The Washington times., 1936-05-19

me II L was trying 10 get INTO
pictures and when / replied /
was not, one of the men gave
me a letter to the casting direc-
tor of the studio and one to the
director Of the Central Casting
Bureau. took them home, put
them away and forgot about
them.
A few weeks later, some of my
friends wagered me that 1 would
not have the nerve to take letters
to the casting directors. In a spirit
of fun I called on the directors.
They registered me and I gave
them my mothers maiden name,
Jean Harlow. A few days later
answered a phone call offering
me extra work, but I declined it..
Other calls continued to come in
so I accepted one and reported to
the Fox Studios.
In the following week, Para
mount summoned me and I
worked for several days with Rich
ard Dix and Ruth Elder in Moran
of the Marines" I turned to this
new life because it fascinated me,
and not long after I received a
call from Hal Roach Studios-so
stepped from the extra ranks
into the feminine lead in Laurel
and Hardy comedies.
After I had played in two
comedies, Hal Roach offered me a
five-year contract. I accepted it
but my grandparents, who rare
ly went to see motion pictures,
happened to see me on the screen
in a flimsy black lace teddy. My
irate grandfather telephoned me
that night and demanded that I
drop motion picture work-and I
agreed. Hal Roach released me
from my contract and became
Harlean Carpenter McGrew once
more.
For eight long months l re-
Sumed my married life-until
Chuck and I parted In friend
" separation. While I was
again living with my mother
received a call to play a bit with
Clara Bow in "The Saturday
Night Kid" / took it, and after
that picture / worked in small
roles at different studios and in
several Christie comedies.
It was there where I met Ben
Lyon and Jimmy Hall. The boys
had been working for months in
the silent version of "Hell's
Angels" and were awaiting to
work in the talking version as
soon as leading woman to take
the place of Greta NiSSen, who
was unable to return from New
York, could be found.
Ben and Jimmy insisted that
I see Howard Hughes, the pro
Queer, and worked with me in my
test for the role. I was the most
surprised girl in the country when
was notified that the role was
mine-and so the career which I
had thought had ended forever
when tore up the Hal Roach con-
tract, began once more.
Well, that's about the end Of
Memory Lane. The rest are too
recent to consider them mem
cries. Mr.. Hughes sent me on a
personal appearance tour with
'HelI's Angels" After the tour,
as Mr.. Hughes had no more
roles for me, / was loaned to
MetrO-G Oldwyn-Mayer for "The
Secret Six" When the picture
was completed, Mr.. Hug he's
again sent me on a "Hells
Angels tOur-and no sooner had
mother and arrived in New
York when Metro GOldwyn-
Mayer called me back to Cali
fornia for extra scenes in "The
Secret Six"
Again I was determined to leave
Hollywood because 1 did not like
the pictures in which was being
cast. Back in New York I started
on another personal appearance
tour-and toward the end of the
tour 1 was given the title role in
Metro G n-Mayer's "Red-
Headed Woman" About this time
I was given a starring contract by
Metro Goldwyn-Mayer and I have
remained with this studio ever
since.
Now I am again at work, this
time with Franchot Tone and Cary
Grant in "Suzy." 1t is a delightful
picture and I like my role. For
your own information, Louis, I
play the part of a Wise-cracking
American showgirl who finds her
self stranded in London at the
outbreak of the war. I fall in
love with Franchot. marry him
and shortly after, he is shot by a
spy. I think he is dead, and in
my fright run away to Paris.
There, I fall in love with Cary,
a French aviator, and marry him.
It develops into a grand mix-up
with two living husbands on my
handS-and all of us tangled up in
J a web Of intentional spies.