead was perhaps too broad, and her chin receding, but that was offset by a lucky cleft. Her mouth was terrific; a fashionable cupid's bow, which broke into an infectious and genuinely beautiful smile. Her nose seemed to have been designed with an architect's T-square, being entirely composed of sharp 45-degree angles. Her flawless ivory skin seemed to glow with health."
Not too shabby.
|by Anonymous||reply 43||April 24, 2009 11:52 PM|
Not sure if it's the same one I read, R 43 - but it said that most people who knew the family considered her mother the great beauty.
|by Anonymous||reply 44||April 25, 2009 12:17 AM|
Eddie Izzard looked like her twin in the picture up above his desk in the movie Velvet Goldmine.
|by Anonymous||reply 45||April 25, 2009 9:56 AM|
The Daily Mail published this article today because a new book about Jean is being published in the UK
The first celebrity car-crash life: Starlet Jean Harlow, the 1930s man-eater who never wore underwear
Jean Harlow - 'Two years in the spotlight if you make it - and when that's over you're nothing but a has-been for the rest of your life'
These words could have been written for the flickering 'stars' of fickle 21st-century celebrity culture, a warning for all the wannabe Jades, Parises and Jordans attracted to the world of easy-come, easy-go fame.
It comes as a surprise, then, to learn that they were spoken 75 years ago - and by one of fame's greatest ever victims, the Hollywood sex goddess Jean Harlow. The original 'blonde bombshell', with peroxide platinum locks and a sassy face that sent men wild and women racing to their hairstylist to copy her look, is barely remembered now. Not one of the three dozen films she starred in would figure in even the most arcane cinema buff's top 100 list. Yet there was an era when she fought for pole position on the world stage with legendary divas such as Marlene Dietrich and Greta Garbo, Joan Crawford and Tallulah Bankhead, and outsparked them all for sheer nerve and sexiness. As a turn-on, she even 'out It-ed' the 'It-girl' herself, her silent-screen contemporary Clara Bow. A reviewer of one of her early films spotted exactly what 'it' was and that Harlow, as she wafted across the screen in a skimpy dress, had plenty of it. Her obvious lack of acting ability was immaterial, he decided. What mattered was that she had 'the most sensuous figure' seen in front of a camera for a long time. She was probably destined always to play the role of a man-eating trollop, he added, 'but nobody ever starved possessing what she's got'. Her talent may have been tiny, but she made up for it with masses of front - in every sense. Brassy and brazen, she married early and often, consorted with gangsters, boxers, band-leaders and bisexuals and never, she maintained, ever wore knickers or a bra, on or off screen.
'Leched over' She was leched over by some of Hollywood's most famous producers - and hounded continually for her morals by affronted anti-indecency campaigners, who dubbed her 'the filthiest woman ever to have set foot in Hollywood'. And at the age of 26, she was indeed a has-been, but in a different way from the prophecy she herself had mouthed when playing the part of yet another good-time girl in one of her films. There would be no being a nobody 'for the rest of your life' for Jean Harlow. She was dead. But what a life in the fast lane it had been - as a newly published biography of her reveals. Today's It-girls look shy and retiring by comparison, candles in the wind compared with Harlow's stupendous bonfire. She epitomised the dark side of the Hollywood Babylon legend. Her mother was controlling to the point of madness and her stepfather a gun-toting pervert who climbed up ladders to spy on his naked, sleeping stepdaughter. She herself was often drunk, debauched and drawn to middle-aged men who let her down in bed and beat her black and blue, instead of giving her the love she craved. Not knowing any of this but transfixed and shocked by her daring presence on screen, the public adored her. Her heyday was, as now, a time of economic recession. On the very day she signed her first film contract in October 1929, Wall Street crashed and America and the world slipped into recession and then depression. But, even as the dole queues lengthened, the soup kitchens multiplied and poverty stalked millions of lives, the antics of Hollywood's finest never faltered.
Actors and actresses, directors and producers continued to party, spend, drink, carouse and bed-hop as if nothing mattered beyond Sunset Boulevard. Strangely, outside in the real world, instead of disgust at the stars' indulgences in those hard times, there was a fascination on the part of the public - as if the reflection of the bright lights could lift the gloom. People lapped up every last titillating detail the gossip columns and the fan magazines dished out. What they were allowed to read about the stars' lives, however, was a heavily blue-pencilled account that reflected the family values and upright morality the studios were keen to promote. The secrets of Tinseltown's immorality were concealed - and few of its inhabitants had more secrets worth concealing than Harlow.
She had been born, surprisingly, on the posh side of the tracks, in a mansion in Kansas City, with a well-off father and an ambitious but nutty mother who never called her by any name except Baby, even when she was a grown woman.'Mama Jean' had wanted to make it in Hollywood herself but was too old, and all her desire for fame was pitched on to her daughter. Mama even offered herself on the casting couch for the pleasure of randy directors and producers to pave the way for Baby. Not that Baby was a child any more after losing her virginity when just 14. At 16, she was married, to a local rich boy, but it wouldn't last. Mother was propelling her into the lower reaches of Hollywood. There, the teenager's blue eyes, pouting lips and well-formed figure landed her various bit parts. In one of these, she was a well-heeled woman climbing out of a taxi and walking into a plush hotel. The doorman - played by Stan Laurel - was supposed to slam the taxi door shut, catching her ankle-length dress and ripping it off so she enters the hotel in just her slip. The gag was funny enough. But what was sensational was the revelation that Jean was a knicker-free zone. As the dress fell away, the powerful studio lights pierced through the slip and, to the delight of the crew, exposed the fact that it was not just the hair on her head that was bleached peroxide silver. She was never shy about proving the point and would often give reporters a quick flash to show that she was, as she put it, 'the same colour all over'. To some special fans, she sent a cut-off silver curl or two as a keepsake. Crude though all this was, it was just the sort of thing that hypocritical Thirties Hollywood - all squeaky clean on the outside but grubby inside - loved. She built on this daring reputation by taking any opportunity to let her untethered breasts tumble out from her blouse, and enhanced their appearance by iceing her nipples so that they stood out prominently.
Throughout her soon-burgeoning career, she was infamous for stripping off on set in front of everyone. Other stars would slip behind a screen but, to wolf whistles, she shed every stitch in full view before calling for her dresser to bring out her working clothes. None of this ever emerged on screen as such, of course. It wouldn't have been allowed. But her sluttishness was soon her trademark and it brought in millions of box-office dollars for her unscrupulous studio bosses. (She herself did less well financially. She was consistently underpaid compared with other big stars.) Her in -your -face sexuality was matched by a mouth that also took no prisoners. One-liners spewed out of her in an unforgettable snarl, sprinkled liberally with 4 letter curses. But for all the tough-girl image she presented, she was a wreck underneath and exploited by almost everyone she ever came into contact with. The men in her life were almost without exception vile to her. The worst was her stepfather, Marino Bello, a Sicilian with gangster connections who used her as a meal ticket and beat up both her and her mother. He pestered her for sex, milked her for money and, whenever she tried to escape from his clutches, he kept her in line by threatening to make public pornographic photographs of her from her teens.
Her 2nd husband was MGM producer Paul Bern, who was twice her age, and by reputation a nice man. 'He likes me for my mind,' she told a disbelieving Press. 'He isn't pawing me all the time.' But it turned out on the honeymoon that he wasn't pawing her because he couldn't. The word was that he had a genital abnormality and was a hermaphrodite - but that, in his frustration, he would lash out brutally with his fists and, on their wedding night, with a walking stick. Just 2 months later, Bern was dead, a bullet in his head, apparently by his own hand. The studio sent in its boys ahead of the police to clean up the scene and minimise the scandal, but they couldn't stop the rumour mill. What reason did he have to kill himself? Could it have been murder? Witnesses reported a mystery woman driving away from the house shortly before the body was found. Harlow was everyone's number one suspect for a while, though no action was ever taken against her. Biographer David Bret believes the odds are that Bern's death was indeed murder, not suicide, but he thinks Harlow was not the killer.
Whodunnit? There were others in the frame - Bello, for one, whose control over his cash-cow stepdaughter was jeopardised by her marriage; or Bern's first wife, who nobody knew even existed but who turned up with a grievance just before his death. Harlow's response to the loss of husband number 2 was to go completely off the rails. The Hollywood star went out looking for sex. Dressed in tart's clothes, she kerb-crawled the red-light districts, offering to pay men to sleep with her. A year after Bern's death, she married again - another older, balding middle-aged man. She gave an interview explaining that: 'He's no Apollo, but if you love a person the physical means nothing.' When she saw the words in print she was appalled at the implication. It was tantamount to admitting that the sex siren - the image on which her entire career was built - was not interested in sex.
There were more men, more unfulfilling affairs. She shared her bed with a handsome writer - but found she was sharing him too with his male lover, the beefcake actor and her co-star, Clark Gable. World heavyweight champion boxer Max Baer bedded her within hours of them meeting and then went back to his wife. One of the few men to treat her decently was actor William Powell, or 'Poppy', as she called him, a nickname that spoke volumes about their relationship. In the end, though, it was not a man who let her down and caused her death. Instead, it was her mother. Mama Jean was a member of the Christian Scientist sect, a believer in divine healing of human ailments. She opposed hospital treatment of any sort and insisted the same should go for Baby (though, oddly, she seems to have turned a blind eye to her daughter's 3 abortions).
But Jean was constantly prone to illness. Her eyes were wrecked by strong studio lights, forcing her into dark glasses. The peroxide she doused her scalp in shredded her hair. Bouts of flu and pneumonia laid her low. She had appendicitis and badly impacted wisdom teeth. But then a worse condition emerged - her internal organs were showing signs of serious wear. It could have been the large amounts of gin she was downing that were to blame, and they certainly wouldn't have helped. It was also thought that the peroxide from her hair was working its way through her system. But author David Bret's view is that the beating she had taken from Bern's walking stick in 1932 had left permanent, long-term damage. She was getting more and more back pain - ascribed by the doctors at the studio to a muscle strain from playing too much golf. Her general health was also going downhill.
Downhill In the spring of 1937, shortly after her 26th birthday, she arrived on the set of her latest film looking distinctly unwell. She was bloated, had piled on weight, was suffering from the shakes and having the occasional blackout. Her hair was also falling out. She managed to get through the next few weeks of shooting until, in one of the final scenes, the script called for Gable, her leading man, to pick her up. She went limp in his arms. A doctor was called and smelled not gin on her breath as everyone expected but urine. It was a sign of a gall-bladder infection. But her mother refused the medical advice to take her to hospital. Mama Jean took her Baby home to rest and to be prayed over, and she took the phone off the hook so that no one could interfere and change her mind. Days later, when nothing had been heard from the Harlow household, an anxious Gable led a squad of studio heavies to force their way in. When they got to Jean's bedroom, they found her semi-conscious on the bed, extremely bloated and in great pain. The stench of urine from her breath was now overpowering.
Over Mama Jean's protests, a doctor was called and said immediate surgery was needed. But Mama Jean refused point blank and screamed blue murder at 2 nurses who were summoned to look after the patient. Another days went by - now Jean was in real trouble. Mama Jean told the Press camped on her doorstep that her daughter was fine, but in reality her face was swollen, she could not swallow properly and her kidneys were starting to fail. Unless her gall-bladder was removed at once, she was going to die. But still the deranged Mama Jean would not budge. Her daughter, she screamed, was faking the illness just to make a fool out of her religious beliefs, and to force the studio into giving her a pay rise. All would be well, she shrieked, if a quartet of Christian Science believers she had sent for sat at her bedside reading from the Bible. In the end it was William Powell who broke the deadlock. The lover she called 'Poppy' arrived with an ambulance and rescued the sick girl. In hospital, she was given blood transfusions and placed in an oxygen tent to recover enough strength for an operation. Mama Jean and Powell sat with her through the night, glaring at each other across the sickbed. But it was too late. The next morning, she slipped into a coma, her lungs filled with fluid, and she slipped peacefully away. There is no doubt in Bret's mind that if the doctors had been allowed to do their job from the start, Jean Harlow, dead at 26, would have made old bones. Like the best Hollywood legends, she lived fast and died young. But it is hard to resist the conclusion that she was a victim. So many people - most notably her mother - had tried to live their lives through hers, to manipulate and control her, all in the pursuit of fame. In the end, sadly, it was the death of her.
x95 Jean Harlow: Tarnished Angel by David Bret is published by JR Books on May 26 at xA317.99. To order a copy at xA316.20 (p&p free), call 0845 155 0720.
|by Anonymous||reply 46||May 16, 2009 12:51 AM|
"Jean Harlow: Tarnished Angel" sounds like nothing more than a rehash of "Harlow" by Irving Shulman, a piece of slanderous trash that has long since been discredited.
Poor Harlow: people are still writing lies about her. And she's been dead SEVENTY-TWO years!
"The filthiest woman ever to have set foot in Hollywood"...what utter garbage! She was anything but, at least according to people who actually knew her.
She had affairs but she wasn't a slut. She was unashamed of her body, but she didn't go around flashing everybody. She NEVER used curse words. She drank, but she wasn't an alcoholic. She and Clark Gable had great sexual chemistry onscreen but were never lovers offscreen. And God knows she never sent locks of her pubic hair to fans!
Apparently this imbecile David Bret is just parroting everything that was said in Irving Shulman's smear job "Harlow" including the hoary old tale of Paul Bern caning Harlow across the back on their wedding night because he was unable to fuck her due to his defective penis. In Shulman's book he claimed that the beating damaged Harlow's kidneys so badly that FIVE YEARS LATER they failed. Only trouble with that is that it's medically impossible; anyone beaten so badly that their kidneys get damaged would have died outright, not lingered on for five more years.
Bret also retells Shulman's tale of how Harlow's crazy Christian Scientist mother denied her medical treatment until it was too late. Actually, Harlow was attended by doctors and nurses in her home until her condition got so bad that she was taken to a hospital.
If Bern thinks that Harlow would have "made old bones" if she had gotten prompt medical attention, then he obviously knows nothing about what Harlow's condition really was: kidney failure. In 1937 there was NO cure for that; nothing could have been done to save her, not back then.
There appears to be some curiosity about Harlow on Datalounge. There are a couple of decent biographies of her. They are:
"Platinum Girl: the life and legends of Jean Harlow" by Eve Golden
"Bombshell: the life and death of Jean Harlow" by David Stenn
"Platinum Girl" in particular has lots of good pictures of Harlow and lots of TRUE information about her.
Read them. Not this new crap by David Bret, whoever the nasty dumbass is.
|by Anonymous||reply 47||May 16, 2009 1:34 AM|