Dazzling blonde star of the silent screen, a self-described "golden dragonfly" who made "Sunset Boulevard"'s Norma Desmond seem as normal as apple pie. Brought up by her grandmother, Murray was dancin...
|The Merry Widow||Actor||Sally O'Hara||1|
|The Dream Girl||Actor||Meg Dugan||1|
|Fascination||Actor||Dolores de Lisa||1|
|To Have and to Hold||Actor||Lady Jocelyn||1|
|Circe the Enchantress||Actor||Brunne||1|
|Altars of Desire||Actor||Claire Sutherland||1|
|At First Sight||Actor||n/a||1|
|Big Little Person||Actor||n/a||1|
|Broadway Rose||Actor||Rosalie Lawrence||1|
|Fashion Row||Actor||Olga Farinova@Rita, her younger sister||1|
|The French Doll||Actor||Georgine Mazuiier||1|
|On with the Dance||Actor||Sonia Varinoff||1|
|Peacock Alley||Actor||Cleo of Paris||1|
|Shadow of the Past||Producer||n/a||3|
|What Am I Bid?||Actor||n/a||1|
|Dick Barton Strikes Back||Producer||n/a||3|
|The Bride's Awakening||Actor||Elaine Bronson||1|
|Danger, Go Slow||Actor||Mugsy Mulane||1|
|Her Body in Bond||Actor||n/a||1|
|The Plow Girl||Actor||Margot||1|
|Sweet Kitty Bellairs||Actor||Kitty Bellairs||1|
|Bachelor Apartment||Actor||Agatha Carraway||1|
|A Mormon Maid||Actor||n/a||1|
|Danger, Go Slow||Screenwriter||n/a||7|
|Honor Thy Name||Actor||n/a||1|
|Peacock Alley||Actor||Claire Tree||1|
|Delicious Little Devil||Actor||n/a||1|
|On Record||Actor||Helen Wayne||1|
|Signed with Metro (later MGM)|
|Appeared in "The Ziegfeld Follies"|
|Made film debut in "To Have and to Hold"|
|Walked out on MGM contract|
|Last film, "High Stakes"|
The Leonards became the Golden Couple of Hollywood in the late 1910s and early '20s, throwing wild parties, traveling the world and somehow finding the time to make a series of popular films (among them "Danger--Go Slow", 1918; "The Delicious Little Devil", 1919; "Idols of Clay", 1920). In 1922, the Leonards signed with Metro's Louis B Mayer to produce films under the Tiffany label, making eight, all big hits and showcases for Murray's imperious blonde beauty and flamboyant, precious performance style. Among the features were "Fascination" (1922), "Jazzmania" (1923) and "Circe the Enchantress" (1924). The Leonards split up in 1924, but Murray went on to her greatest success the following year.
The newly-formed MGM put the volatile combination of Murray, leading man John Gilbert and director Erich von Stroheim together and after nearly a year of fireworks and nervous breakdowns, they produced the classic "The Merry Widow" (1925). After three more MGM films, Murray ran out on her contract to marry specious 'Prince' David Mdivani. She made occasional stage appearances and then seemingly retired before resurfacing in New York in 1930, with a son, broke and husbandless. After three low-budget talkies ("Peacock Alley", 1930; "Bachelor Apartment" and "High Stakes", both 1931), her career was over.
Murray spent the next three decades wandering from coast to coast, her mental and financial condition worsening from year to year. Finally--probably suffering from Alzheimer's--she wound up in a nursing home, where she died in 1965. "You don't have to keep making movies to remain a star," the fascinating ex-diva said to the end, "once you become a star, you are always a star."
|Jay O'Brien||Husband||Married for one day in 1916; she claimed he kidnapped her|
|"Mae Murray danced through life as it if were a dream world and she its faraway princess. A romantic, she behaved as if reality simply didn't exist, and then was wounded to the quick when no one understood her butterfly nature ... She was not an actress: she was a dancer with a tantalizing image that the camera captured in a quicksilver flash. On the screen she came vividly alive. Unfortunately, her bright stardust personality depended on youth ... In the end, she escaped from her tangled web of self-deceit and took refuge in another dream world, a fantasy land where she ruled and gave royal commands that must be obeyed on the instant." --DeWitt Bodeen in Films in Review, December 1975.|
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