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Jack Nicholson, an American actor, producer, director and screenwriter, is a three-time Academy Award winner and twelve-time nominee. Nicholson is also notable for being one of two actors - the other being Michael Caine - who have received an Oscar nomination in every decade from the '60s through the '00s.
Nicholson was born on April 22, 1937, in Neptune, New Jersey. He was raised believing that his grandmother was his mother, and that his mother, June Frances Nicholson, a showgirl, was his older sister. He discovered the truth in 1975 from a Time magazine journalist who was researching a profile on him. His real father is believed to have been either Donald Furcillo, an Italian American showman, or Eddie King (Edgar Kirschfeld), born in Latvia and also in show business. Jack's mother's ancestry was Irish, and smaller amounts of English, German, Scottish, and Welsh.
Nicholson made his film debut in a B-movie titled The Cry Baby Killer (1958). His rise in Hollywood was far from meteoric, and for years, he sustained his career with guest spots in television series and a number of Roger Corman films, including The Little Shop of Horrors (1960).
Nicholson's first turn in the director's chair was for Drive, He Said (1971). Before that, he wrote the screenplay for The Trip (1967), and co-wrote Head (1968), a vehicle for The Monkees. His big break came with Easy Rider (1969) and his portrayal of liquor-soaked attorney George Hanson, which earned Nicholson his first Oscar nomination. Nicholson's film career took off in the 1970s with a definitive performance in Five Easy Pieces (1970). Nicholson's other notable work during this period includes leading roles in Roman Polanski's noir masterpiece Chinatown (1974) and One Flew Over the Cuckoo's Nest (1975), for which he won his first Best Actor Oscar.
The 1980s kicked off with another career-defining role for Nicholson as Jack Torrance in Stanley Kubrick's adaptation of Stephen King's novel The Shining (1980). A string of well-received films followed, including Terms of Endearment (1983), which earned Nicholson his second Oscar; Prizzi's Honor (1985), and The Witches of Eastwick (1987). He portrayed another renowned villain, The Joker, in Tim Burton's Batman (1989). In the 1990s, he starred in such varied films as A Few Good Men (1992), for which he received another Oscar nomination, and a dual role in Mars Attacks! (1996).
Although a glimpse at the darker side of Nicholson's acting range reappeared in The Departed (2006), the actor's most recent roles highlight the physical and emotional complications one faces late in life. The most notable of these is the unapologetically misanthropic Melvin Udall in As Good as It Gets (1997), for which he won his third Oscar. Shades of this persona are apparent in About Schmidt (2002), Something's Gotta Give (2003), and The Bucket List (2007). In addition to his Academy Awards and Oscar nominations, Nicholson has seven Golden Globe Awards, and received a Kennedy Center Honor in 2001. He also became one of the youngest actors to receive the American Film Institute's Life Achievement award in 1994.
Nicholson has six children by five different women: Jennifer Nicholson (b. 1963) from his only marriage to Sandra Knight, which ended in 1966; Caleb Goddard (b. 1970) with Five Easy Pieces (1970) co-star Susan Anspach, who was automatically adopted by Anspach's then-husband Mark Goddard; Honey Hollman (b. 1982) with Danish supermodel Winnie Hollman; Lorraine Nicholson (b. 1990) and Ray Nicholson (b. 1992) with minor actress Rebecca Broussard; and Tessa Gourin (b. 1994) with real estate agent Jennine Marie Gourin. Nicholson's longest relationship was the 17 nonmonogamous years he spent with Anjelica Huston; this ended when Broussard announced she was pregnant with his child.best ever:D- Actor
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Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.
Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.
Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."
Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.
Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.
During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.
The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.
For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.
Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience
Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.
After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.
It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.
In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.
Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.
One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.
Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.
Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.
Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.
While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.
Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.
The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.
Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.
Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.
Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.
Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.
Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.
Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.
After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.
After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.
Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.
Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.
Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.- Actor
- Producer
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He was the ultra-cool male film star of the 1960s, and rose from a troubled youth spent in reform schools to being the world's most popular actor. Over 40 years after his untimely death from mesothelioma in 1980, Steve McQueen is still considered hip and cool, and he endures as an icon of popular culture.
McQueen was born in Beech Grove, Indiana, to mother Julian (Crawford) and father William Terence McQueen, a stunt pilot. His first lead role was in the low-budget sci-fi film The Blob (1958), quickly followed by roles in The St. Louis Bank Robbery (1959) and Never So Few (1959). The young McQueen appeared as Vin, alongside Yul Brynner, in the star-laden The Magnificent Seven (1960) and effectively hijacked the lead from the bigger star by ensuring he was nearly always doing something in every shot he and Brynner were in together, such as adjusting his hat or gun belt. He next scored with audiences with two interesting performances, first in the World War II drama Hell Is for Heroes (1962) and then in The War Lover (1962). Riding a wave of popularity, McQueen delivered another crowd pleaser as Hilts, the Cooler King, in the knockout World War II P.O.W. film The Great Escape (1963), featuring his famous leap over the barbed wire on a motorcycle while being pursued by Nazi troops (in fact, however, the stunt was actually performed by his good friend, stunt rider Bud Ekins).
McQueen next appeared in several films of mixed quality, including Soldier in the Rain (1963); Love with the Proper Stranger (1963) and Baby the Rain Must Fall (1965). However, they failed to really grab audience attention, but his role as Eric Stoner in The Cincinnati Kid (1965), alongside screen legend Edward G. Robinson and Karl Malden, had movie fans filling theaters again to see the ice-cool McQueen they loved. He was back in another Western, Nevada Smith (1966), again with Malden, and then he gave what many consider to be his finest dramatic performance as loner US Navy sailor Jake Holman in the superb The Sand Pebbles (1966). McQueen was genuine hot property and next appeared with Faye Dunaway in the provocative crime drama The Thomas Crown Affair (1968), next in what many consider his signature role, that of a maverick, taciturn detective in the mega-hit Bullitt (1968), renowned for its famous chase sequence through San Francisco between McQueen's Ford Mustang GT and the killer's black Dodge Charger.
Interestingly, McQueen's next role was a total departure from the action genre, as he played Southerner Boon Hogganbeck in the family-oriented The Reivers (1969), based on the popular William Faulkner novel. Not surprisingly, the film didn't go over particularly well with audiences, even though it was an entertaining and well made production, and McQueen showed an interesting comedic side of his acting talents. He returned to more familiar territory, with the race film Le Mans (1971), a rather self-indulgent exercise, and its slow plot line contributed to its rather poor performance in theaters. It was not until many years later that it became something of a cult film, primarily because of the footage of Porsche 917s roaring around race tracks in France. McQueen then teamed up with maverick Hollywood director Sam Peckinpah to star in the modern Western Junior Bonner (1972), about a family of rodeo riders, and again with Peckinpah as bank robber Doc McCoy in the violent The Getaway (1972). Both did good business at the box office. McQueen's next role was a refreshing surprise and Papillon (1973), based on the Henri Charrière novel of the same name, was well received by fans and critics alike. He played a convict on a French penal colony in South America who persists in trying to escape from his captors and feels their wrath when his attempts fail.
The 1970s is a decade remembered for a slew of "disaster" movies and McQueen starred in arguably the biggest of the time, The Towering Inferno (1974). He shared equal top billing with Paul Newman and an impressive line-up of co-stars including Fred Astaire, Robert Vaughn and Faye Dunaway. McQueen does not appear until roughly halfway into the film as San Francisco fire chief Mike O'Halloran, battling to extinguish an inferno in a 138-story skyscraper. The film was a monster hit and set the benchmark for other disaster movies that followed. However, it was McQueen's last film role for several years. After a four-year hiatus he surprised fans, and was almost unrecognizable under long hair and a beard, as a rabble-rousing early environmentalist in An Enemy of the People (1978), based on the Henrik Ibsen play.
McQueen's last two film performances were in the unusual Western Tom Horn (1980), then he portrayed real-life bounty hunter Ralph "Papa' Thorson (Ralph Thorson) in The Hunter (1980). In 1978, McQueen developed a persistent cough that would not go away. He quit smoking cigarettes and underwent antibiotic treatments without improvement. Shortness of breath grew more pronounced and on December 22, 1979, after he completed work on 'The Hunter', a biopsy revealed pleural mesothelioma, a rare lung cancer associated with asbestos exposure for which there is no known cure. The asbestos was thought to have been in the protective suits worn in his race car driving days, but in fact the auto racing suits McQueen wore were made of Nomex, a DuPont fire-resistant aramid fiber that contains no asbestos. McQueen later gave a medical interview in which he believed that asbestos used in movie sound stage insulation and race-drivers' protective suits and helmets could have been involved, but he thought it more likely that his illness was a direct result of massive exposure while removing asbestos lagging from pipes aboard a troop ship while in the US Marines.
By February 1980, there was evidence of widespread metastasis. While he tried to keep the condition a secret, the National Enquirer disclosed that he had "terminal cancer" on March 11, 1980. In July, McQueen traveled to Rosarito Beach, Mexico for an unconventional treatment after American doctors told him they could do nothing to prolong his life. Controversy arose over McQueen's Mexican trip, because McQueen sought a non-traditional cancer treatment called the Gerson Therapy that used coffee enemas, frequent washing with shampoos, daily injections of fluid containing live cells from cows and sheep, massage and laetrile, a supposedly "natural" anti-cancer drug available in Mexico, but not approved by the US Food and Drug Administration. McQueen paid for these unconventional medical treatments by himself in cash payments which was said to have cost an upwards of $40,000 per month during his three-month stay in Mexico. McQueen was treated by William Donald Kelley, whose only medical license had been (until revoked in 1976) for orthodontics.
McQueen returned to the United States in early October 1980. Despite metastasis of the cancer through McQueen's body, Kelley publicly announced that McQueen would be completely cured and return to normal life. McQueen's condition soon worsened and "huge" tumors developed in his abdomen. In late October, McQueen flew to Ciudad Juarez, Chihuahua, Mexico to have an abdominal tumor on his liver (weighing around five pounds) removed, despite warnings from his American doctors that the tumor was inoperable and his heart could not withstand the surgery. McQueen checked into a Juarez clinic under the alias "Sam Shepard" where the local Mexican doctors and staff at the small, low-income clinic were unaware of his actual identity.
Steve McQueen passed away on November 7, 1980, at age 50 after the cancer surgery which was said to be successful. He was cremated and his ashes were scattered at sea. He married three times and had a lifelong love of motor racing, once remarking, "Racing is life. Anything before or after is just waiting.".- Actress
- Soundtrack
Audrey Hepburn was born as Audrey Kathleen Ruston on May 4, 1929 in Ixelles, Brussels, Belgium. Her mother, Baroness Ella Van Heemstra, was a Dutch noblewoman, while her father, Joseph Victor Anthony Ruston, was born in Úzice, Bohemia, to English and Austrian parents.
After her parents' divorce, Audrey went to London with her mother where she went to a private girls school. Later, when her mother moved back to the Netherlands, she attended private schools as well. While she vacationed with her mother in Arnhem, Netherlands, Hitler's army took over the town. It was here that she fell on hard times during the Nazi occupation. Audrey suffered from depression and malnutrition.
After the liberation, she went to a ballet school in London on a scholarship and later began a modeling career. As a model, she was graceful and, it seemed, she had found her niche in life--until the film producers came calling. In 1948, after being spotted modeling by a producer, she was signed to a bit part in the European film Nederlands in zeven lessen (1948). Later, she had a speaking role in the 1951 film, Young Wives' Tale (1951) as Eve Lester. The part still wasn't much, so she headed to America to try her luck there. Audrey gained immediate prominence in the US with her role in Roman Holiday (1953). This film turned out to be a smashing success, and she won an Oscar as Best Actress.
On September 25, 1954, she married actor Mel Ferrer. She also starred in Sabrina (1954), for which she received another Academy Award nomination. She starred in the films Funny Face (1957) and Love in the Afternoon (1957). She received yet another Academy Award nomination for her role in The Nun's Story (1959). On July 17, 1960, she gave birth to her first son, Sean Hepburn Ferrer.
Audrey reached the pinnacle of her career when she played Holly Golightly in Breakfast at Tiffany's (1961), for which she received another Oscar nomination. She scored commercial success again playing Regina Lampert in the espionage caper Charade (1963). One of Audrey's most radiant roles was in the fine production of My Fair Lady (1964). After a couple of other movies, most notably Two for the Road (1967), she hit pay dirt and another nomination in Wait Until Dark (1967).
In 1967, Audrey decided to retire from acting while she was on top. She divorced from Mel Ferrer in 1968. On January 19, 1969, she married Dr. Andrea Dotti. On February 8, 1970, she gave birth to her second son, Luca Dotti in Lausanne, Vaud, Switzerland. From time to time, she would appear on the silver screen.
In 1988, she became a special ambassador to the United Nations UNICEF fund helping children in Latin America and Africa, a position she retained until 1993. She was named to People's magazine as one of the 50 most beautiful people in the world. Her last film was Always (1989).
Audrey Hepburn died, aged 63, on January 20, 1993 in Tolochnaz, Vaud, Switzerland, from appendicular cancer. She had made a total of 31 high quality movies. Her elegance and style will always be remembered in film history as evidenced by her being named in Empire magazine's "The Top 100 Movie Stars of All Time".karet doroste abji- Actor
- Producer
- Director
Cleft-chinned, steely-eyed and virile star of international cinema who rose from being "the ragman's son" (the name of his best-selling 1988 autobiography) to become a bona fide superstar, Kirk Douglas, also known as Issur Danielovitch Demsky, was born on December 9, 1916 in Amsterdam, New York. His parents, Bryna (Sanglel) and Herschel Danielovitch, were Jewish immigrants from Chavusy, Mahilyow Voblast (now in Belarus). Although growing up in a poor ghetto, Douglas was a fine student and a keen athlete and wrestled competitively during his time at St. Lawrence University. Professional wrestling helped pay for his studies as did working on the side as a waiter and a bellboy. However, he soon identified an acting scholarship as a way out of his meager existence, and was sufficiently talented to gain entry into the American Academy of Dramatic Arts. He made his Broadway debut in "Spring Again" before his career was interrupted by World War II. He joining the United States Navy in 1941, and then after the end of hostilities in 1945, returned to the theater and some radio work. On the insistence of ex-classmate Lauren Bacall, movie producer Hal B. Wallis screen-tested Douglas and cast him in the lead role in The Strange Love of Martha Ivers (1946). His performance received rave reviews and further work quickly followed, including an appearance in the low-key drama I Walk Alone (1947), the first time he worked alongside fellow future screen legend Burt Lancaster. Such was the strong chemistry between the two that they appeared in seven films together, including the dynamic western Gunfight at the O.K. Corral (1957), the John Frankenheimer political thriller Seven Days in May (1964) and their final pairing in the gangster comedy Tough Guys (1986). Douglas once said about his good friend: "I've finally gotten away from Burt Lancaster. My luck has changed for the better. I've got nice-looking girls in my films now."
After appearing in "I Walk Alone," Douglas scored his first Oscar nomination playing the untrustworthy and opportunistic boxer Midge Kelly in the gripping Champion (1949). The quality of his work continued to garner the attention of critics and he was again nominated for Oscars for his role as a film producer in The Bad and the Beautiful (1952) and as tortured painter Vincent van Gogh in Lust for Life (1956), both directed by Vincente Minnelli. In 1955, Douglas launched his own production company, Bryna Productions, the company behind two pivotal film roles in his career. The first was as French army officer Col. Dax in director Stanley Kubrick's brilliant anti-war epic Paths of Glory (1957). Douglas reunited with Kubrick for yet another epic, the magnificent Spartacus (1960). The film also marked a key turning point in the life of screenwriter Dalton Trumbo, who had been blacklisted during the McCarthy "Red Scare" hysteria in the 1950s. At Douglas' insistence, Trumbo was given on-screen credit for his contributions, which began the dissolution of the infamous blacklisting policies begun almost a decade previously that had destroyed so many careers and lives.
Douglas remained busy throughout the 1960s, starring in many films. He played a rebellious modern-day cowboy in Lonely Are the Brave (1962), acted alongside John Wayne in the World War II story In Harm's Way (1965), again with The Duke in a drama about the Israeli fight for independence, Cast a Giant Shadow (1966), and once more with Wayne in the tongue-in-cheek western The War Wagon (1967). Additionally in 1963, he starred in an onstage production of Ken Kesey's "One Flew Over the Cuckoo's Nest," but despite his keen interest, no Hollywood studio could be convinced to bring the story to the screen. However, the rights remained with the Douglas clan, and Kirk's talented son Michael Douglas finally filmed the tale in 1975, starring Jack Nicholson. Into the 1970s, Douglas wasn't as busy as previous years; however, he starred in some unusual vehicles, including alongside a young Arnold Schwarzenegger in the loopy western comedy The Villain (1979), then with Farrah Fawcett in the sci-fi thriller Saturn 3 (1980) and then he traveled to Australia for the horse opera/drama The Man from Snowy River (1982).
Unknown to many, Kirk has long been involved in humanitarian causes and has been a Goodwill Ambassador for the US State Department since 1963. His efforts were rewarded with the Presidential Medal of Freedom (1981), and with the Jefferson Award (1983). Furthermore, the French honored him with the Chevalier of the Legion of Honor. More recognition followed for his work with the American Cinema Award (1987), the German Golden Kamera Award (1987), The National Board of Reviews Career Achievement Award (1989), an honorary Academy Award (1995), Recipient of the American Film Institute's Lifetime Achievement Award (1999) and the UCLA Medal of Honor (2002). Despite a helicopter crash and a stroke suffered in the 1990s, he remained active and continued to appear in front of the camera. Until his passing on February 5 2020 at the age of 103, he and Olivia de Havilland were the last surviving major stars from the Golden Years of Hollywood.- Actor
- Producer
- Additional Crew
Humphrey DeForest Bogart was born in New York City, New York, to Maud Humphrey, a famed magazine illustrator and suffragette, and Belmont DeForest Bogart, a moderately wealthy surgeon (who was secretly addicted to opium). Bogart was educated at Trinity School, NYC, and was sent to Phillips Academy in Andover, Massachusetts, in preparation for medical studies at Yale. He was expelled from Phillips and joined the U.S. Naval Reserve. From 1920 to 1922, he managed a stage company owned by family friend William A. Brady (the father of actress Alice Brady), performing a variety of tasks at Brady's film studio in New York. He then began regular stage performances. Alexander Woollcott described his acting in a 1922 play as inadequate. In 1930, he gained a contract with Fox, his feature film debut in a ten-minute short, Broadway's Like That (1930), co-starring Ruth Etting and Joan Blondell. Fox released him after two years. After five years of stage and minor film roles, he had his breakthrough role in The Petrified Forest (1936) from Warner Bros. He won the part over Edward G. Robinson only after the star, Leslie Howard, threatened Warner Bros. that he would quit unless Bogart was given the key role of Duke Mantee, which he had played in the Broadway production with Howard. The film was a major success and led to a long-term contract with Warner Bros. From 1936 to 1940, Bogart appeared in 28 films, usually as a gangster, twice in Westerns and even a horror film. His landmark year was 1941 (often capitalizing on parts George Raft had stupidly rejected) with roles in classics such as High Sierra (1940) and as Sam Spade in one of his most fondly remembered films, The Maltese Falcon (1941). These were followed by Casablanca (1942), The Big Sleep (1946), and Key Largo (1948). Bogart, despite his erratic education, was incredibly well-read and he favored writers and intellectuals within his small circle of friends. In 1947, he joined wife Lauren Bacall and other actors protesting the House Un-American Activities Committee witch hunts. He also formed his own production company, and the next year made The Treasure of the Sierra Madre (1948). Bogie won the best actor Academy Award for The African Queen (1951) and was nominated for Casablanca (1942) and as Captain Queeg in The Caine Mutiny (1954), a film made when he was already seriously ill. He died in his sleep at his Hollywood home following surgeries and a battle with throat cancer.- Actor
- Producer
- Director
One of the greatest actors of all time, Robert De Niro was born on August 17, 1943 in Manhattan, New York City, to artists Virginia (Admiral) and Robert De Niro Sr. His paternal grandfather was of Italian descent, and his other ancestry is Irish, English, Dutch, German, and French. He was trained at the Stella Adler Conservatory and the American Workshop. De Niro first gained fame for his role in Bang the Drum Slowly (1973), but he gained his reputation as a volatile actor in Mean Streets (1973), which was his first film with director Martin Scorsese. He received an Academy Award for Best Supporting Actor for his role in The Godfather Part II (1974) and received Academy Award nominations for best actor in Taxi Driver (1976), The Deer Hunter (1978) and Cape Fear (1991). He received the Academy Award for Best Actor for his role as Jake LaMotta in Raging Bull (1980).
De Niro has earned four Golden Globe Award nominations for Best Actor - Motion Picture Musical or Comedy, for his work in New York, New York (1977), opposite Liza Minnelli, Midnight Run (1988), Analyze This (1999) and Meet the Parents (2000). Other notable performances include Brazil (1985), The Untouchables (1987), Backdraft (1991), Frankenstein (1994), Heat (1995), Casino (1995) and Jackie Brown (1997). At the same time, he also directed and starred in such films as A Bronx Tale (1993) and The Good Shepherd (2006). De Niro has also received the AFI Lifetime Achievement Award in 2003 and the Golden Globe Cecil B. DeMille Award in 2010.
As of 2022, De Niro is 79-years-old. He has never retired from acting, and continues to work regularly in mostly film.- Actor
- Music Department
- Soundtrack
Born in London, England, Daniel Michael Blake Day-Lewis is the second child of Cecil Day-Lewis, Poet Laureate of the U.K., and his second wife, actress Jill Balcon. His maternal grandfather was Sir Michael Balcon, an important figure in the history of British cinema and head of the famous Ealing Studios. His older sister, Tamasin Day-Lewis, is a documentarian. His father was of Northern Irish and English descent, and his mother was Jewish (from a family from Latvia and Poland). Daniel was educated at Sevenoaks School in Kent, which he despised, and the more progressive Bedales in Petersfield, which he adored. He studied acting at the Bristol Old Vic School. Daniel made his film debut in Sunday Bloody Sunday (1971), but then acted on stage with the Bristol Old Vic and Royal Shakespeare Companies and did not appear on screen again until 1982, when he landed his first adult role, a bit part in Gandhi (1982). He also appeared on British television that year in Frost in May (1982) and How Many Miles to Babylon? (1982). Notable theatrical performances include Another Country (1982-83), Dracula (1984) and The Futurists (1986).
His first major supporting role in a feature film was in The Bounty (1984), quickly followed by My Beautiful Laundrette (1985) and A Room with a View (1985). The latter two films opened in New York on the same day, offering audiences and critics evidence of his remarkable range and establishing him as a major talent. The New York Film Critics named him Best Supporting Actor for those performances. In 1986, he appeared on stage in Richard Eyre's "The Futurists" and on television in Eyre's production of The Insurance Man (1986). He also had a small role in a British/French film, Nanou (1986). In 1987, he assumed leading-man status in Philip Kaufman's The Unbearable Lightness of Being (1988), followed by a comedic role in the unsuccessful Stars and Bars (1988). His brilliant performance as Christy Brown in Jim Sheridan's My Left Foot (1989) won him numerous awards, including the Academy Award for Best Actor.
He returned to the stage to work again with Eyre, as Hamlet at the National Theater, but was forced to leave the production close to the end of its run because of exhaustion, and has not appeared on stage since. He took a hiatus from film as well until 1992, when he starred in The Last of the Mohicans (1992), a film that met with mixed reviews but was a great success at the box office. He worked with American director Martin Scorsese in The Age of Innocence (1993), based on Edith Wharton's novel. Subsequently, he teamed again with Jim Sheridan to star in In the Name of the Father (1993), a critically acclaimed performance that earned him another Academy Award nomination. His next project was in the role of John Proctor in father-in-law Arthur Miller's play The Crucible (1996), directed by Nicholas Hytner. He worked with Scorsese again to star in Gangs of New York (2002), another critically acclaimed performance that earned him another Academy Award nomination for Best Actor.
Day-Lewis's wife, Rebecca Miller, offered him the lead role in her film The Ballad of Jack and Rose (2005), in which he played a dying man with regrets over how his wife had evolved and over how he had brought up his teenage daughter. During filming, he arranged to live separate from his wife to achieve the "isolation" needed to focus on his own character's reality. The film received mixed reviews. In 2007, he starred in director Paul Thomas Anderson's loose adaptation of Upton Sinclair's novel "Oil!", titled There Will Be Blood (2007). Day-Lewis received the Academy Award for Best Actor, BAFTA Award for Best Actor in a Leading Role, Golden Globe Award for Best Actor - Motion Picture Drama, Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Leading Role, and a variety of film critics' circle awards for the role. In 2009, Day-Lewis starred in Rob Marshall's musical adaptation Nine (2009) as film director Guido Contini. He was nominated for the Golden Globe Award for Best Actor - Motion Picture Musical or Comedy and the Satellite Award for Best Actor - Motion Picture Musical or Comedy.- Actor
- Soundtrack
Spencer Tracy was the second son born on April 5, 1900, to truck salesman John Edward and Caroline Brown Tracy in Milwaukee, Wisconsin. While attending Marquette Academy, he and classmate Pat O'Brien quit school to enlist in the Navy at the start of World War I. Tracy was still at Norfolk Navy Yard in Virginia at the end of the war. After playing the lead in the play "The Truth" at Ripon College he decided that acting might be his career.
Moving to New York, Tracy and O'Brien, who'd also settled on a career on the stage, roomed together while attending the Academy of Dramatic Arts. In 1923 both got nonspeaking parts as robots in "R.U.R.", a dramatization of the groundbreaking science fiction novel by Czech author Karel Capek. Making very little money in stock, Tracy supported himself with jobs as bellhop, janitor and salesman until John Ford saw his critically acclaimed performance in the lead role in the play "The Last Mile" (later played on film by Clark Gable) and signed him for The William Fox Film Company's production of Up the River (1930). Despite appearing in sixteen films at that studio over the next five years, Tracy was never able to rise to full film star status there, in large part because the studio was unable to match his talents to suitable story material.
During that period the studio itself floundered, eventually merging with Darryl F. Zanuck, Joseph Schenck and William Goetz's William 20th Century Pictures to become 20th Century-Fox). In 1935 Tracy signed with MGM under the aegis of Irving Thalberg and his career flourished. He became the first actor to win back-to-back Best Actor Oscars for Captains Courageous (1937) and, in a project he initially didn't want to star in, Boys Town (1938).
During Tracy's nearly forty-year film career, he was nominated for his performances in San Francisco (1936), Father of the Bride (1950), Bad Day at Black Rock (1955), The Old Man and the Sea (1958), Inherit the Wind (1960), Judgment at Nuremberg (1961), and Guess Who's Coming to Dinner (1967).
Tracy had a brief romantic relationship with Loretta Young in the mid-1930s, and a lifelong one with Katharine Hepburn beginning in 1942 after they were first paired in Woman of the Year by director George Stevens. Tracy's strong Roman Catholic beliefs precluded his divorcing wife Louise, though they mostly lived apart. Tracy suffered from severe alcoholism and diabetes (from the late 1940s), which led to his declining several tailor-made roles in films that would become big hits with other actors in those roles. Although his drinking problems were well known, he was considered peerless among his colleagues (Tracy had a well-deserved reputation for keeping co-stars on their toes for his oddly endearing scene-stealing tricks), and remained in demand as a senior statesman who nevertheless retained box office clout. Two weeks after completion of Stanley Kramer's Guess Who's Coming to Dinner (1967), during which he suffered from lung congestion, Spencer Tracy died of a heart attack.- Actor
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James Maitland Stewart was born on May 20, 1908, in Indiana, Pennsylvania, to Elizabeth Ruth (Johnson) and Alexander Maitland Stewart, who owned a hardware store. He was of Scottish, Ulster-Scots, and some English descent. Stewart was educated at a local prep school, Mercersburg Academy, where he was a keen athlete (football and track), musician (singing and accordion playing), and sometime actor.
In 1929, he won a place at Princeton University, where he studied architecture with some success and became further involved with the performing arts as a musician and actor with the University Players. After graduation, engagements with the University Players took him around the northeastern United States, including a run on Broadway in 1932. But work dried up as the Great Depression deepened, and it was not until 1934, when he followed his friend Henry Fonda to Hollywood, that things began to pick up.
After his first screen appearance in Art Trouble (1934), Stewart worked for a time for MGM as a contract player and slowly began making a name for himself in increasingly high-profile roles throughout the rest of the 1930s. His famous collaborations with Frank Capra, in You Can't Take It with You (1938), Mr. Smith Goes to Washington (1939), and, after World War II, It's a Wonderful Life (1946) helped to launch his career as a star and to establish his screen persona as the likable everyman.
Having learned to fly in 1935, he was drafted into the United States Army in 1940 as a private (after twice failing the medical for being underweight). During the course of World War II, he rose to the rank of colonel, first as an instructor at home in the United States, and later on combat missions in Europe. He remained involved with the United States Air Force Reserve after the war and officially retired in 1968. In 1959, he was promoted to brigadier general, becoming the highest-ranking actor in U.S. military history.
Stewart's acting career took off properly after the war. During the course of his long professional life, he had roles in some of Hollywood's best-remembered films, starring in a string of Westerns, bringing his everyman qualities to movies like The Man Who Shot Liberty Valance (1962)), biopics (The Stratton Story (1949), The Glenn Miller Story (1954), and The Spirit of St. Louis (1957), for instance, thrillers (most notably his frequent collaborations with Alfred Hitchcock), and even some screwball comedies.
On June 25, 1997, a thrombosis formed in his right leg, leading to a pulmonary embolism, and a week later on July 2, 1997, surrounded by his children, James Stewart died at age 89 at his home in Beverly Hills, California. His last words to his family were, "I'm going to be with Gloria now".