"Bad girl movies" are a subcategory, mostly of films noir, labeled by latter-day movie buffs to describe the dark films of the 1940s and 1950s starring provocatively beautiful women on the wrong side of the spirit and/or the letter of the law. The movie posters to these films usually featured sexy artwork of the actress, posed seductively. Currently, these images in original posters and reproductions are as valued as are the films themselves.
Among the classic "bad girl" performances are:
- Ida Lupino in They Drive by Night (1940)
- Mary Astor in The Maltese Falcon (1941)
- Joan Crawford in A Woman's Face (1941)
- Barbara Stanwyck in Double Indemnity (1944)
- Ann Blyth in Mildred Pierce (1945)
- Ann Savage in Detour (1945)
- Gene Tierney in Leave Her to Heaven (1945)
- Ava Gardner in The Killers (1946)
- Lana Turner in The Postman Always Rings Twice (1946)
- Martha Vickers in The Big Sleep (1946)
- Jane Greer in Out of the Past (1947) and Station West (1948)
- Jayne Meadows in Lady in the Lake (1947)
- Lizabeth Scott in Dead Reckoning (1947) and Too Late for Tears (1949)
- Joan Bennett in Scarlet Street (1948)
- Leslie Brooks in Blonde Ice (1948)
- Rita Hayworth in Gilda (1946) and The Lady from Shanghai (1948)
- Anne Baxter in All About Eve (1950) and Bedevilled (1955)
- Laurette Luez in D.O.A. (1950)
- Peggy Cummins in Gun Crazy (1950)
- Audrey Totter in Tension (1950)
- Joan Fontaine in Born to Be Bad (1950)
- Marilyn Monroe in Don't Bother to Knock (1952) and Niagara (1953)
- Cleo Moore in On Dangerous Ground (1952) and One Girl's Confession (1953)
- Gaby Rodgers in Kiss Me Deadly (1955)
- Marie Windsor in The Killing (1956)
- Jane Russell in The Revolt of Mamie Stover (1956)
- Mamie Van Doren in High School Confidential (1958)
Others in the "bad girl" category have included: Gloria Grahame, Angela Lansbury, Dorothy Malone, Beverly Michaels, Jane Randolph, Claire Trevor and Shelley Winters.
Famous quotes containing the words bad, girl and/or movies:
“Good critical writing is measured by the perception and evaluation of the subject; bad critical writing by the necessity of maintaining the professional standing of the critic.”
—Raymond Chandler (1888–1959)
“From infancy, a growing girl creates a tapestry of ever-deepening and ever- enlarging relationships, with her self at the center. . . . The feminine personality comes to define itself within relationship and connection, where growth includes greater and greater complexities of interaction.”
—Jeanne Elium (20th century)
“Nostalgia, the vice of the aged. We watch so many old movies our memories come in monochrome.”
—Angela Carter (1940–1992)