Baby Peggy is first seen traveling to Universal City in a hammock slung under a freight car from which she emerges dressed like a little Bill Hart. The first thing she does is throw a brick at what she thinks is a thief, thus spoiling a perfectly good scene that a director is making.
The year 1923 stood as a pivotal junction for the American cinematic apparatus, a moment when the industry began to gaze inward with a mixture of reverence and ruthless parody. In the midst of this self-reflexive awakening, Peg o' the Movies emerged not merely as a vehicle for a child star, but as a sophisticated decon...
still_frame
publicity
Comparing the cinematic DNA and archive impact of two defining moments in cult history.
Alfred J. Goulding
Alfred J. Goulding
Community
Log in to comment.
"The year 1923 stood as a pivotal junction for the American cinematic apparatus, a moment when the industry began to gaze inward with a mixture of reverence and ruthless parody. In the midst of this self-reflexive awakening, Peg o' the Movies emerged not merely as a vehicle for a child star, but as a sophisticated deconstruction of the Hollywood mythos. Baby Peggy, the diminutive powerhouse known to history as Diana Serra Cary, occupies the frame with a gravitas that belies her years, navigating ..."
United States
Deep dive into the cult classic
Discover similar cinematic experiences
A Directorial Spotlight on Alfred J. Goulding
