Peggy Dow Movies

The most delightful aspect of You Never Can Tell is the film's ability to successfully sustain its single joke for 78 minutes. The story begins when King, a German shepherd, falls heir to a fortune. Ellen Hathaway (Peggy Dow), trustee of King's estate, spends most of her time fending off would-be fortune hunters -- with the exception of personable Perry Collins (Charles Drake), who claims to have been King's "commander" in the wartime K-9 corps. Soon afterward, King dies of strychnine poisoning, and though no evidence exists, Ellen is held responsible. The film then shifts to the celestial way-station for animals known as "Beastatory." Here, the ghost of King implores a heavenly jury to be given an opportunity to return to earth and expose his genuine murderer. King gets his wish, and in a twinkling he is reincarnated in the form of private-eye Rex Shepard (Dick Powell). Shepard's girl Friday is Goldie (Joyce Holden), a reincarnated racehorse who insists upon outrunning buses just for the exercise. In his new human form, Rex returns to his mansion, where despite his animal instincts he can't help falling in love with Ellen as he endeavors to clear her name. To reveal more would rob the viewer of thoroughly enjoying this captivating piece of whimsy. ~ Hal Erickson, All Movie Guide

Columbia and Universal were the leading purveyors of well-crafted "little" pictures in the 1950s. It was Universal who put together Reunion in Reno, which opens with little Maggie (Gigi Perreau) walking into the offices of divorce-attorney Norman (Mark Stevens), demanding a divorce from her parents! It seems that Maggie is an adoptee, who fears that she'll be left in the lurch when mom (Frances Dee) and dad (Leif Erickson) become natural parents, which will happen very soon. As Norman strives to solve his youthful "client"'s problems, problems, he decides at long last to wed his own fiancee Laura (Peggy Dow) -- though if ever there was a strong argument against marriage and parenthood, it is the precocious Maggie. Elements of Reunion in Reno were later reworked into the 1984 comedy Irreconcilable Differences. ~ Hal Erickson, All Movie Guide

One of the finest and most troubling films to come out of Universal-International, The Sleeping City tried to emulate some of the cinéma vérité elements of The Naked City (which had been produced at Universal's facilities). The producers got the permission of the city of New York to shoot at Bellevue Hospital, and, in exchange, opened the movie with a disclaimer spoken by star Richard Conte, stepping out of character to point out that nothing like the story in this movie ever happened at Bellevue and offering tribute to the actual hospital and its staff. That's the last reassuring moment that one will find in this eerie crime drama -- in the first six minutes, a young doctor taking a break from work is shot in the head, and the police can't find a clue even as to a possible motive. Inspector Al Gordon (John Alexander) decides that he has to put some men on duty at the hospital, and one of them is Fred Rowan (Richard Conte), a detective with experience as an army medic, masquerading as an intern. What Rowan finds is a high-pressure world in which interns are hopelessly squeezed for time, sleep, energy, and -- most of all -- money, and walk a fine line on the edge of personal and professional disaster. His roommate, Steve Anderson (Alex Nicol), seems especially desperate. The only relief from the bleakness and tension, on a personal level, comes from the attentions of Ann Shelton (Coleen Gray), the ward nurse in traumatics, where Fred is assigned, and the good-natured needling of Pop Ware (Richard Taber), an elevator operator who likes to take an avuncular interest in the interns around him. But before he can get too far in his investigation, potential witnesses start dying around Rowan , and one of his friends at the hospital is threatened. Soon the whole scheme and the motives for the murders suddenly become clear, along with Rowan's earlier failure to spot the clue he needed. He also suddenly recognizes the involvement of the people closest to him at the hospital, but before the squad can move, he also finds his own life at risk. ~ Bruce Eder, All Movie Guide

Two-bit photographer Howard Duff wins a big newspaper assignment by romancing his lady boss (Peggy Dow). Duff is sent to take a picture of criminal Brian Donlevy, who doesn't like to be captured on celluloid. Donlevy takes a liking to Duff and asks him to frame one of the crook's less cooperative henchmen (Lawrence Tierney). Duff plays both sides of the fence, informing the henchman that his boss had planned to frame him. Shortly afterward, Donlevy is killed by a car bomb, and Duff becomes famous taking a picture of the event. Eventually Duff pulls one double-cross too many and is himself killed by the surly henchman--but not before taking a snapshot of his murderer in the act. Hard to believe, but Howard Duff makes his character in Shakedown somewhat likable, so that the audience is eager to see what sort of scam he'll pull next. ~ Hal Erickson, All Movie Guide

So far as the rest of the world is concerned, Deborah Chandler Clark (Ida Lupino) is dead, killed in a freak auto accident. But Deborah is alive, if not too well. Having discovered a horrible truth about her new husband (Stephen McNally), Deborah had intended to commit suicide. Now she is the "woman in hiding" of the title, living in mortal fear that someday her husband will catch up with her again. Howard Duff, Ida Lupino's husband-to-be, co-stars as a returning GI who turns out to be the hero of the piece. One particularly suspenseful sequence takes place during a noisy convention, with Joe Besser scoring as an obnoxious reveller. Woman in Hiding would make an interesting companion piece to Julia Roberts' Sleeping with the Enemy. ~ Hal Erickson, All Movie Guide