Oldest line-ups of living Oscar-nominated actors (by category)
Here's the furthest I could go in each of the four acting categories, to find an ensemble composed of living actors.
Which of these actors/actresses is your favorite?
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Which of these actors/actresses is your favorite?
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Born in New York City to legendary screen star Henry Fonda and Ontario-born New York socialite Frances Seymour Brokaw, Jane Seymour Fonda was destined early to an uncommon and influential life in the limelight. Although she initially showed little inclination to follow her father's trade, she was prompted by Joshua Logan to appear with her father in the 1954 Omaha Community Theatre production of "The Country Girl". Her interest in acting grew after meeting Lee Strasberg in 1958 and joining the Actors Studio. Her screen debut in Tall Story (1960) (directed by Logan) marked the beginning of a highly successful and respected acting career highlighted by two Academy Awards for her performances in Klute (1971) and Coming Home (1978), and five Oscar nominations for Best Actress in They Shoot Horses, Don't They? (1969), Julia (1977), The China Syndrome (1979), The Morning After (1986) and On Golden Pond (1981), which was the only film she made with her father. Her professional success contrasted with her personal life, which was often laden with scandal and controversy. Her appearance in several risqué movies (including Barbarella (1968)) by then-husband Roger Vadim was followed by what was to become her most debated and controversial period: her espousal of anti-establishment causes and especially her anti-war activities during the Vietnam War. Her political involvement continued with fellow activist and husband Tom Hayden in the late 1970s and early 1980s. In the 1980s she started the aerobic exercise craze with the publication of the "Jane Fonda's Workout Book". She and Hayden divorced, and she married broadcasting mogul Ted Turner in 1991.- Actress
- Additional Crew
- Soundtrack
Julie Christie, the British movie legend whom Al Pacino called "the most poetic of all actresses," was born in Chabua, Assam, India, on April 14, 1940, the daughter of a tea planter and his Welsh wife Rosemary, who was a painter. The young Christie grew up on her father's plantation before being sent to England for her education. Finishing her studies in Paris, where she had moved to improve her French with an eye to possibly becoming a linguist (she is fluent in French and Italian), the teenager became enamored of the freedom of the Continent. She also was smitten by the bohemian life of artists and planned on becoming an artist before she enrolled in London's Central School of Speech Training. She made her debut as a professional in 1957 as a member of the Frinton Repertory of Essex.
Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. Her true métier as an actress was film, and she made her debut in the science-fiction television series A for Andromeda (1961) in 1961. Her first film was a girlfriend part in the Ealing-like comedy Crooks Anonymous (1962), which was followed up by a larger ingénue role in another comedy, The Fast Lady (1962). The producers of the James Bond series were sufficiently intrigued by the young actress to consider her for the role that subsequently went to Ursula Andress in Dr. No (1962), but dropped the idea because she was not busty enough.
Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress originally cast in Billy Liar (1963). Christie's turn in the film as the free-wheeling Liz was a stunner, and she had her first taste of becoming a symbol if not icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute in Young Cassidy (1965). Charlton Heston wanted her for his film The War Lord (1965), but the studio refused her salary demands.
Although Amercan magazines portrayed Christie as a "newcomer" when she made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (1965), she actually had considerable work under her professional belt and was in the process of a artistic quickening. Schlesinger called on Christie, whom he adored, to play the role of mode Diana Scott when the casting of Shirley MacLaine fell through. (MacLaine was the sister of the man who would become Christie's long-time paramour in the late 1960s and early '70s, Warren Beatty, whom some, like actor Rod Steiger, believe she gave up her career for. Her "Dr. Zhivago" co-star, Steiger -- a keen student of acting -- regretted that Christie did not give more of herself to her craft.)
As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from immature sex kitten to jaded socialite. For her complex performance, Christie won raves, including the Best Actress Awards from the Academy of Motion Picture Arts and Sciences and the British Film Academy. She had arrived, especially as she had followed up "Darling" with the role of Lara in two-time Academy Award-winning director David Lean's adaptation of Boris Pasternak's Doctor Zhivago (1965), one of the all-time box-office champs.
Christie was now a superstar who commanded a price of $400,000 per picture, a fact ruefully noted in Charlton Heston's diary (his studio had balked at paying her then-fee of $35,000). More interested in film as an art form than in consolidating her movie stardom, Christie followed up "Zhivago" with a dual role in Fahrenheit 451 (1966) for director François Truffaut, a director she admired. The film was hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the the more-appropriate-for-the-role Terence Stamp. Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. The film is an interesting failure.
Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (1967), which also featured two great English actors, Peter Finch and Alan Bates. It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too "mod" and thus untrue to one of Hardy's classic tales of fate. Some said that her contemporary Vanessa Redgrave would have been a better choice as Bathsheba, but while it is true that Redgrave is a very fine actress, she lacked the sex appeal and star quality of Christie, which makes the story of three men in love with one woman more plausible, as a film.
Although no one then knew it, the period 1967-68 represented the high-water mark of Christie's career. Fatefully, like the Hardy heroine she had portrayed, she had met the man who transformed her life, undermining her pretensions to a career as a movie star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a "treadmill leading to more treadmills" and who was wealthy enough after Bonnie and Clyde (1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of "Madding Crowd" and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends four decades after their affair ended in 1974.
Christie's last box-office hit in which she was the top-liner was Petulia (1968) for Richard Lester, a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an "arch-kook" who was emblematic of the '60s. It is one of the major films of the decade, an underrated masterpiece. Despite the presence of the great George C. Scott and the excellent Shirley Knight, the film would not work without Julie Christie. There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.
And she walked away.
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or at maintaining herself as a top-drawer working actress (success at the box office being a guarantee of the best parts, even in art films.) She turned down the lead in They Shoot Horses, Don't They? (1969) and Anne of the Thousand Days (1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (1969), a critical and box office flop, to fulfill her contractual obligations, she spent her time with Beatty in Calfiornia, renting a beach house at Malibu. She did return to form in Joseph Losey's The Go-Between (1971), a fine picture with a script by the great Harold Pinter, and she won another Oscar nomination as the whore-house proprietor in Robert Altman's minor classic McCabe & Mrs. Miller (1971) that she made with her lover Beatty. However, like Beatty himself, she did not seek steady work, which can be professional suicide for an actor who wants to maintain a standing in the first rank of movie stars.
At the same time, Julie Christie turned down the role of the Russian Empress in Nicholas and Alexandra (1971), another film that won the second-choice (Janet Suzman) a Best Actress Oscar nomination. Two years later, she appeared in the landmark mystery-horror film Don't Look Now (1973), but that likely was as a favor to the director, Nicolas Roeg, who had been her cinematographer on "Fahrenheit 451," "Far From the Madding Crowd" and "Petulia." In the mid '70s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (1975) (which she regretted due to its depiction of women) and Heaven Can Wait (1978).
Christie was still enough of a star, due to sheer magnetism rather than her own pull at the box-office, to be offered $1 million to play the Jacqueline Kennedy Onassis character in The Greek Tycoon (1978) (a part eventually played by Jacqueline Bisset to no great acclaim). She signed for but was forced to drop out of the lead in Agatha (1979) (which was filled by Vanessa Redgrave) after she broke a wrist roller-skating (a particularly southern Californian fate!). She then signed for the female lead in American Gigolo (1980) when Richard Gere was originally attached to the picture, but dropped out when John Travolta muscled his way into the lead after making twin box-office killings as disco king Tony Manera in Saturday Night Fever (1977) and greaser Danny Zuko in Grease (1978). Christie could never have co-starred with such a camp figure of dubious talent. When Travolta himself dropped out and Gere was subbed back in, it was too late for Christe to reconsider, as the part already had been filled by model-actress Lauren Hutton. It would take 15 years for Christie and Gere to work together.
Finally, the end of the American phase of her movie career was realized when Christie turned down the part of Louise Bryant in Reds (1981), a part written by Warren Beatty with her in mind, as she felt an American should play the role. (Beatty's latest lover, Diane Keaton, played the part and won a Best Actress Oscar nomination.) Still, she remained a part of the film, Beatty's long-gestated labor of love, as it is dedicated to "Jules."
Julie Christie moved back to the UK and become the UK's answer to Jane Fonda, campaigning for various social and political causes, including animal rights and nuclear disarmament. The parts she did take were primarily driven by her social consciousness, such as appearing in Sally Potter's first feature-length film, The Gold Diggers (1983) which was not a remake of the old Avery Hopwood's old warhorse but a feminist parable made entirely by women who all shared the same pay scale. Roles in The Return of the Soldier (1982) with Alan Bates and Glenda Jackson and Merchant-Ivory's Heat and Dust (1983) seemed to herald a return to form, but Christie -- as befits such a symbol of the freedom and lack of conformity of the '60s -- decided to do it her way. She did not go "careering," even though her unique talent and beauty was still very much in demand by filmmakers.
At this point, Christie's movie career went into eclipse. Once again, she was particularly choosy about her work, so much so that many came to see her, essentially, as retired. A career renaissance came in the mid-1990s with her turn as Gertrude in Kenneth Branagh's ambitious if not wholly successful Hamlet (1996). As Christie said at the time, she didn't feel she could turn Branagh down as he was a national treasure. But the best was yet to come: her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man in Afterglow (1997), which brought her rave notices. She received her third Best Actress Oscar nomination for her performance, and showed up at the awards as radiant and uniquely beautiful as ever. Ever the iconoclast, she was visibly relieved, upon the announcement of the award, to learn that she had lost!
Christie lived with left-wing investigative journalist Duncan Campbell (a Manchester Guardian columnist) since 1979, first in Wales, then in Ojai, California, and now in London's East End, before marrying in January 2008. In addition to her film work, she has narrated many books-on-tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's "Old Times", which garnered her superb reviews.
In the decade since "Afterglow," she has worked steadily on film in supporting roles. Christie -- an actress who eschewed vulgar stardom -- proved to be an inspiration to her co-star Sarah Polley, the remarkably talented Canadian actress with a leftist political bent who also abhors Hollywood. Of her co-star in No Such Thing (2001) and The Secret Life of Words (2005), Polley says that Christie is uniquely aware of her commodification by the movie industry and the mass media during the 1960s. Not wanting to be reduced to a product, she had rebelled and had assumed control of her life and career. Her attitude makes her one of Polley's heroes, who calls her one of her surrogate mothers. (Polley lost her own mother when she was 11 years old.)
Both Christie and Polley are rebels. Sarah Polley had walked off the set of the big-budget movie that was forecast as her ticket to Hollywood stardom, Almost Famous (2000), to have a different sort of life and career. She returned to her native Canada to appear in the low-budget indie The Law of Enclosures (2000), a prescient art film in that director John Greyson offset the drama with a background of a perpetual Gulf War three years before George W. Bush invaded Iraq, touching off the second-longest war in U.S. history. Taking a hiatus from acting, Polley went to Norman Jewison's Canadian Film Centre to learn to direct, and direct she has, making well-regarded shorts before launching her feature film debut, Away from Her (2006), which was shot and completed in 2006 but held for release until 2007 by its distributor.
Polley, who had longed to be a writer since she was a child actress on the set of the quaint family show Avonlea (1990) wrote the screenplay for her adaptation of Alice Munro's short story "The Bear Went Over the Mountain" with only one actress in mind: Julie Christie. Polley had first read the short story on a flight back from Iceland, where she had made "No Such Thing" with Christie, and as she read, it was Julie whom she pictured as Fiona, the wife of a one-time philandering husband, who has become afflicted with Alzheimer's disease and seeks to save her hubby the pain of looking after her by checking herself into a home.
After finishing the screenplay, it took months to get Christie to commit to making the film. Julie turned her down after reading the script and pondering it for a couple of months, saying "No" even though she liked the script. Polley then had to "twist her arm" for another couple of months. But alas, Julie has a weakness for national treasures: Just like with Branagh a decade ago, the legendary Julie Christie could not deny the Great White North's Sarah Polley, and commit she did. Polley then found out why Christie is so reticent about making movies:
"She gives all of herself to what she does. Once she said yes, she was more committed than anybody."
According to David Germain, a cinema journalist who interviewed Christie for the Associated Press, "Polley and Christie share a desire to do interesting, unusual work, which generally means staying away from Hollywood.
"'It's been a kind of greed and a kind of egotism, but it's not necessarily wanting to avoid the Hollywood thing, but in fact, it incorporates wanting to avoid the Hollywood thing, because the Hollywood thing is so inevitably not original,' Christie said. 'It's avoiding non-originality, so that means you're really down to a very small choice.'"
The collaboration between the two rebels yielded a small gem of a film. Lions Gate Films was so impressed, it purchased the American distribution rights to the film in 2006, then withheld it until the following year to build up momentum for the awards season.
Julie Christie's performance in "Away From Her" is superb, and already has garnered her the National Board of Review's Best Actress Award. She will likely receive her fourth Academy Award nomination, and quite possibly her second Oscar, for her unforgettable performance, a labor of love she did for a friend.
We, the Julie Christie fans who have waited decades for the handful of films made by the numinous star: Would we have wanted it any other way? We are the Red Sox fans of the movies, once again rewarded with a world-class masterpiece by our heroine. Perhaps, like all human beings, we want more, but we have learned over the last thirty-five years to be content with the diamonds that are Julie's leading performances that she gives just once a decade, content to feel that these are a surfeit of riches, our surfeit of riches, so great is their luminescence.- Actress
- Soundtrack
Few in modern British history have come as far or achieved as much from humble beginnings as Glenda Jackson did. From acclaimed actress to respected MP (Member of Parliament), she was known for her high intelligence and meticulous approach to her work. She was born to a working-class household in Birkenhead, where her father was a bricklayer and her mother was a cleaning lady. When she was very young, her father was recruited into the Navy, where he worked aboard a minesweeper. She graduated from school at 16 and worked for a while in a pharmacy. However, she found this boring and dead-end and wanted better for herself. Her life changed forever when she was accepted into the prestigious Royal Acadamy of Dramatic Art (RADA) at the age of 18. Her work impressed all who observed it. At age 22, she married Roy Hodges.
Her first work came on the stage, where she won a role in an adaptation of "Separate Tables", and made a positive impression on critics and audiences alike. This led to film roles, modest at first, but she approached them with great determination. She first came to the public's notice when she won a supporting role in the controversial film Marat/Sade (1967), and is acknowledged to have stolen the show. She quickly became a member of Britain's A-List. Her first starring role came in the offbeat drama Negatives (1968), in which she out-shone the oddball material. The following year, controversial director Ken Russell gave her a starring role in his adaptation of the 1920s romance Women in Love (1969), in which she co-starred with Oliver Reed. The film was a major success, and Jackson's performance won her an Academy Award for Best Actress. In the process, she became an international celebrity, known world-wide, yet she didn't place as much value on the status and fame as most do. She did, however, become a major admirer of Russell (who had great admiration for her in return) and acted in more of his films. She starred in the controversial The Music Lovers (1971), although it required her to do a nude scene, something that made her very uncomfortable. The film was not a success, but she agreed to do a cameo appearance in his next film, The Boy Friend (1971). Although her role as an obnoxious actress was very small, she once again performed with great aplomb.
1971 turned out to be a key year for her. She took a risk by appearing in Sunday Bloody Sunday (1971), as a divorced businesswoman in a dead-end affair with a shallow bisexual artist, but the film turned out to be another major success. She accepted the starring role in the British Broadcasting Corporation's much anticipated biography of Queen Elizabeth I, and her performance in the finished film, Elizabeth R (1971), was praised not only by critics and fans, but is cited by historians as the most accurate portrayal of the beloved former queen ever seen. The same year, she successfully played the role of Queen Elizabeth I again in the historical drama Mary, Queen of Scots (1971). That same year, she appeared in the popular comedy series The Morecambe & Wise Show (1968) in a skit as Queen Cleopatra, which is considered on of the funniest TV skits in British television, and also proof that she could do comedy just as well as costume melodrama. One who saw and raved about her performance was director Melvin Frank, who proceeded to cast her in the romantic comedy A Touch of Class (1973), co-starring George Segal. The two stars had a chemistry which brought out the best in each other, and the film was not only a major hit in both the United States and Great Britain, but won her a second Academy Award. She continued to impress by refusing obvious commercial roles and seeking out serious artistic work. She gave strong performances in The Romantic Englishwoman (1975) and The Incredible Sarah (1976), in which she portrayed the legendary actress Sarah Bernhardt. However, some of her films didn't register with the public, like The Triple Echo (1972), The Maids (1975), and Nasty Habits (1977). In addition, her marriage fell apart in 1976. But her career remained at the top and in 1978 she was named Commander of the Order of the British Empire. That year, she made a comeback in the comedy House Calls (1978), co-starring Walter Matthau. The success of this film which led to a popular television spin-off in the United States the following year. In 1979, she and Segal re-teamed in Lost and Found (1979), but they were unable to overcome the routine script. She again co-starred with Oliver Reed in The Class of Miss MacMichael (1978), but the film was another disappointment.
During the 1980s, she appeared in Hopscotch (1980) also co-starring Walter Matthau, and HealtH (1980) with Lauren Bacall, with disappointing results, although Jackson herself was never blamed. Her performance in the TV biography Sakharov (1984), in which she played Yelena Bonner, devoted wife of imprisoned Russian nuclear scientist Andrei Sakharov opposite Jason Robards, won rave reviews. However, the next film Turtle Diary (1985), was only a modest success, and the ensemble comedy Beyond Therapy (1987) was a critical and box office disaster and Jackson herself got some of the worst reviews of her career.
As the 1980s ended, Jackson continued to act, but became more focused on public affairs. She grew up in a household that was staunchly supportive of the Labour Party. She had disliked the policies of Conservative Prime Minister Margaret Thatcher, even though she admired some of her personal attributes, and strongly disapproved of Thatcher's successor, John Major. She was unhappy with the direction of British government policies, and in 1992 ran for Parliament. Although running in an area (Hampstead and Highgate) which was not heavily supportive of her party, she won by a slim margin and immediately became its most famous newly elective member. However, those who expected that she would rest on her laurels and fame were mistaken. She immediately took an interest in transportation issues, and in 1997 was appointed Junior Transportation Minister by Prime Minister Tony Blair. However, she was critical of some of Blair's policies and is considered an inter-party opponent of Blair's moderate faction. She was considered a traditional Labour Party activist, but is not affiliated with the faction known as The Looney Left. In 2000, she ran for Mayor of London, but lost the Labour nomination to fellow MP Frank Dobson, an ally of Blair, who then lost the election to an independent candidate, Ken Livingstone.
In 2005, she ran again and won the nomination, but lost to Livingstone, winning 38% of the vote. When Blair announced he would not seek reelection as Prime Minister in 2006, Jackson's name was mentioned as a possible successor, although she didn't encourage this speculation. In 2010, she sought reelection to parliament and was almost defeated, winning by only 42 votes.
In 2013, she responded to the death of Margaret Thatcher by strongly denouncing her policies, which was condemned by many as graceless. In 2015, elections for parliament were called again but she didn't seek reelection. She was succeeded in Parliament by Christopher Philp, a Conservative Party member who had been Jackson's opponent in 2010.- Actress
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On January 30, 1937, renowned theatre actor Michael Redgrave was performing in a production of Hamlet in London. During the curtain call, the show's lead, Laurence Olivier, announced to the audience: "tonight a great actress was born". This was in reference to his co-star's newborn daughter, Vanessa Redgrave.
Vanessa was born in Greenwich, London, to Michael Redgrave and Rachel Kempson, both thespians. Three quarters of a century after her birth (despite numerous ups and down) this rather forward expectation has definitely been lived up to with an acclaimed actress that has won (among many others) an Academy Award, two Emmys, two Golden Globes, two Cannes Best Actress awards, a Tony, a Screen Actors Guild award, a Laurence Olivier theatre award and a BAFTA fellowship.
Growing up with such celebrated theatrical parents, great expectations were put on both herself, her brother Corin Redgrave and sister Lynn Redgrave at an early age. Shooting up early and finally reaching a height just short of 6 foot, Redgrave initially had plans to dance and perform ballet as a profession. However she settled on acting and entered the Central School of Speech and Drama in 1954 and four years later made her West End debut. In the decade of the 1960s she developed and progressed to become one of the most noted young stars of the English stage and then film. Performances on the London stage included the classics: 'A Touch of Sun', 'Coriolanus', 'A Midsummer's Night Dream', 'All's Well that Ends Well', 'As You Like It', 'The Lady from the Sea', 'The Seagull' and many others. By the mid 1960s, she had booked various film roles and matured into a striking beauty with a slim, tall frame and attractive face. In 1966 she made her big screen debut as the beautiful ex-wife of a madman in an Oscar nominated performance in the oddball comedy Morgan! (1966), as well as the enigmatic woman in a public park in desperate need of a photographer's negatives in the iconic Blow-Up (1966) and briefly appeared in an unspoken part of Anne Boleyn in the Best Picture winner of the year A Man for All Seasons (1966).
She managed to originate the title role in "The Prime of Miss Jean Brodie" the same year on the London stage (which was then adapted for the big screen a few years later, but Maggie Smith was cast instead and managed to win an Oscar for her performance). Her follow up work saw her play the lead in the box office hit adaptation Camelot (1967), a film popular with audiences but dismissed by critics, and her second Academy Award nominated performance as Isadora Duncan in the critically praised Isadora (1968).
Her rise in popularity on film also coincided with her public political involvement, she was one of the lead faces in protesting against the Vietnam war and lead a famous march on the US embassy, was arrested during a Ban-the-Bomb demonstration, publicly supported Yasar Arafat's Palestine Liberation Organization (PLO) and fought for various other human rights and particularly left wing causes. Despite her admirably independent qualities, most of her political beliefs weren't largely supported by the public. In 1971 after 3 films back to back, Redgrave suffered a miscarriage (it would have been her fourth, after Natasha Richardson, Joely Richardson and Carlo Gabriel Nero) and a break up with her then partner and father of her son, Franco Nero. This was around the same time her equally political brother Corin introduced her to the Workers Revolutionary Party, a group who aimed to destroy capitalism and abolish the monarchy. Her film career began to suffer and take the back seat as she became more involved with the party, twice unsuccessfully attempting to run as a party member for parliament, only obtaining a very small percentage of votes.
In terms of her film career at the time, she was given probably the smallest part in the huge ensemble who-dunnit hit, Murder on the Orient Express (1974) and given another thankless small part as Lola Deveraux in the Sherlock Holmes adventure The Seven-Per-Cent Solution (1976).
After a celebrated Broadway debut, she created further controversy in 1977 with her involvement in two films, firstly in Julia (1977) where she acted opposite Jane Fonda as a woman fighting Nazi oppression and narrated and featured in the documentary The Palestinian (1977) where she famously danced holding a Kalashnikov rifle. She publicly stated her condemnation of what she termed "Zionist hudlums", which outraged Jewish groups and as a result a screening of her documentary was bombed and Redgrave was personally threatened by the Jewish Defense League (JDL). Julia (1977) happened to be a huge critical success and Redgrave herself was nominated for a Best Supporting Actress Oscar, but Jewish support groups demanded her nomination to be dropped and at the event of the Academy Awards burned effigies of Redgrave and protested and picketed. Redgrave was forced to enter the event via a rear entrance to avoid harm and when she won the award she famously remarked on the frenzy causes as "Zionist hoodlums" which caused the audience to audibly gasp and boo. The speech reached newspapers the next morning and her reputation was further damaged.
It came as a surprise when CBS hired her for the part of real life Nazi camp survivor Fania Fenelon in Playing for Time (1980), despite more controversy and protesting (Fenelon herself didn't even want Redgrave to portray her) she won an Emmy for the part and the film was one of the highest rating programs of the year. Her follow up film work to her Oscar had been mostly low key but successful, performances in films such as Yanks (1979), Agatha (1979), The Bostonians (1984), Wetherby (1985) and Prick Up Your Ears (1987) further cemented her reputation as a fine actress and she received various accolades and nominations.
However mainly in the 1980s, she focused on TV films and high budget mini-series as well as theatre in both London and New York. She made headlines in 1984 when she sued the Boston Symphony Orchestra for $5 million for wrongful cancellation of her contract because of her politics (she also stated her salary was significantly reduced in Agatha (1979) for the same reason). She became more mainstream in the 1990s where she appeared in a string of high profile films but the parts often underused Redgrave's abilities or they were small cameos/5-minute parts. Highlights included Howards End (1992), Little Odessa (1994), Mission: Impossible (1996) and Cradle Will Rock (1999), as well as her leading lady parts in A Month by the Lake (1995) and Mrs Dalloway (1997).
In 2003 she finally won the coveted Tony award for her performance in 'The Long Day's Journey Into Night' and followed up with another two Tony nominated performances on Broadway, her one woman show 'The Year of Magical Thinking' in 2007 and 'Driving Miss Daisy' in 2010 which not only was extended due to high demand, but was also transferred to the West End for an additional three months in 2011.
Vanessa continues to lend her name to causes and has been notable for donating huge amounts of her own money for her various beliefs. She has publicly opposed the war in Iraq, campaigned for the closure of Guantanamo Bay, supported the rights of gays and lesbians as well as AIDs research and many other issues. She released her autobiography in 1993 and a few years later she was elected to serve as a UNICEF Goodwill Ambassador. She also famously declined the invitation to be made a Dame for her services as an actress. Many have wondered the possible heights her career could have reached if it wasn't for her outspoken views, but being a celebrity and the artificial lifestyle usually attached doesn't seem to interest Redgrave in the slightest.
Vanessa has worked with all three of her children professionally on numerous occasions (her eldest daughter, Natasha Richardson tragically died at the age of 45 due to a skiing accident) and in her mid 70s she still works regularly on television, film and theatre, delivering time and time again great performances.- Actress
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This alert and classy actress seemed poised for Hollywood stardom in the early 1970s. Although it wasn't meant to be, Janet Suzman has remained one of the more respected classical stage players of her time. Born in 1939, she was raised in a staunchly liberal household in South Africa at a time when the country was moving toward the formal racial discrimination of apartheid. Suzman studied languages at the multi-racial Witwatersrand University in the late 1950s and was an active member of the drama society. She left South Africa during the height of her country's oppression, and moved to England in 1959.
Making her professional stage debut with "Billy Liar" in 1962, she almost immediately joined the Royal Shakespeare Company and received rave notices for her Joan of Arc in "The War of the Roses." She made her official London debut in a production of "A Comedy of Errors" in 1963. In the ensuing years Janet built up an impressive classical resumé portraying most of Shakespeare's illustrious heroines including Rosalind, Portia, Ophelia, Beatrice and the shrewish Kate. She also appeared in several BBC-TV versions of the classics.
In 1969 she married director Trevor Nunn and together they collaborated on some of England's finest stage productions during the early 1970s, notably "Antony and Cleopatra" (1972), "Titus Andronicus" (1972) and "Hello and Goodbye" (1973), which won Suzman the Evening Standard award. She won a second for her role of Masha in the 1976 production of Chekhov's "The Three Sisters." They had a son, Joshua, before they divorced in the 1980s. Later work included notable roles in "She Stoops to Conquer," "The Good Woman of Setzuan" and her "Hedda Gabler."
In the early 1970s she branched out into films. Following an auspicious turn in A Day in the Death of Joe Egg (1972), she won the coveted role of Czarina Alexandra in the florid historical piece Nicholas and Alexandra (1971) co-starring Michael Jayston, in which she enjoyed a sterling British cast in support - including Harry Andrews, Jack Hawkins, Ian Holm, John McEnery, Laurence Olivier and Michael Redgrave. Suzman received an Oscar nomination for her performance, and bigger things seemed inevitable. She went on to grace a number of films, including Voyage of the Damned (1976), Nijinsky (1980) and Priest of Love (1981).
In a reprise of her real life family's activism, Suzman co-starred in the anti-apartheid film A Dry White Season (1989) portraying the wife of the Donald Sutherland character. The cast included other progressive activists such as Susan Sarandon and Marlon Brando (who received an Academy Award nomination for Best Supporting Actor). In a change-of-pace role, she played a Mother Superior in the hysterical farce Nuns on the Run (1990).
In the 1980s Suzman was inspired to direct and coach. She was a visiting professor of drama at Westfield College, London, and later returned to South Africa to provide multi-ethnic castings in versions of Shakespearean plays. Making her directing bow in a production of "Othello" at the Market Theatre in 1987, some of her more notable assignments included "Death of a Salesman" (1992) and a reworked politicized version of Chekhov's "The Cherry Orchard" set in South Africa, titled "The Free State" (1997). In 2002 she returned to the RSC to perform in "The Hollow Crown," and most recently appeared in a London production of "Whose Life Is It Anyway?" (2005) starring Kim Cattrall.
Into the millennium, other than a couple of films such as Max (2002) and Felix (2013), Suzman appeared primarily on the smaller screen in such TV series as Tinga Tinga Tales (2010) (as the voice of the Ostrich) and Sinbad (2012), and a role in the mini-series Labyrinth (2012).- Actress
- Director
- Writer
Academy Award-winner Lee Grant was born Lyova Haskell Rosenthal on October 31, 1925 in Manhattan, New York City, to Witia (Haskell), a teacher and model, and Abraham Rosenthal, an educator and realtor. Her father was of Romanian Jewish descent, and her mother was a Russian Jewish immigrant. Lee made her stage debut at age 4 at the Metropolitan Opera in New York City, playing the abducted princess in "L'Orocolo". After graduating from high school, she won a scholarship to the Neighborhood Playhouse School of the Theatre, where she studied acting with Sanford Meisner. When she was a teenager Grant established herself as a formidable Broadway talent when she won The Critics' Circle Award for her portrayal of the shoplifter in "Detective Story". She reprised the role in the film version (Detective Story (1951), a performance that garnered her the Cannes Film Festival Citation for Best Actress as well as her first Academy Award Nomination. Immediately following her screen debut, however, Lee became a victim of the McCarthy-era blacklists in which actors, writers, directors, etc., were persecuted for supposedly "Communist" or "progressive" political beliefs, whether they had them or not. Except for an occasional role, she did not work in film or television for 12 years. In 1965 Lee re-started her acting career in the TV series Peyton Place (1964), for which she won an Emmy Award as Stella Chernak, and she later garnered her first Academy Award for Shampoo (1975), also receiving Academy Award nominations for The Landlord (1970) and Voyage of the Damned (1976). Since 1980 Lee has been concentrating on her directorial career, which began as part of the Women's Project at The Americal Film Institute (AFI); her adaptation of August Strindberg's, "Stronger, The" was consequently selected as one of the 10 best films ever produced for AFI. In 1987 she received an Academy Award for the HBO documentary, Down and Out in America (1985) and directed Nobody's Child (1986) for CBS, for which she received the Directors Guild Award. In 1983 she received the Congressional Arts Caucus Award for Outstanding Achievement in Acting and Independent Filmmaking. Subsequently, Women in Film paid tribute to her in 1989, with its first-ever Lifetime Achievement Award. Both the New York City Council and the County of Los Angeles Board of Supervisors have recognized Ms. Grant for the contribution her films have made to the fight against domestic violence.- Actress
- Composer
- Music Department
Ronee Blakley came to prominence as the fictional country superstar Barbara Jean (a role that was originally offered to Susan Anspach), in Robert Altman's Nashville (1975). Her performance in the film won her a National Board of Review for Best Supporting Actress, and garnered Academy Award, BAFTA, and Golden Globe nominations.- Actress
- Soundtrack
Sylvia Miles was an American actress, born and raised in Greenwich Village, New York City. She was twice nominated for the Academy Award for Best Supporting Actress, without ever winning the Award.
Miles was born under the name "Sylvia Scheinwald". Her parents were furniture maker Reuben Scheinwald and his wife Belle Feldman. Miles attended Washington Irving High School, located in the Gramercy Park neighborhood of Manhattan. She received her acting education at the Actors Studio, located the Hell's Kitchen neighborhood of Manhattan.
Miles made her theatrical debut in 1947, at the age of 23. She started appearing on television in 1954. Her film debut was the gangster film "Murder, Inc." (1960), dramatizing the career of an organized crime group active from c. 1930 to 1940. The real-life group were enforcers for the National Crime Syndicate, a loose confederation of American crime organizations.
Subsequent film appearances for Miles included the generation-gap themed drama "Parrish" (1961), the serial-killed themed horror film "Violent Midnight" (1963), and the child-labor themed drama "Pie in the Sky" (1964), Meanwhile, Miles lost a chance at television fame, when playing the character of comedy writer Sally Rogers in the 1960 pilot episode "Head of the Family". The pilot was the basis of the popular television show "The Dick Van Dyke Show" (1961-1966), and Sally Rogers was part of the main cast. But in the regular series, Miles was replaced by fellow actress Rose Marie (1923-2017).
Miles had a scene-stealing performance in her next film project, "Midnight Cowboy" (1969). She played Cass, an aging kept woman, who invites Joe Buck (played by Jon Voight) to her apartment for sex. The role allowed Miles to Show off her "voluptuous figure" and overall sex-appeal. For this role, she received her first nomination for the Academy Award for Best Supporting Actress. The award was instead won by Goldie Hawn (1945-).
Miles subsequent films included the meta-fictional drama "The Last Movie" (1971), the mystery film "Who Killed Mary What's 'Er Name?" (1971), and the seduction-themed comedy-drama "Heat" (1972). Her most notable role at the time was that of Jessie Halstead Florian in the crime thriller "Farewell, My Lovely". The film was the second film adaptation of Raymond Chandler's 1940 novel, and depicted private detective Philip Marlowe working in a missing-person case. For her role in the film Miles received her second nomination for the Academy Award for Best Supporting Actress. The award was instead won by Lee Grant (c. 1925-).
Miles subsequent films films included the rivalry-themed drama "92 in the Shade" (1975), the period comedy "The Great Scout & Cathouse Thursday" (1976), the supernatural horror film "The Sentinel" (1977), the repossession-themed comedy "Zero to Sixty" (1978), and the heist film "Shalimar".
The 1980s opened with Miles playing murdered prostitute Madame Zena in the horror film "The Funhouse" (1981), with the murder setting off the film's main plot. She next played theatrical producer Myra Gardener in the mystery film "Evil Under the Sun" (1982). The film was an adaptation of the 1941 novel by Agatha Christie, and featured Myra as one on the film's murder suspects.
Miles' next few films included hospital-themed comedy "Critical Condition" (1987), the fairy-tale themed fantasy film "Sleeping Beauty" (1987), the romantic comedy "Crossing Delancey" (1988), the mafia-themed comedy-drama "Spike of Bensonhurst" (1988), and the revenge-themed black comedy "She-Devil" (1989). Her most notable role in this period was that of Dolores the Realtor in the corporate-raider themed drama "Wall Street" (1987), a box office hit of the time.
Miles' career slowed down in the 1990s, in part due to her increasingly poor health. She was suffering from anemia and respiratory issues. Her next few films included the friendship-themed comedy "Denise Calls Up" (1995), the marijuana-themed comedy "High Times' Potluck" (2002), and the strip-club themed comedy "Go Go Tales" (2007).
Miles returned to the role Dolores the Realtor in the sequel film "Wall Street: Money Never Sleeps" (2010). It was her last notable film role. She spend the last months of her life in a nursing home, and died during her transportation to a hospital in 2019. She was 94 years old, one of the oldest living actresses at the time.- Actress
- Producer
- Writer
Lily Tomlin was born September 1, 1939 in Detroit, Michigan, to Lillie Mae (Ford) and Guy Tomlin, who moved to Michigan from Paducah, Kentucky, during the Great Depression. Her mother was a nurse's aide and her father was a factory worker. She graduated from Cass Technical High School in 1957, and later enrolled at Wayne State University. She began career by doing stand-up comedy in nightclubs in Detroit and New York City. Her first television appearance was on "The Merv Griffin Show". She went on to have astronomical success with several characters, notably Ernestine, a nosy, condescending telephone operator who generally treated customers with little sympathy and regard, on Rowan & Martin's Laugh-In (1967). Other notable characters are in film include Linnea Reese, a gospel-singing mother of two deaf children who has an affair with a womanizing country singer (played by (Keith Carradine) in Robert Altman's Nashville (1975), a performance for which she was nominated for an Academy Award. Violet Newstead who joins her on-screen coworkers (played by Jane Fonda and Dolly Parton) in seeking revenge on their monstrous and sexist boss, Franklin M. Hart Jr., (played by Dabney Coleman) in the comedy 9 to 5 (1980), The Incredible Shrinking Woman (1981), Doreen Piggot in Robert Altman's Short Cuts (1993), Cher's best-friend and American compatriot Georgie Rockwell in Tea with Mussolini (1999), deadpan private investigator, and existentialist Vivian Jaffe in I Heart Huckabees (2004), and Country-Western singer Rhonda Johnson in Robert Altman's final film A Prairie Home Companion (2006).- Actress
- Camera and Electrical Department
A leading lady on screen, stage and sometimes television, Brenda Vaccaro, was born in Brooklyn but was actually raised in Dallas, Texas.
Her appetite for acting increased following several appearances in high school productions, and she finally started a professional career in the 1960s. Memorable to many in Supergirl (1984), she was nominated for a best supporting actress Oscar in Once Is Not Enough (1975).
Recently appeared in Just Desserts (2004).- Actor
- Producer
- Director
Veteran actor and director Robert Selden Duvall was born on January 5, 1931, in San Diego, CA, to Mildred Virginia (Hart), an amateur actress, and William Howard Duvall, a career military officer who later became an admiral. Duvall majored in drama at Principia College (Elsah, IL), then served a two-year hitch in the army after graduating in 1953. He began attending The Neighborhood Playhouse School of the Theatre In New York City on the G.I. Bill in 1955, studying under Sanford Meisner along with Dustin Hoffman, with whom Duvall shared an apartment. Both were close to another struggling young actor named Gene Hackman. Meisner cast Duvall in the play "The Midnight Caller" by Horton Foote, a link that would prove critical to his career, as it was Foote who recommended Duvall to play the mentally disabled "Boo Radley" in To Kill a Mockingbird (1962). This was his first "major" role since his 1956 motion picture debut as an MP in Somebody Up There Likes Me (1956), starring Paul Newman.
Duvall began making a name for himself as a stage actor in New York, winning an Obie Award in 1965 playing incest-minded longshoreman "Eddie Carbone" in the off-Broadway revival of Arthur Miller's "A View from the Bridge", a production for which his old roommate Hoffman was assistant director. He found steady work in episodic TV and appeared as a modestly billed character actor in films, such as Arthur Penn's The Chase (1966) with Marlon Brando and in Robert Altman's Countdown (1967) and Francis Ford Coppola's The Rain People (1969), in both of which he co-starred with James Caan.
He was also memorable as the heavy who is shot by John Wayne at the climax of True Grit (1969) and was the first "Maj. Frank Burns", creating the character in Altman's Korean War comedy M*A*S*H (1970). He also appeared as the eponymous lead in George Lucas' directorial debut, THX 1138 (1971). It was Francis Ford Coppola, casting The Godfather (1972), who reunited Duvall with Brando and Caan and provided him with his career breakthrough as mob lawyer "Tom Hagen". He received the first of his six Academy Award nominations for the role.
Thereafter, Duvall had steady work in featured roles in such films as The Godfather Part II (1974), The Killer Elite (1975), Network (1976), The Seven-Per-Cent Solution (1976) and The Eagle Has Landed (1976). Occasionally this actor's actor got the chance to assay a lead role, most notably in Tomorrow (1972), in which he was brilliant as William Faulkner's inarticulate backwoods farmer. He was less impressive as the lead in Badge 373 (1973), in which he played a character based on real-life NYPD detective Eddie Egan, the same man his old friend Gene Hackman had won an Oscar for playing, in fictionalized form as "Popeye Doyle" in The French Connection (1971).
It was his appearance as "Lt. Col. Kilgore" in another Coppola picture, Apocalypse Now (1979), that solidified Duvall's reputation as a great actor. He got his second Academy Award nomination for the role, and was named by the Guinness Book of World Records as the most versatile actor in the world. Duvall created one of the most memorable characters ever assayed on film, and gave the world the memorable phrase, "I love the smell of napalm in the morning!"
Subsequently, Duvall proved one of the few established character actors to move from supporting to leading roles, with his Oscar-nominated turns in The Great Santini (1979) and Tender Mercies (1983), the latter of which won him the Academy Award for Best Actor. Now at the summit of his career, Duvall seemed to be afflicted with the fabled "Oscar curse" that had overwhelmed the careers of fellow Academy Award winners Luise Rainer, Rod Steiger and Cliff Robertson. He could not find work equal to his talents, either due to his post-Oscar salary demands or a lack of perception in the industry that he truly was leading man material. He did not appear in The Godfather Part III (1990), as the studio would not give in to his demands for a salary commensurate with that of Al Pacino, who was receiving $5 million to reprise Michael Corleone.
His greatest achievement in his immediate post-Oscar period was his triumphant characterization of grizzled Texas Ranger Gus McCrae in the TV mini-series Lonesome Dove (1989), for which he received an Emmy nomination. He received a second Emmy nomination and a Golden Globe for his portrayal of Soviet dictator Joseph Stalin in Stalin (1992), and a third Emmy nomination playing Nazi war criminal Adolf Eichmann in The Man Who Captured Eichmann (1996).
The shakeout of his career doldrums was that Duvall eventually settled back into his status as one of the premier character actors in the industry, rivaled only by his old friend Gene Hackman. Duvall, unlike Hackman, also has directed pictures, including the documentary We're Not the Jet Set (1974), Angelo My Love (1983) and Assassination Tango (2002). As a writer-director, Duvall gave himself one of his most memorable roles, that of the preacher on the run from the law in The Apostle (1997), a brilliant performance for which he received his third Best Actor nomination and fifth Oscar nomination overall. The film brought Duvall back to the front ranks of great actors, and was followed by a Best Supporting Actor Oscar nod for A Civil Action (1998).
Robert Duvall will long be remembered as one of the great naturalistic American screen actors in the mode of Spencer Tracy and his frequent co-star Marlon Brando. His performances as "Boo Radley" in To Kill a Mockingbird (1962), "Jackson Fentry" in Tomorrow (1972), "Tom Hagen" in the first two "Godfather" movies, "Frank Hackett" in Network (1976), "Lt. Col. Kilgore" in Apocalypse Now (1979), "Bull Meechum" in The Great Santini (1979), "Mac Sledge" in Tender Mercies (1983), "Gus McCrae" in Lonesome Dove (1989) and "Sonny Dewey" in The Apostle (1997) rank as some of the finest acting ever put on film. It's a body of work that few actors can equal, let alone surpass.1984 : Best Actor for Tender Mercies (1983)- Actor
- Producer
- Director
The son of a Lancashire bookmaker, Albert Finney came to motion pictures via the theatre. In 1956, he won a scholarship to RADA where his fellow alumni included Peter O'Toole and Alan Bates. He joined the Birmingham Repertory where he excelled in plays by William Shakespeare. A member of the Royal Shakespeare Company, Finney understudied Laurence Olivier at Stratford-upon-Avon, eventually acquiring a reputation as 'the new Olivier'. He first came to critical attention by creating the title role in Keith Waterhouse's "Billy Liar" on the London stage. His film debut soon followed with The Entertainer (1960) by Tony Richardson with whom had earlier worked in the theatre. With the changing emphasis in 60s British cinema towards gritty realism and working-class milieus, Finney's typical screen personae became good-looking, often brooding proletarian types and rebellious anti-heroes as personified by his Arthur Seaton in Karel Reisz's Saturday Night and Sunday Morning (1960). His exuberant defining role, however, was in the bawdy period romp Tom Jones (1963) in which Finney revealed a substantial talent for comedy. In the same vein, he scored another hit opposite Audrey Hepburn in the charming marital comedy Two for the Road (1967).
By 1965, Finney had branched out into production, setting up Memorial Enterprises in conjunction with Michael Medwin. In 1968, he directed himself in Charlie Bubbles (1968) and three years later produced the Chandleresque homage Gumshoe (1971), in which he also starred as Eddie Ginley, a bingo-caller with delusions of becoming a private eye. From 1972 to 1975, Finney served as artistic director of the Royal Court Theatre. His intermittent forays to the screen confirmed him as a versatile international actor of note, though not what one might describe as a mainstream star. His roles have ranged from Ebenezer Scrooge in the musical version of Scrooge (1970) to Daddy Warbucks in Annie (1982) and (in flamboyant over-the-top make-up) Hercule Poirot in Murder on the Orient Express (1974). He appeared as Minister of Police Joseph Fouché in Ridley Scott's superb period drama The Duellists (1977) and as a grandiloquent Shakespearean actor in The Dresser (1983) for which he received an Oscar nomination. For the small screen Finney essayed Pope John Paul II (1984) and was a totally believable Winston Churchill in the acclaimed The Gathering Storm (2002). His final movie credit was in the James Bond thriller Skyfall (2012).
Finney was five-times nominated for Academy Awards in 1964, 1975, 1984, 1985 and 2001. He won two BAFTA Awards in 1961 and 2004. True to his working-class roots, he spurned a CBE in 1980 and a knighthood in 2000, later explaining his decision by stating that the 'Sir thing' "slightly perpetuates one of our diseases in England, which is snobbery". Albert Finney was diagnosed with kidney cancer in 2011. He died on February 7 2019 at a London hospital from a chest infection at the age of 82. Upon his death, John Cleese described him as "the best" and "our greatest actor".1984 : Nominated for Best Actor for The Dresser (1983)- Actor
- Producer
- Additional Crew
Michael Caine was born as Maurice Joseph Micklewhite in London, to Ellen (née Burchell), a cook, and Maurice Micklewhite Sr., a fish-market porter. He had a younger brother, Stanley Caine, and an older maternal half-brother named David Burchell. He left school at age 15 and took a series of working-class jobs before joining the British army and serving in Korea during the Korean War, where he saw combat. Upon his return to England, he gravitated toward the theater and got a job as an assistant stage manager. He adopted the name of Caine on the advice of his agent, taking it from a marquee that advertised The Caine Mutiny (1954). In the years that followed, he worked in more than 100 television dramas, with repertory companies throughout England and eventually in the stage hit "The Long and the Short and the Tall".
Zulu (1964), the epic retelling of a historic 19th-century battle in South Africa between British soldiers and Zulu warriors, brought Caine to international attention. Instead of being typecast as a low-ranking Cockney soldier, he played a snobbish, aristocratic officer. Although "Zulu" was a major success, it was the role of Harry Palmer in The Ipcress File (1965) and the title role in Alfie (1966) that made Caine a star of the first magnitude. He epitomized the new breed of actor in mid-1960s England, the working-class bloke with glasses and a down-home accent. However, after initially starring in some excellent films, particularly in the 1960s, including Gambit (1966), Funeral in Berlin (1966), Play Dirty (1969), Battle of Britain (1969), Too Late the Hero (1970), The Last Valley (1971) and especially Get Carter (1971), he seemed to take on roles in below-average films, simply for the money he could by then command.
However, there were some gems amongst the dross. He gave a magnificent performance opposite Sean Connery in The Man Who Would Be King (1975) and turned in a solid one as a German colonel in The Eagle Has Landed (1976). Educating Rita (1983), Blame It on Rio (1984) and Hannah and Her Sisters (1986) (for which he won his first Oscar) were highlights of the 1980s, while more recently Little Voice (1998), The Cider House Rules (1999) (his second Oscar) and Last Orders (2001) have been widely acclaimed. Caine played Nigel Powers in the parody sequel Austin Powers in Goldmember (2002), and Alfred Pennyworth in Christopher Nolan's Dark Knight trilogy. He appeared in several other of Nolan's films including The Prestige (2006), Inception (2010) and Interstellar (2014). He also appeared as a supporting character in Alfonso Cuarón's Children of Men (2006) and Pixar's sequel Cars 2 (2011).
As of 2015, films in which Caine has starred have grossed over $7.4 billion worldwide. He is ranked the ninth highest grossing box office star. Caine is one of several actors nominated for an Academy Award for acting every decade from five consecutive decades (the other being Laurence Olivier and Meryl Streep). He was appointed Commander of the Order of the British Empire in the 1992 Birthday Honours, and was knighted by Queen Elizabeth II in the 2000 Birthday Honours in recognition for his contributions to the cinema.
Caine has been married twice. First to actress Patricia Haines from 1954 to 1958. They had a daughter, Dominique, in 1957. A bachelor for some dozen-plus years after the divorce, he was romantically linked to Edina Ronay (for three years), Nancy Sinatra, Natalie Wood, Candice Bergen, Bianca Jagger, Françoise Pascal and Jill St. John. In 1971 he met his second wife, fashion model Shakira Caine (née Baksh), and they married in 1973, six months before their daughter Natasha was born. The couple has three grandchildren, and in 2023, they celebrated their 50th wedding anniversary.1984 : Nominated for Best Actor for Educating Rita (1983)- Actor
- Soundtrack
Preferring contemporary over classical theatre (with nary a Shakespeare stage credit in sight), one of West End theatre's most enduring and popular faces of the past four decades has been that of Tom Conti.
He was born Thomas Antonio Conti on November 22, 1941, in Paisley, Scotland, to a pair of hairdressers. His father, Alfonso, was an Italian immigrant, and his mother, Mary (McGoldrick), was Scottish, though of Irish descent. A student at Hamilton Park Catholic School (for boys), he initially trained for a musical career as a classical pianist but switched gears while attending the Royal Scottish Academy of Music and Drama. Conti's acting credits began with the Citizen's Theatre's 1959 production of "The Roving Boy" at age eighteen.
Throughout the 1960s he tried to make ends meet on the Glasgow and English repertory stages but gained little momentum despite some scattered TV appearances in between. Unable to find the break to sustain himself, he considered leaving the arts at one point for a steadier career in medicine. While performing in the 1972 play "The Black and White Minstrels" at the Traverse Theatre for the Edinburgh Festival, however, he was spotted and cast in the TV series Adam Smith (1972), thus beginning a more promising streak of work. He would return to the play in 1974 at the Hampstead Theatre, where he also performed in "Other People" (also 1974) and as the title role of "Don Juan" (1976). An earlier London stage debut in 1973 with the acclaimed Christopher Hampton play "Savages" also helped move things along.
Following a number of successful Engish mini-series roles, particularly his slothful Charles Bovary in Madame Bovary (1975), Jewish novelist Adam Morris in The Glittering Prizes (1976), and ever-conquesting Norman in "The Norman Conquest" trilogy by Alan Ayckbourn, Tom reaped huge career rewards under the theatre lights starring as a paralyzed sculptor in both the London and Broadway mountings of the right-to-die play "Whose Life is it Anyway?" in 1979. Among the reaps were the Tony, Outer Critics Circle, Laurence Olivier, and Variety Club Awards; among the rewards was a 1980s film career in starring roles. Despite losing out on recreating his "Whose Life..." role on film (Richard Dreyfuss was granted that opportunity in 1981), Tom absolutely wowed American audiences with his scene-stealing work in Merry Christmas Mr. Lawrence (1983) and Reuben, Reuben (1983). He was given the National Board of Review award for his participation in both films, and earned a "leading actor" Oscar nomination for the latter in which he played an alcoholic Scottish writer. To date, he has not received another Oscar nomination or, arguably, been handed comparative film roles since.
Continuing in American films with the lesser-received American Dreamer (1984) and Saving Grace (1986), he failed to nab what seemed quite inevitable -- Hollywood screen stardom. He did, however, venture off to find other film projects to star or co-star in over the years -- both here and abroad. These have included Shirley Valentine (1989) opposite Pauline Collins, Someone Else's America (1995), Out of Control (1998), Paid (2006), O Jerusalem (2006), Blind Revenge (2009) with Daryl Hannah, a gender-bending version of The Tempest (2010) (as Gonzalo), City Slacker (2012), Paddington 2 (2017) and the sci-fi horror yarn Peripheral (2018).
Not one to frequent pubs himself, he nevertheless earned glowing reviews disappearing into the lives of two notorious celebrity tipplers -- columnist Jeffrey Bernard in "Jeffrey Bernard Is Unwell" (1990, 2000, 2006) and bon vivant actor John Barrymore in "One Helluva Life" (2002) -- in separate one-man stage shows. A writer as well, the versatile Conti published the thriller novel "The Doctor" in 2004. He has long been married to Scottish actress Kara Wilson (since 1967), who has appeared with him on stage ("Present Laughter" and "The Last of the Red Hot Lovers", both of which he also directed) as well as TV and film. Daughter Nina is an actress and ventriloquist. The couple maintain residence in London.1984 : Nominated for Best Actor for tt0084591/- Actor
- Soundtrack
Acting chameleon Sir Tom Courtenay, along with Sir Alan Bates and Albert Finney, became a front-runner in an up-and-coming company of rebel upstarts who created quite a stir in British "kitchen sink" cinema during the early '60s. An undying love for the theatre, however, had Courtenay channeling a different course from the aforementioned greats and he never, by his own choosing, attained comparable cinematic stardom.
The gaunt and glum, fair-haired actor was born Thomas Daniel Courtenay into modest surroundings on February 25, 1937, in Hull, East Yorkshire, England, the son of Thomas Henry Courtenay, a ship painter, and his wife, Anne Eliza (née Quest). Graduating from Kingston High School there, he trained in drama at London's Royal Academy of Dramatic Arts. His reputation as an actor grew almost immediately with his professional debut in 1960 as Konstantin in "The Seagull" at the Old Vic. Following tours in Scotland and London with the play, Tom performed in "Henry IV, Part I" and "Twelfth Night" (also at the Old Vic) before assuming the title role of Billy from Albert Finney in the critically acclaimed drama "Billy Liar" at the Cambridge Theatre in 1961. The story, which tells of a Yorkshire man who creates a fantasy world to shield himself from his mundane middle-class woes, was the initial spark in Tom's rise to fame.
The recognition he received landed him squarely into the heap of things as a new wave of "angry young men" were taking over British cinema during the swinging '60s. Singled out for his earlier stage work at RADA, he was eventually handed the title role in the war film Private Potter (1963), but it was his second movie that clinched stardom. Winning the role of Colin Smith in The Loneliness of the Long Distance Runner (1962), Courtenay invested everything he had in this bruising portrayal of youthful desolation and rebellion. As a reform school truant whose solitary sentencing for robbing a bakery leads to a reawakening and subsequent recognition as a long distance runner, he was awarded a "Promising Newcomer" award from the British Film Academy, It was Courtenay then, and not Finney, who recreated his stage triumph as Billy Fisher in the stark film version of Billy Liar (1963). British Film Academy nominations came his way for this and for his fourth movie role in King & Country (1964). Vivid contributions to the films King Rat (1965), the ever-popular Doctor Zhivago (1965), which earned him his first Oscar nomination, and The Night of the Generals (1967) followed.
Despite all this cinematic glory, Courtenay did not enjoy the process of movie-making and reverted to his first passion -- the theatre -- beginning in 1966. Displaying his versatility with roles in such classic works as "The Cherry Orchard," "Macbeth" (as Malcolm), "Charley's Aunt," "The Playboy of the Western World," "Hamlet," "She Stoops to Conquer," "Peer Gynt" and "Arms and the Man," he still found scattered work in films, including The Day the Fish Came Out (1967), A Dandy in Aspic (1968) and Otley (1969), but none matched his earlier brilliance. In 1971 he took a self-imposed, decade-long sabbatical from filming.
Forming a sturdy association with the Royal Exchange Theatre in Manchester that would last over a decade, he continued to impress with lead roles in "The Rivals" and "The Prince of Homburg". Following his huge success as the libidinous Norman in "The Norman Conquests" in London, he made his Broadway debut with "Otherwise Engaged" (1977) and earned a Tony nomination and Drama League Award in the process. It was his second Tony-nominated triumph in "The Dresser" in 1980-1981, however, that lured Courtenay back to films when he was asked to recreate the role for the large screen. The Dresser (1983) co-starred Tom as the mincing personal assistant to an appallingly self-destructive stage star played by Albert Finney (Paul Rogers played the role with Tom on Broadway) who struggles to get the actor through a rigorous performance of "King Lear". Both British actors received Oscar nominations but lost the 1984 "Best Actor" award to American Robert Duvall.
Since then Tom has appeared on occasion in TV and film roles -- usually in support. A few standouts include the films Let Him Have It (1991), Whatever Happened to Harold Smith? (1999), Last Orders (2001) and Nicholas Nickleby (2002), as well as the TV mini-series A Rather English Marriage (1998), for which he earned a British Television Award, Little Dorrit (2008) and the series Unforgotten (2015) for which he won a BAFTA award.
Over the years Sir Tom has excelled in solo stage shows as well. As a chronic alcoholic in "Moscow Stations," he won the 1994 London Critics Circle Theatre and London Evening Standard Theatre awards for "Best Actor." In 2002, he wrote the one-man show "Pretending To Be Me," based on the letters and writings of poet Philip Larkin. In the past decade he has continued to distinguish himself on both the classical ("King Lear," "Uncle Vanya") and contemporary ("Art") stages.
Courtenay's marriage to actress Cheryl Kennedy lasted about a decade (from 1973 to 1982). In 1988 he married Isabel Crossley, a stage manager at the Royal Exchange Theatre in London. He has no children from either marriage. In 1999, Sir Tom Courtenay was awarded an honorary doctorate from Hull University and in 2000 published his memoir "Dear Tom: Letters From Home", which earned strong reviews. Knighthood came a year after that.1984 : Nominated for Best Actor for The Dresser (1983)- Actor
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Compact Italian-American actor Joe Pesci was born February 9, 1943 in Newark, New Jersey, to Mary (Mesce), a part-time barber, and Angelo Pesci, a bartender and forklift driver. Pesci first broke into entertainment as a child actor, and by the mid-1950s, was starring on the series "Star Time Kids". In the mid-1960s, he released a record under the stage name Joe Ritchie titled "Little Joe Sure Can Sing", and was also playing guitar with several bands, including Joey Dee and The Starliters. He even joined with his friend Frank Vincent to start a vaudeville-style comedy act, but met with limited success (interestingly, Pesci and Vincent would later go on to co-star in several gangster films together, including Goodfellas (1990) and Casino (1995).
Pesci's first film role was as an uncredited dancer in Hey, Let's Twist! (1961) and then he had to wait another 15 years for a minor role in The Death Collector (1976). His work in the second film was seen by Robert De Niro, who convinced director Martin Scorsese to cast him as Joey LaMotta in the epic boxing film Raging Bull (1980), which really got him noticed in Hollywood. He played opposite Rodney Dangerfield in Easy Money (1983), was with buddy DeNiro again in Once Upon a Time in America (1984), nearly stole the show as con man Leo Getz in Lethal Weapon 2 (1989) and scored a Best Supporting Actor Oscar playing the psychotic Tommy DeVito in Goodfellas (1990).
His comedic talents shone again in the mega-popular Home Alone (1990), and he put in a terrific performance as co-conspirator David Ferrie in JFK (1991). Pesci was back again as Leo Getz for Lethal Weapon 3 (1992), and was still a bumbling crook in Home Alone 2: Lost in New York (1992), and had a minor role in the Robert De Niro-directed A Bronx Tale (1993). He was lured back by Scorsese to play another deranged gangster named Nicky (based on real-life hood Tony Spilotro [aka "The Ant"]) in the violent Casino (1995), and starred in the comedies 8 Heads in a Duffel Bag (1997) and Gone Fishin' (1997), although both failed to fire at the box office.
Pesci returned again as fast-talking con man Leo Getz in Lethal Weapon 4 (1998). In 1999, he announced his retirement from acting and since then, he appeared only occasionally in films, including a cameo appearance in The Good Shepherd (2006). He also appeared in the music documentary I Go Back Home: Jimmy Scott (2016).- Actor
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The award-worthy actor, now enjoying an over five decade career, has a resume that includes everything from Shakespeare to Seinfeld -- from the villainous Senator on Ozark to the wise judge on Lincoln Lawyer.
Born on June 28, 1946, in Philadelphia, Pennsylvania, the son of Clair, an architect and musician, and Marian (Holman) Davison, a secretary, Bruce's parents divorced when he was just three. He developed a burgeoning interest in acting while majoring in art at Penn State and after accompanying a friend to a college theater audition. Making his professional stage debut in 1966 as Jonathan in "Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin' So Bad" at the Pennsylvania Festival Theatre, he made it to Broadway within just a couple of years (1968) with the role of Troilus in "Tiger at the Gates" at the Vivian Beaumont Theatre. The year after that he was seen off-Broadway in "A Home Away from Home" and appeared at the Lincoln Center in the cast of "King Lear."
Success in the movies came immediately for the perennially youthful-looking actor after he and a trio of up-and-coming talents (Barbara Hershey [then known as Barbara Seagull], Richard Thomas and Catherine Burns) starred together in the poignant but disturbing coming-of-age film Last Summer (1969). From this he was awarded a starring role opposite Kim Darby in The Strawberry Statement (1970), an offbeat social commentary about 60s college radicalism, and in the cult horror flick Willard (1971) in which he bonded notoriously with a herd of rats.
Moving further into the 70s decade, his film load did not increase significantly as expected and the ones he did appear in were no great shakes. With the exception of his co-starring role alongside Burt Lancaster in the well-made cavalry item Ulzana's Raid (1972) and the powerful low-budget Short Eyes (1977) in which he played a child molester, Bruce's film roles were underwhelming, such as his elder Patrick Dennis in the Lucille Ball musical film version of Mame (1974), as well as The Jerusalem File (1972), Mother, Jugs & Speed (1976), Grand Jury (1976) and Brass Target (1978).
As such, Bruce wisely looked elsewhere for rewarding work and found it on the stage and on the smaller screen. Earning strong theatrical roles in "The Skin of Our Teeth," "The Little Foxes" and "A Life in the Theatre," he won the Los Angeles Drama Critics Award for his work in "Streamers" in 1977. On TV, he scored in mini-movie productions of Mourning Becomes Electra (1978), Deadman's Curve (1978) (portraying Dean Torrence of the surf-era pop duo Jan and Dean) and, most of all, Summer of My German Soldier (1978) co-starring Kristy McNichol as a German prisoner of war in the American South who falls for a lonely Jewish-American girl. In 1972 Bruce married actress Jess Walton who appeared briefly as a college student in The Strawberry Statement (1970) and later became a daytime soap opera fixture. The marriage was quickly annulled the following year.
The 1980s was also dominated by strong theater performances. Bruce took over the role of the severely deformed John Merrick as "The Elephant Man" on Broadway; portrayed Clarence in "Richard III" at the New York Shakespeare Festival; was directed by Henry Fonda in "The Caine Mutiny Court Martial"; played a moving Tom Wingfield opposite Jessica Tandy's Amanda in "The Glass Menagerie"; received a second Los Angeles Drama Critics Award for his work in the AIDS play "The Normal Heart"; and finished off the decade gathering up fine reviews in the amusing A.R. Gurney period piece "The Cocktail Hour". While hardly lacking for work on film (Kiss My Grits (1982), Crimes of Passion (1984), Spies Like Us (1985), and The Ladies Club (1985)), few of them made use of his talents and range.
It was not until he was cast in the ground-breaking gay drama Longtime Companion (1989) that his film career revitalized. Giving a quiet, finely nuanced, painfully tender performance as the middle-aged lover and caretaker of a life partner ravaged by AIDS, Bruce managed to stand out amid the strong ensemble cast and earn himself an Oscar nomination for "Best Supporting Actor". Although he lost out to the flashier antics of Joe Pesci in the mob drama Goodfellas (1990) that year, Bruce was not overlooked -- copping Golden Globe, Independent Spirit, New York Film Critics and National Society of Film Critics awards. Other gay-themed films also welcomed his presence, including The Cure (1995) and It's My Party (1996). The actor eventually served as a spokesperson for a host of AIDS-related organizations, including Hollywood Supports, and has been active with foundations that assist abused children.
Bruce has been all over the screen since his success in Longtime Companion (1989). Predominantly seen as mature, morally responsible dads and politicians, his genial good looks and likability have on occasion belied a weak or corrupt heart. Bruce married actress Lisa Pelikan in 1986 and they have one son, Ethan, born in 1996. (Color of Justice (1997)). Popular films have included Six Degrees of Separation (1993) starring Will Smith, the family adventure film Far from Home: The Adventures of Yellow Dog (1995) and the box-office hit X-Men (2000) and its sequel in the role of Senator Kelly. More controversial art-house showcases include Dahmer (2002), as serial killer Jeffrey Dahmer's father, and Hate Crime (2005), as a bigoted, murderous pastor.
Into the millennium, Bruce has played mature gents and several high-level officials in such films as The Dead Girl (2006), Christmas Angel (2009), Camp Hell (2010), Black Beauty (2015), Displacement (2016), 9/11 (2017), Along Came the Devil (2018), Itsy Bitsy (2019)
Divorced from second wife Lisa Pelikan, Bruce is happily married to Michele Correy and has a daughter with her, Sophia Lucy, born in 2006. They live in the Los Angeles area.- Actor
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One of Hollywood's most private and guarded leading men, Andy Garcia has created iconic characters while at the same time staying true to his acting roots and personal projects.
Garcia was born Andrés Arturo García Menéndez on April 12, 1956, in Havana, Cuba, to Amelie Menéndez, a teacher of English, and René García Núñez, an attorney and avocado farmer. Garcia's family was relatively affluent. However, when he was two years old, Fidel Castro came to power, and the family fled to Miami Beach. Forced to work menial jobs for a while, the family started a fragrance company that was eventually worth more than a million dollars. He attended Natilus Junior High School and later at Miami Beach Senior High School. Andy was a popular student in school, a good basketball player and good-looking. He dreamed of playing professional baseball. In his senior year, though, he contracted mononucleosis and hepatitis, and unable to play sports, he turned his attention to acting.
He studied acting with Jay W. Jensen. Jensen was a South Florida legend, counting among his numerous students, Brett Ratner, Roy Firestone, Mickey Rourke, and Luther Campbell. Following his positive high school experiences in acting, he continued his drama studies at Florida International University.
Soon, he was headed out to Hollywood. His first break came as a gang member on the very first episode of the popular TV series Hill Street Blues (1981). His role as a cocaine kingpin in 8 Million Ways to Die (1986) put him on the radar of Brian De Palma, who was casting for his gangster classic The Untouchables (1987). At first, he envisioned Garcia as Al Capone's sadistic henchman Frank Nitti, but fearing typecasting as a gangster, Garcia campaigned for the role of "George Stone", the Italian cop who gets accepted into Eliot Ness' famous band of lawmen. Garcia's next notable role came in Black Rain (1989) by acclaimed director Ridley Scott, as the partner of police detective Michael Douglas. He then co-starred with Richard Gere in Internal Affairs (1990), directed by Mike Figgis. In 1989, Francis Ford Coppola was casting for the highly anticipated third installment of his "Godfather" films. The Godfather Part III (1990) included one of the most sought-after roles in decades, the hot-headed son of "Sonny Corleone" and mob protégé of "Michael Corloene", "Vincent Mancini". A plum role for any young rising star, the role was campaigned for by a host of actors. Val Kilmer, Alec Baldwin, Vincent Spano, Charlie Sheen, and even Robert De Niro (who wanted the role changed to accommodate his age) were all beaten out by the up-and-coming Garcia. His performance was Oscar-nominated as Best Supporting Actor, and secured him international stardom and a place in cinematic history. Now a leading man, he starred in such films as Jennifer 8 (1992) and Hero (1992). He won raves for his role as the husband of Meg Ryan in When a Man Loves a Woman (1994) and gave another charismatic gangster turn in Things to Do in Denver When You're Dead (1995). He then returned in Night Falls on Manhattan (1996), directed by Sidney Lumet, as well as portraying legendary mobster Lucky Luciano in Hoodlum (1997). In perhaps his most mainstream role, he portrayed a cop in the action film Desperate Measures (1998). Garcia then starred in a few lower-profile projects that didn't do much for his career, but things turned around in 2001, with the first of many projects being his role as a cold casino owner in Ocean's Eleven (2001), directed by Steven Soderbergh. Seeing his removal from Cuba as involuntary, Garcia is proud of his heritage which influences his life and work. One such case is his portrayal of renowned Cuban trumpet player Arturo Sandoval in For Love or Country: The Arturo Sandoval Story (2000). He is an extremely private man, and strong believer in old-fashioned chivalry. Married to his wife, Maria Victoria, since 1982, the couple has three daughters. One of the most talented leading men around, Garcia has had a unique career of staying true to his own ideals and thoughts on acting. While some would have used some of the momentum he has acquired at different points in his career to get rich off lightweight projects, Garcia has stayed true to stories and films that aspire to something more. But with a presence and style that never seem old, a respect from directors and film buffs, alike, Andy Garcia will be remembered for a long time in film history.- Actor
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Alfredo James "Al" 'Pacino established himself as a film actor during one of cinema's most vibrant decades, the 1970s, and has become an enduring and iconic figure in the world of American movies.
He was born April 25, 1940 in Manhattan, New York City, to Italian-American parents, Rose (nee Gerardi) and Sal Pacino. They divorced when he was young. His mother moved them into his grandparents' home in the South Bronx. Pacino found himself often repeating the plots and voices of characters he had seen in the movies. Bored and unmotivated in school, he found a haven in school plays, and his interest soon blossomed into a full-time career. Starting onstage, he went through a period of depression and poverty, sometimes having to borrow bus fare to succeed to auditions. He made it into the prestigious Actors Studio in 1966, studying under Lee Strasberg, creator of the Method Approach that would become the trademark of many 1970s-era actors.
After appearing in a string of plays in supporting roles, Pacino finally attained success off-Broadway with Israel Horovitz's "The Indian Wants the Bronx", winning an Obie Award for the 1966-67 season. That was followed by a Tony Award for "Does the Tiger Wear a Necktie?" His first feature films made little departure from the gritty realistic stage performances that earned him respect: he played a drug addict in The Panic in Needle Park (1971) after his film debut in Me, Natalie (1969). The role of Michael Corleone in The Godfather (1972) was one of the most sought-after of the time: Robert Redford, Warren Beatty, Jack Nicholson, Ryan O'Neal, Robert De Niro and a host of other actors either wanted it or were mentioned, but director Francis Ford Coppola wanted Pacino for the role.
Coppola was successful but Pacino was reportedly in constant fear of being fired during the very difficult shoot. The film was a monster hit that earned Pacino his first Academy Award nomination for Best Supporting Actor. However, instead of taking on easier projects for the big money he could now command, Pacino threw his support behind what he considered tough but important films, such as the true-life crime drama Serpico (1973) and the tragic real-life bank robbery film Dog Day Afternoon (1975). He was nominated three consecutive years for the "Best Actor" Academy Award. He faltered slightly with Bobby Deerfield (1977), but regained his stride with And Justice for All (1979), for which he received another Academy Award nomination for Best Actor. Unfortunately, this would signal the beginning of a decline in his career, which produced flops like Cruising (1980) and Author! Author! (1982).
Pacino took on another vicious gangster role and cemented his legendary status in the ultra-violent cult film Scarface (1983), but a monumental mistake was about to follow. Revolution (1985) endured an endless and seemingly cursed shoot in which equipment was destroyed, weather was terrible, and Pacino fell ill with pneumonia. Constant changes in the script further derailed the project. The Revolutionary War-themed film, considered among the worst films ever made, resulted in awful reviews and kept him off the screen for the next four years. Returning to the stage, Pacino did much to give back and contribute to the theatre, which he considers his first love. He directed a film, The Local Stigmatic (1990), but it remains unreleased. He lifted his self-imposed exile with the striking Sea of Love (1989) as a hard-drinking policeman. This marked the second phase of Pacino's career, being the first to feature his now famous dark, owl eyes and hoarse, gravelly voice.
Returning to the Corleones, Pacino made The Godfather Part III (1990) and earned raves for his first comedic role in the colorful adaptation Dick Tracy (1990). This earned him another Academy Award nomination for Best Supporting Actor, and two years later he was nominated for Glengarry Glen Ross (1992). He went into romantic mode for Frankie and Johnny (1991). In 1992, he finally won the Academy Award for Best Actor for his amazing performance in Scent of a Woman (1992). A mixture of technical perfection (he plays a blind man) and charisma, the role was tailor-made for him, and remains a classic.
The next few years would see Pacino becoming more comfortable with acting and movies as a business, turning out great roles in great films with more frequency and less of the demanding personal involvement of his wilder days. Carlito's Way (1993) proved another gangster classic, as did the epic crime drama Heat (1995) directed by Michael Mann and co-starring Robert De Niro. He directed the film adaptation of Shakespeare's Looking for Richard (1996). During this period, City Hall (1996), Donnie Brasco (1997) and The Devil's Advocate (1997) all came out. Reteaming with Mann and then Oliver Stone, he gave commanding performances in The Insider (1999) and Any Given Sunday (1999).
In the 2000s, Pacino starred in a number of theatrical blockbusters, including Ocean's Thirteen (2007), but his choice in television roles (the vicious, closeted Roy Cohn in the HBO miniseries Angels in America (2003) and his sensitive portrayal of Jack Kevorkian, in the television movie You Don't Know Jack (2010)) are reminiscent of the bolder choices of his early career. Each television project garnered him an Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie.
Never wed, Pacino has a daughter, Julie Marie, with acting teacher Jan Tarrant, and a set of twins with former longtime girlfriend Beverly D'Angelo. His romantic history includes Jill Clayburgh, Veruschka von Lehndorff, Carole Mallory, Debra Winger, Tuesday Weld, Marthe Keller, Carmen Cervera, Kathleen Quinlan, Lyndall Hobbs, Penelope Ann Miller, and a two-decade intermittent relationship with "Godfather" co-star Diane Keaton. He currently lives with Argentinian actress Lucila Solá, who is 36 years his junior.
As of 2022, Pacino is 82-years-old. He has never retired from acting, and continues to appear regularly in film.- Actor
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Graham Greene was born on 22 June 1952 in Six Nations Reserve, Ontario, Canada. He is an actor and writer, known for The Green Mile (1999), Wind River (2017) and Dances with Wolves (1990). He has been married to Hilary Blackmore since 20 December 1990. They have two children.