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Personal life. Mervyn LeRoy has married a total of three times and had several relationships with Hollywood actresses. His first marriage was in 1927 to Elizabeth Edna Murphy.
Air Force Colonel Kenneth Penmark and his wife, Christine, dote on their daughter, Rhoda -- as does their lonely landlady, Monica Breedlove. But self-centered Rhoda has a secret tendency for selfishness and loves to accumulate gifts, whether given or stolen, in her room. Christine keeps her knowledge of her daughter's darker side to herself, but when a schoolmate of Rhoda's dies mysteriously ...
Personal life. Mervyn LeRoy has married a total of three times and had several relationships with Hollywood actresses. His first marriage was in 1927 to Elizabeth Edna Murphy. The couple divorced in 1933. While they were separated, LeRoy dated Ginger Rogers. The relationship ended, however, the two remained friends for life.
Three on a Match is a film directed by Mervyn LeRoy with Virginia Davis, Joan Blondell, Anne Shirley, Ann Dvorak .... Year: 1932. Original title: Three on a Match (3 on a Match). Synopsis: Three women who were childhood schoolmates take different paths in life. Vivian marries a very wealthy lawyer and has an adorable boy.
Mervyn LeRoy was an American motion-picture director whose wide variety of films included dramas, romances, epics, comedies, and musicals. He also produced films, including the classic The Wizard of Oz (1939). (Read Martin Scorsese’s Britannica essay on film preservation.) After the LeRoy family
At the age of 16, she was signed to a personal contract by Warner Bros. director Mervyn LeRoy, who took her with him when he transferred to MGM in 1938. She soon attracted attention by playing a murder victim in her screen debut, LeRoy's film They Won't Forget (1937), and she later moved into supporting roles that often cast her as an ingénue .
“Mervyn LeRoy spent virtually all of his long career with two of the leading Hollywood studios, Warner Bros. and MGM. He went about as far as it was possible for a contract director to go during the peak studio years of the 30s and 40s and, when the 50s decline set in, he attempted to continue as an independent producer-director for a time, albeit with only varying degrees of success.”
