On July 23, 1937, MGM unveiled in theaters Saratoga, a star vehicle for Jean Harlow, who had died suddenly weeks earlier. Additional shooting was needed to complete the film, which featured the actress alongside Clark Gable. The Hollywood Reporter’s original review, headlined “‘Saratoga’ Warmly Greeted … Jean Harlow’s Last Earns High Praise,” is below:
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Jean Harlow’s last picture, Saratoga , cannot be reviewed unemotionally. It can only be reported.
Audience reception at a preview last evening in Glendale was unmistakably enthusiastic. Possibly surprised, but never shocked by the fact that the story is a riotous comedy, each time Miss Harlow’s name appeared on the screen and upon the occasion of her first entrance the house rocked with applause. It was more than cursory hand-clapping. The final hand was in honest appreciation of an honestly entertaining offering, splendidly performed, written and directed.
The production by Bernard H. Hyman, with John Emerson as associate producer, deserves more than passing note. There are no loose ends either in characterization or in situation. In fact, the much-publicized added scenes will be practically undetected by the general public unless more specific attention is called to the impersonation. All of which adds up to a brilliant producing credit for Hyman.
Anita Loos and Robert Hopkins authored the original story and the screenplay of Saratoga . Writing is at all times superior and new twists are abundant. The plot concerns the orphaned daughter of the owner of a racing stable. She is engaged to marry a wealthy man, and a track bookmaker attempts to capitalize upon the acquaintance for his own profit. Everything is built toward the final big race with even the result of its running given a fresh twist.
The proceedings move with terrific pace under the smartly devised direction of Jack Conway. He moves from sequence to sequence so swiftly that continuity never seems episodic, nor the action choppy. Characters are pointed and purposeful under his hand. It was Conway who directed Red Headed Woman , Jean Harlow’s first starring picture.
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Miss Harlow’s performance here is by all odds her finest, an observation by no means influenced by sentimentality. At no sacrifice to the vivid personality that was hers, she appears as a more authoritative actress. It is a portrayal that one likes to believe she would have wanted to leave as a memorial to her career.
Clark Gable returns to the rough hewn roles that brought him his first great popularity in his role of the bookmaker. It is keyed to win him new praise. Lionel Barrymore is priceless as the elderly breeder of race horses, a rich part from which he extracts the utmost. Frank Morgan has rare comic opportunity and realizes it splendidly. Una Merkel scores soundly as Morgan’s wife, of whom he is jealous. Cliff Edwards is swell.
Walter Pidgeon impresses as the rich fiance. This actor only needs a chance to prove his full capabilities. Hattie McDaniels is a panic as a colored maid. George Zucco delivers a neat bit, as do Jonathan Hale, Henry Stone and Frankie Darro.
Two surefire song hits, with music by Walter Donaldson and lyrics by Bob Wright and Chet Forrest, are a feature. The title song is a ballad; the other, a novelty, titled “The Horse with Dreamy Eyes,” has especially clever lyrics. Choruses by Gable and by Hattie McDaniels are show stoppers.
Photography by Ray June is of high standard, as are the technical contributions of Art Director Cedric Gibbons with John Detlie as associate and the film editing by Elmo Veron. — Staff byline, originally published on July 14, 1937.
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