#marty melcher

[dayniac]

[vintage-every-day]

𝑻𝒉𝒂𝒕 𝑻𝒐𝒖𝒄𝒉 𝑶𝒇 𝑴𝒊𝒏𝒌 (1962) on the set: Doris Day and husband Marty Melcher.

[onefootin1941]

Doris Day and Marty Melcher at the Desert Inn, 1957.

[soldier-requests]

uhhhh hi

i was curious about a name suggestion request for a masc mad scientist kinnie. very frankenstein adjacent but in the 70s. i was weird and lonely, a mortician turned mad scientist when i decided to start experimenting with reanimation. basically a lovesick gay doctor frankenstein.

i loved tea and sweets and taxidermy, i was chronically ill so i spent most of my time at home with my “work”.

i dont have anything specific in mind, just wanna see what vibe you get :)

hello!! that all sounds sick as hell /pos, i'll whip up some ideas ^_^.

names under the cut!

Abe

Abraham

Aether

Aion

Alador

Aldrich

Alessandro

Alva

Alvarez

Amador

Amos

Apollo

Arche

Arcot

Argus

Arizona

Ark

Arke

Austine

Balt

Baltimore

Baron

Bass

Beakman

Beau

Birch

Birche

Bishop

Blaise

Bo

Boe

Boone

Brandie

Brandy

Breaker

Bridges

Brontes

Bronze

Brutus

Butch

Butche

Butcher

Caesar

Cain

Caine

Callaghan

Callahan

Cardinal

Casidy

Cassidey

Castor

Cedar

Celine

Chapman

Chet

Claus

Clive

Clutch

Clyve

Cochrane

Conrad

Corbin

Cornel

Cornelius

Cort

Corvus

Court

Coy

Dael

Dartford

Dax

Denver

Dewes

Doctor

Don

Donatello

Donnie

Duke

Dusty

Dweller

Egret

Ezekiel

Finch

Ford

Francisque

Geb

Geordi

Gill

Gin

Grant

Hammon

Hans

Hart

Hartford

Hartley

Hartnett

Heath

Heathe

Hebe

Helio

Helios

Hermann

Hermit

Hershey

Huck

Hugo

Ivo

Jayne

Jeremias

Jericho

Jethro

Jos

Josef

Joseph

Joss

Jost

Judge

Junco

King

Kinglet

Klaus

Krispin

Laurent

Lelantos

Lucky

Lutz

Lux

Lyre

Magnus

Mandrake

Marti

Martin

Marvin

Matteo

Matthaeus

Mattheus

Mauritz

Mayfair

McCoy

Melcher

Montgomery

Monty

Morrow

Neo

Newt

Newton

Nico

Nicoletta

Nightjar

Noel

Noon

Noonan

Noone

Norman

Noël

Nuthatch

Nutter

Oak

Octavio

Octavius

Olivier

Oriole

Osprey

Othello

Otos

Otus

Pacifius

Paley

Pallas

Paulus

Peabody

Pipin

Pirmin

Reece

Reed

Reid

Rome

Rye

Sales

Salomon

Silvan

Silvester

Sixtus

Skimmer

Skinner

Slade

Solomon

Spoonbill

Stan

Stanford

Stanley

Styx

Sylvester

Talos

Teddy

Thaddeus

Thatcher

Theodor

Theodore

Thies

Thoman

Thomen

Thrasher

Torb

Torbin

Trumpeter

Uli

Urech

Urich

Val

Valen

Valentine

Valentino

Valerio

Vaughn

Vec

Vector

Vern

Vex

Vigil

Virgil

Warbler

Ward

Warde

Wester

Whet

Wilhelm

Wren

Zacharias

Zefram

Zephir

[spongythedollyteapartyfan-blog]

Doris Day : A Guy Is A Guy

1952 Stalker songs form 70  years ago 

song is about a boy following a  girl til  they  fall in love

interestingly  enough Doris Day married her 3 stalker boyfriends 1:Al Jorden. and 2, George Weidler who was stalkign other woman at the same time, 

In 1951, a 29-year-old Doris married her third husband - Marty Melcher. Despite the marriage lasting until his death in 1968, Marty didn't treat Doris day right, and Marty wasnt right in the  head  as  his stalking  other women  was legendary, 

what a world the  1952;s were, 

[heckyeahdorisday]

[fidjiefidjie]

Bonjour , bon Dimanche ☕🥐🍓

Doris Day et son mari Marty Melcher à Cannes au festival en 1955

Photo © Otto Bettmann/Corbis

[tcm]

Doris Day Was Far More Than Virginal By Susan King

Oscar Levant once quipped: “I knew Doris Day before she was a virgin.”

The actor-composer-pianist-writer starred with Day in her first film, ROMANCE ON THE HIGH SEAS (‘48), in which she played a bubbly singer. And it is true that she played 30-something-year-old virgins beginning with PILLOW TALK (‘59), the first film she made with Rock Hudson. But Levant’s comment diminishes the former band singer’s accomplishments as an actress and ignores the fact that her characters were quite modern and progressive. In fact, you could call her an early feminist.

During her “Golden Age,” which I define as between LOVE ME OR LEAVE ME (‘55) and SEND ME NO FLOWERS (‘64), she played successful career women at a time when there weren’t that many being portrayed on screen. In the George Abbott-Stanley Donen cotton candy-colored musical THE PAJAMA GAME (‘57), she’s a worker in a pajama factory, a member of the union leadership who doesn’t take any guff from her bosses. In the delightful romantic comedy TEACHER’S PET (‘58), she’s a successful journalist and college professor; in PILLOW TALK, a flourishing interior decorator; and two years later in LOVER COME BACK (‘61), she goes toe to toe with Hudson as a rival Madison Avenue ad executive. And, in the often-neglected comedy IT HAPPENED TO JANE (‘59), she’s a widowed mother of two who takes on the meaner-than-mean head of a railroad (Ernie Kovacs) when the company causes the death of 300 lobsters she was shipping.

Day’s characters were also incredibly feisty. In PILLOW TALK, the only film for which she received a Best Actress Oscar nomination, she learns that the man she’s fallen for, the shy handsome Texas Rex Stetson, is actually the womanizing composer she shares her party phone line with, so she redesigns his apartment into a gaudy mess reflecting his lothario ways. Speaking of lothario, Day’s leading men often played long-term bachelors-serial daters, like Clark Gable in TEACHER’S PET and Cary Grant in THAT TOUCH OF MINK (‘62). Her characters fall in love with them but won’t become their latest conquests. It’s actually the men who succumb to her charms and give up their womanizing ways when they fall in love with her.

Still, the virgin quote harmed her legacy. “People don’t take her seriously,” said former L.A. Times film critic Kenneth Turan in 2012. “It was a lifetime battle for Marilyn Monroe to be taken seriously; that was a battle she won. Audrey Hepburn was taken seriously. People are reluctant to take Doris Day seriously. It’s too bad.” Cari Beauchamp, a film historian and writer who specializes in the history of women in film, told me in 2012 that when she talks to people about Day “they tend to say she played the girl next door. And you look at her movies, particularly at the time of those films and she wasn’t the girl next door. She always had a backbone.”

Day was a popular singer with Les Brown and His Band of Renown, scoring her first No. 1 in 1945 with “Sentimental Journey.” Hollywood soon came knocking on her door, and she answered in the Warner Bros.’ Technicolor musical ROMANCE ON THE HIGH SEAS, directed by Michael Curtiz, in which she introduced the Best Song Oscar nominee “It’s Magic.” Not only was she adorable and a breath of fresh air, Day seemed totally at ease in her big screen bow.

“I wanted to be in films,” she told me in 2012. “I wasn’t nervous. I just felt ‘I’m here. I am supposed to be doing this.’ I was so lucky to have such terrific actors and directors. Everything was different and everything to me was great.”

Her films at Warner Brothers were a mixed bag. She got to demonstrate her dramatic chops reuniting with Curtiz for YOUNG MAN WITH A HORN (‘50), starring Lauren Bacall and Kirk Douglas. And I also loved the Booth Tarkington-inspired musical comedies ON MOONLIGHT BAY (‘51) and BY THE LIGHT OF THE SILVERY MOON (‘53). Turan loves her musical-comedy CALAMITY JANE (‘53), in which she has a field day as the famed Wild West heroine, because “her energy is kind of irrepressible.” Day also introduced the Oscar-winning song, “Secret Love” in the freewheeling classic.

But she really came into her own when she went to MGM to do the musical drama LOVE ME OR LEAVE ME, in which she gave a tour de force performance as torch singer Ruth Etting, who has a particularly volatile marriage to a gangster (James Cagney). But she was totally ignored by the Academy and the Golden Globes. The film was nominated for six Oscars, winning for Best Motion Picture Story, with only Cagney, brilliant as Marty “the Gimp” Snyder, getting nominated for his performance.

Turan described LOVE ME OR LEAVE ME as a “provocative film. It almost defines a kind of thing that you would say: Doris Day would never do something like that. But when we say that we are thinking of the cliché Doris Day, not thinking of the actual actress who made interesting choices and interesting films.” Day also counted the hit, directed by Charles Vidor, as a career highlight. “I really loved working with Jim,” she said of Cagney, who had previously appeared with her in the disappointing THE WEST POINT STORY (‘50). “The wonderful thing is that when you have someone like him to play opposite, it’s very exciting. You just feel so much from a man like that.”

She didn’t do research into Etting’s life but went by the script and “just how I felt and what I listened to. You react. It was so well-written. It just comes out of you. I don’t know how to explain it.” But it probably wasn’t hard. Like Etting, who endured abuse at the hands of her husband, the four-time married Day was mercilessly beaten by her one husband, musician Al Jordan, the father of her only child, Terry Melcher.

Mastering drama and musicals, Day was also a fabulous comedian. Just look at her expression when Gable, as a seasoned newspaper editor, kisses her for the first time in TEACHER’S PET. She crosses her eyes and is literally weak in the knees. Or when she realizes in THAT TOUCH OF MINK that Grant wants her to share his bed when they go to a resort. It’s brilliant. And of course, she and Hudson had a chemistry few actors get to share on screen. Ironically, Day admitted she didn’t know who Hudson was when they were cast together in PILLOW TALK, even though he had been a major star for most of that decade and earned an Oscar nomination for GIANT (‘56). “Isn’t that amazing?,” she said laughing. “I thought he was just starting out. I didn’t know about the films he had made. I just loved working with him. We laughed and laughed.”

The quality of her films declined after SEND ME NO FLOWERS. Her third husband and manager, Marty Melcher, put her in poorly received comedies such as DO NOT DISTURB (‘65) and CAPRICE (‘67). He squandered her money and signed her up to do the CBS sitcom The Doris Day Show without her knowledge before his death in 1968. The series ran from 1968 to 1973.

After the series, Day went to Carmel, co-owned a pet friendly hotel there and concentrated on animal welfare. In 1985-86, she did the pet-forward TV talk show Doris Day and Friends, best remembered for guest Rock Hudson, who was suffering from AIDS. She admitted Hollywood never lured her out of retirement. “No one really said that – ‘Oh, come back.’ I was just here.’”

[fromthepastinthepresent]

April 27, 1955: Doris Day and her husband Marty Melcher relax in the sun on the beach at Cannes, while in town to attend the film festival.

[dayniac]

[vintage-every-day]

Doris Day and her husband, Marty Melcher, are photographed attending an event together around 1953-1954.

[hollywoodcomet]

Saying goodbye to Doris Day

Saying goodbye to Doris Day

On the first day of eighth grade in 2002, I was a changed girl.

I was sporting contact lenses after wearing glasses for years, and I had a new favorite actress that changed my life over the summer: Doris Day.

I excitedly asked my friends as we walked through the halls if they had seen “Pillow Talk” (1959). Only one friend, Chelsey, had but most hadn’t. I think this is when I started to realize I…

[annoyinglyperfectartisan]

Doris Day out and about with husband Marty Melcher

[dayniac]

Doris with Ross Hunter, Marty Melcher and director Michael Gordon... Pillow Talk ... 1959.

[vintage-every-day]

Doris Day and her husband Marty Melcher relax on the beach in France during the Cannes Film Festival.