Bombshell has an opening montage that is very instructive in how studios and audiences perceived the life and function of a film star. We see Jean Harlow as Lola Burns in film magazines, in newspapers, awarding prizes, being the subject of scandal, in advertisements selling hosiery, and on film-screens — bigger than life — with an audience enraptured as she’s embraced by Gable; celebrity, scandal, glamour, the personal and the social, significance and signification, already all rolled into one. One of the many interesting things about the montage is that we see men reading Modern Screen, Photoplay, Silver Screen and other movie magazines as avidly as women, which, even whilst keeping in mind that Lola Burns/Jean Harlow is meant to be a sex-symbol, is not exactly what one expects. We see audiences enraptured by the image, copying Lola’s stockings and perfumes, her name in lights and finally a hypnotic reunion in the dark where audiences identify, desire and long to that image provided by Burns/Harlow; and of course Harlow does seem to burn up the screen with joy, and wit and life as it all unfolds: A glorious beginning to an entertaining film.
Warners has a less showy version of stardom in 1933 with James Cagney playing a character clearly influenced by George Raft in Lady Killer (Roy del Ruth, 1933):