#peggy maley

[poppingmary]

Norma Eberhardt, Peggy Maley and Mary Murphy in “Live Fast, Die Young” - 1958

[emmieexplores2]

Peggy Maley

[carbone14]

Photo publicitaire pour la comédie musicale ‘L’Etoile des étoiles’  (Down to Earth) avec Rita Hayworth, réalisée par Alexander Hall - 1947

De gauche à droite sur la photo : Doris Houck, Peggy Maley et Dusty Anderson.

[from1837to1945]

Paul Maxey in RKO short comedies

Borrowed Blonde (1947)

In Room 303 (1947)

Dad Always Pays (1949)

[sporadiceagleheart]

Rest in peace to stars that are now Angels in heaven

Mary Anissa Jones,Eleanor Cammack"Cammie"King, River Jude Phoenix, Niña Sophia Gabrielle "Sophie" Corullo, Judith Barsi, Heather Michele O'Rourke, Lucille Ricksen, Judy Garland, Margaret Hamilton, Clara Blandick, Terry, Shirley Temple Black 1928-2014, Baby Leroy, baby Peggy Montgomery, Peggy cartwright, Darla Jean Hood, Jean Darling, Peaches Jackson, Mary Ann Jackson, Dorothy DeBorba, Mary Kornman, Mildred Kornman, Carl Weathers, Carl Switzer, Billie Burke, Roberts Blossom, Jim Nabors, Frank Sutton, John Candy, Raymond Burr, Taruni Sachdev, Pauline Starke, Geraldine Jane Jacobi Russell, Ernestine Jane Geraldine Russell, Geraldine Brooks, Katharine Hepburn, Margot Mosher Merrill, Ruth Elizabeth "Bette" Davis, Walt Disney, Roald Dahl, Olivia Newton-John, Susan Buckner, Lisa Loring, Betty Jane Bierce, better known by her stage name Jane "Poni" Adams, Mary Treen, Dorothy Dell, Grace Ethel Cecile Rosalie Allen, Aileen Pringle, Roscoe Conkling "Fatty" Arbuckle, Ida Kitaeva Raphael, Virginia Mayo, Edna Purviance, Vivien Leigh, Virginia Weidler, Jane Withers, Clarence Nash, Shirley Jean Rickert, Bridgette Andersen, Dominique Dunne, Samantha Reed Smith, Pal, Virginia Rappe, Katharina Schratt, Hattie McDaniel, George Burns, Michael Gambon, Alan Rickman, Gene Wilder, Jack Albertson, Matthew Garber, Robbie Coltrane, Betty Tanner, Elizabeth Taylor, Peggy Maley, Peggy Ann Garner, Mary Margaret Peggy Wood, Dorothy McGuire, Peggy Mondo, Joanna Moore, Shirley Mills, Wayne Allwine, Charlie Chaplin, Virginia Karns , Stan Laurel, Hannah Chaplin, Mary Pickford, Jackie Coogan, Mildred Harris, Lita Grey, Paulette Goddard, Peggy Moran, Florence Lois Weber, Peggy Cass, Peggie Castle, Virginia Lee, Virginia Leith, Virginia Wood, Virginia Welles, Michael Lerner, June Marlowe, Carol Tevis, Jane Adams, Joan Crawford, Mary Ellen Trainor, Betty Ann Bruno, Anne Baxter, Greta Garbo, William Wyler, Robin Williams, May Robson, Mary Astor, Jane Darwell, Linda Darnell, Lloyd Berry, Pauline Newstone, Jean Hagen, Allison Hayes, Margaret Hayes, Anissa Jones, Sophie Firth, Edith Barrett, Eve Meyer, Taruni Sachdev my edit to those who passed away

[byneddiedingo]

The Wild One (Laslo Benedek, 1953) Cast: Marlon Brando, Mary Murphy, Robert Keith, Lee Marvin, Jay C. Flippen, Peggy Maley, Hugh Sanders, Ray Teal, John Brown, Will Wright, Robert Osterloh, William Vedder, Yvonne Doughty. Screenplay: John Paxton, based on a story by Frank Rooney. Cinematography: Hal Mohr. Production design: Rudolph Sternad. Film editing: Al Clark. Music: Leith Stevens. The best performance in The Wild One isn’t Marlon Brando’s, it’s Lee Marvin as Chino, the head of a rival motorcycle gang. Marvin brings a looseness and wit to the role that is lacking in Brando’s performance, though the role itself calls on Brando to do little but act sullen. He also looks a little porky in his jeans and leather jacket, and his somewhat high-pitched voice gives an epicene quality to Johnny Strabler, leader of the Black Rebels Motorcycle Club. Brando does, however, get the film’s most familiar line: When Johnny is asked what he’s rebelling against, he’s drumming to the beat of the music on the jukebox and retorts, “What’ve you got?” But it’s a measure of the general mediocrity of The Wild One that this exchange is immediately reprised by someone telling others about Johnny’s retort, essentially stepping on the line. There are a few good moments in the film, mostly contributed by Marvin and by some effective choreography of the motorcycle riders, as in the scene in which good girl Kathie Bleeker (Mary Murphy) is menaced by the gang and then rescued by Johnny. But censorship sapped the life out of the film: The motorcycle gangs are scarcely more intimidating than fraternity boys on a spree. There’s an attempt to spice things up with a scene between Johnny and Britches (Yvonne Doughty), a female hanger-on with the rival gang, suggesting that they once had something going on, but the bit goes nowhere and seems mainly designed to allow the actress to display her perky breasts in a tight sweater. As with any of the countless biker movies that capitalized on the box office success of The Wild One, there’s a queer subtext to be explicated in all this male bonding, but it doesn’t add much to a movie that now seems as dated as the flaming youth films of the 1920s.

Johnny (Marlon Brando) and Chino (Lee Marvin) The Wild One (1953) dir. László Benedek

[freshmoviequotes]

Human Desire (1954)

[fitesorko]

Norma Eberhardt    Mary Murphy   Peggy Maley

[mariocki]

Drive a Crooked Road (1954)

"Tell me something, Shannon. Always wondered what goes through people's minds in a spot like this. No views on the subject, huh? Come now, Shannon, you must be thinking about dying."

[letterboxd-loggd]

The Bigamist (1953) Ida Lupino

November 28th 2020

[20th-century-man]

Peggy Maley, Marlon Brando, Yvonne Doughty / publicity photo for László Benedek’s The Wild One (1953)

[genevieveetguy]

- If this a sample of your work, you’re not very good at pick-ups. - I know. I haven’t had very much experience at it. This is the first time I ever tried to pick up a girl. - Gee, that’s too bad. - I should be better. - How’s that? - Well I’m of those terrible fellows that frightens the farmer’s daughter, you know? I’m a traveling salesman, only a kind of backwards one. - Yeah, you could use a few tips like “I’m sad and lonely, just want someone to talk to. Don’t you know any nice girl in this great big town, how about a few laughs?”. - You know, I wanted to say all those things to you just now, only on the level. Thanks, coach. 

The Bigamist, Ida Lupino (1953)

[michigandrifter]

Fort Petticoat 1957

[girlsandmachines]

Marlon Brando, Peggy Maley et Yvonne Doughty, 1953.

[crawfordgold]

Audie Murphy, Hope Emerson, Jeff Donnell, Kathryn Grant, Peggy Maley, and Jeanette Nolan in The Guns of Fort Petticoat, 1957 #audiemurphy https://www.instagram.com/p/B4HtRaDnQui/?igshid=1sifzsuowtwy3

[byneddiedingo]

The Bigamist (Ida Lupino, 1953) Cast: Edmond O'Brien, Joan Fontaine, Ida Lupino, Edmund Gwenn, Kenneth Tobey, Jane Darwell, Peggy Maley, Lilian Fontaine, Matt Dennis, John Maxwell. Screenplay: Lawrence B. Marcus, Lou Schor, Collier Young. Cinematography: George E. Diskant. Art direction: James W. Sullivan. Film editing: Stanford Tischler. Music: Leith Stevens. There are some curiously "meta" moments in The Bigamist: At one point, Eve Graham (Joan Fontaine) says that the man who is helping arrange their adoption of a child reminds her of Santa Claus. We smile because the man is being played by Edmund Gwenn, who won an Oscar as Santa Claus in Miracle on 34th Street (George Seaton, 1947). And just in case we missed it, a little later in the film we are on a bus touring the homes of the stars in Beverly Hills and the driver announces that the house they're passing is the residence of "a little man who was Santa Claus to the whole world -- Edmund Gwenn." But then there's something meta about the whole movie: It was produced and its screenplay written by Collier Young, who was married to Fontaine after divorcing the film's other major female star, as well as its director, Ida Lupino. I suppose if you don't believe in divorce you might say that Young is the bigamist of the film's title. But that, of course, is Harry Graham, played by Edmond O'Brien, a character actor who never failed to give a subtle and insightful performance when it was called for. Here he's a weak man, the supposed head of the Graham household, who has found himself taking a back seat in the business to his wife, Eve, whom he refers to at one point as "a career woman" -- a pejorative of sorts in the 1950s. The thing of it is, when we see Eve she's always pleasant and loving -- we sense that she doesn't want to be emasculating Harry, but she's got too much intelligence not to do so. While he's on the road for their company, he gets more and more depressed about playing second fiddle to his wife, so he takes up with Phyllis Martin (Lupino), who's a little depressed herself about her failure to make her mark in the world. One thing leads to another and they get married because she's pregnant. Harry is really a nice guy at heart, but somehow he can't help himself. Finally, he spills the beans to Mr. Jordan (Gwenn), who stumbles onto Harry's double life while investigating the Grahams' fitness to adopt a child. Jordan speaks for the viewer when he says, "I can't figure out my feelings toward you. I despise you and I pity you. I don't even want to shake your hand, and yet I almost wish you luck." There are no villains to be found in The Bigamist, only flawed people getting themselves ensnared in situations they can't resolve. Fortunately, the film doesn't resolve things for us either. It ends with Harry in court where he receives a scolding from the judge, who says he will pronounce sentence a week later. Wisely, the film leaves it up to us to deliver that sentence.