was a heavily publicized but critically flawed performance that leaned more toward 1960s sex-symbol glamour than historical accuracy. While Baker brought her established screen presence and stunning physical beauty to the role, the film itself was widely panned for its sensationalized script and biographical inaccuracies.
The path to casting Baker was fraught with standard Hollywood melodrama. Originally, 20th Century Fox had planned a lavish biopic starring Marilyn Monroe, but following Monroe’s death, the rights shifted. Producer Joseph E. Levine purchased the rights to Irving Shulman’s highly controversial, sensationalized book Harlow: An Intimate Biography for $100,000.
Baker, who had just come off a successful collaboration with Levine playing a heavily Harlow-inspired character named “Rina Marlowe” in The Carpetbaggers (1964), was the natural choice. However, a bitter contractual battle ensued when Baker almost signed with a competing Columbia Pictures Harlow project. To settle the feud and secure her for the Paramount version, Levine famously presented Baker with a spectacular platinum and diamond necklace as a peace offering.
Adding to the chaos, a low-budget rival film also titled Harlow (starring Carol Lynley) was rushed into theaters via an early videotape-to-film process just weeks before Paramount’s version premiered, resulting in a box-office clash that damaged both films commercially.
While the film’s narrative leaned heavily into melodramatic fiction, the visual production values were highly praised, anchored by the legendary costume designer Edith Head. Head faced the daunting task of capturing Harlow’s iconic 1930s silhouettes while catering to 1965 cinematic tastes and a widescreen color presentation. Rather than doing direct, historical duplications, Head reinterpreted Harlow’s signature “liquid lingerie” style.
A prime example of Head’s work in the film is the signature premiere gown. It is a bias-cut, floor-length evening dress constructed of ivory satin and entirely encrusted with white bugle beads to catch the studio lights. Head paired it with multi-tailed white fox fur stoles. In an expert nod to film history, Head deliberately reversed a technique from Jean Harlow’s classic 1933 film Dinner at Eight. In that original movie, Harlow wore a famous satin bias-cut gown and a beaded bed jacket. For Baker, Head chose to bead the evening gown itself and construct the bed jacket from pure satin.
Carroll Baker approached the role with a striking platinum coif and a performance that balanced vulnerability with the brassy, tough-talking demeanor Harlow was famous for. The film tracked her rapid ascent under the gaze of a Howard Hughes-like mogul (played by Leslie Nielsen), her guidance by agent Arthur Landau (Red Buttons, who earned a Golden Globe nomination), and her tragic, ill-fated marriage to producer Paul Bern (Peter Lawford).
Though the film did not achieve the box-office heights Paramount hoped for and was criticized for its historical inaccuracies, it remains a beloved artifact of 1965 cinema. It successfully launched the classic jazz standard song “Girl Talk” by Neal Hefti and continues to be studied by costume historians as a masterclass in how one Hollywood era retroactively styled another.
