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Meryl Streep Past Her ''sell By Date''
Meryl Streep admits she's past her "sell by date".The Oscar-winning actress can't believe she's still be offered roles in high-profile movies now she's reached 60 as she knows Hollywood discriminates against older women.She said: "It's incredible - I'm 60
on 2009-12-02 04:49:105Top: Unfiltered flicks that light up the screen
We know cigarettes are bad for you, but stars such as Bette Davis in "Now Voyager" and Humphrey Bogart in "Casablanca," sure did make smoking look good.
on 2009-08-10 04:45:45Bette Davis vs Joan Crawford
Bette Davis and Joan Crawford are two of cinema's biggest icons both enjoying careers that spanned five decades, Davis starred in eighty seven movies and Crawford eighty one.However it was their long standing fued for which they are most famous as the pai
on 2009-03-19 04:51:10Bette Davis Predicted Arquette's Love Life
Bette Davis predicted that actress, Rosanna Arquette would be unlucky in love, if she became a acting success and has been proven correct. The news comes 30 years after the prophecy and Arquette is now a triple divorcee.
on 2008-10-03 04:53:07US stamp remembers Bette Davis
Hollywood actress Bette Davis features on a new US postage stamp marking the 100th anniversary of her birth.
on 2008-09-19 04:51:05New Stamp Has Bette Davis Eyes
The 42-cent commemorative stamp, being released Thursday in Boston, features a portrait of Bette Davis as she appeared in the 1950 film "All About Eve."
on 2008-09-18 04:51:51Bette Davis honored with postage stamp
?She did it the hard way.? That?s how Bette Davis wanted to be remembered, and a new U.S. postage stamp honoring her does that iron-willed image justice.
on 2008-09-18 04:52:37Bette Davis puts her stamp on postage
"She did it the hard way." That's how Bette Davis wanted to be remembered, and a new postage stamp honoring her does that iron-willed image justice.
on 2008-09-18 04:53:58Don't Listen to William H. Macy
Filed under: Paparazzi Video Mr. Felicity Huffman has only one thing to say to young stars today -- always take Fountain. Sounds good on paper, but the old Bette Davis saying has become dangerous advice these days!The side street is one of the best ways t
on 2008-08-02 04:55:57He's Got Bette Davis Eyes
Filed under: Music, Wacky and Weird, We're Just Sayin'TMZ.com: Robert Smith (left), lead singer of '80s goth/new wave band The Cure, at a concert in San Jose on Wednesday -- and Bette Davis (right) in the classic 1962 film "What Ever Happened to Baby Jan
on 2008-05-29 20:50:35Fasten your seatbelts: It's 100 years of Bette Davis
Since a thorough analysis of why Bette Davis was so fascinating on a movie screen would fill a thick volume of esoteric cinematic criticism, let's start instead with the short version. She had Bette Davis eyes.
on 2008-04-29 04:46:16Bette Davis: A Celebration
Bette Davis was a two time Academy Award winning American actress who led the way for women on the big screen. April 5, 2008 marks the 100th anniversary of the birth of this screen legend. Ruth Elizabeth Davis was born in Massachusetts who studied at the
on 2008-04-05 16:46:30New on DVD: 'Demon' Depp, Bette Davis and the 39th president
This week's platinum picks are an eclectic bunch: Sweeney Todd, the third Bette Davis Collection and Jimmy Carter: Man From Plains. ...
on 2008-04-04 00:48:04New DVDs: 'Sweeney Todd,' 'Chipmunks'
Also new: Volume three Bette Davis collection, ?John From Cincinnati?
on 2008-03-27 20:45:53Bette Davis Stars in 2008 Postage Stamps
Bette Davis will be on postage stamps in 2008.
on 2007-12-27 20:45:57Bette Davis honored with stamp
Web Exclusive: Postal Service celebrates star's 100th birthday -- A face that will tease you, and please you and perhaps unease you is coming to the post office next year, it's those Bette Davis eyes.
on 2007-12-27 16:46:29Bette Davis stars in 2008 postage stamps
(AP)
AP - A face that will tease you, and please you and perhaps unease you is coming to the post office next year, it's those Bette Davis eyes.
on 2007-12-27 12:45:07Critic's Corner weekend
Boy, someone at TCM is in a downer mood for Christmas. Tonight, the movie channel teams Dark Victory (8 ET/5 PT) Bette Davis dies of a brain tumor with Love Story (10:15 ET/7:15 PT), in which Ali MacGraw dies of a bad cough. On TCM, apparently, love mea
on 2007-12-21 00:45:44Critic's Corner weekend
Boy, someone at TCM is in a downer mood for Christmas. Tonight, the movie channel teams Dark Victory (8 ET/5 PT) Bette Davis ...
on 2007-12-21 00:48:14Bette Davis poster sells at auction
(AP)
AP - A photograph of Soviet film pioneer Sergei Eisenstein and a poster from an early Bette Davis movie commanded huge prices at the opening day of an auction of Hollywood memorabilia.
on 2007-12-14 08:45:07Bette Davis poster sells at auction
(AP)
AP - A photograph of Soviet film pioneer Sergei Eisenstein and a poster from an early Bette Davis movie commanded huge prices at the opening day of an auction of Hollywood memorabilia.
on 2007-12-14 08:45:04Hollywood collectibles fetch big bucks
(AP)
AP - CALABASAS, Calif. (AP) — A photograph of Soviet film pioneer Sergei Eisenstein and a poster from an early Bette Davis movie commanded huge prices Thursday at the opening day of an auction of Hollywood memorabilia.
on 2007-12-14 04:45:06Hollywood collectibles fetch big bucks
(AP)
AP - CALABASAS, Calif. (AP) — A photograph of Soviet film pioneer Sergei Eisenstein and a poster from an early Bette Davis movie commanded huge prices Thursday at the opening day of an auction of Hollywood memorabilia.
on 2007-12-14 04:45:04Robert Lantz, 93, talent agent
Obituary: Clients included Elizabeth Taylor, Bette Davis -- Talent agent Robert Lantz, who repped clients including Elizabeth Taylor, Richard Burton and Bette Davis over a six decade career, died Oct. 18 of heart failure in Manhattan. He was 93.
on 2007-10-22 20:46:21-
She got a stupid racist Jew to marry her, too.
>
"Way Back Jack" wrote in message
news:47dfe5a8.18512421@news.prodigy.net...
> The overwhelming majority of women who are as hideous as Whoopster
> would live in total seclusion, never leaving their parents' house;
> cloistering themselves in a convent; or becoming Mooslim suicide
> bombers. But not her. She went to the other extreme by forcing
> herself into show biz. Not only that, she swaggers with an attitude.
> Imagine the courage it takes to cop an attitude with a face like hers.
> if she was a great actress, e.g., Bette Davis and Joan Crawford. But
> they at least looked like human beings. I tell ya, PBS had Whoops on
> a nature show whose theme was protecting the orangutan. They had her
> parked in the middle of orangs. You could distinguish between Whoopie
> and the orangs because of the hair on their faces, but the facial
> features were strikingly similar. At first, I thought it was a
> satirical comedy with Whoopie good-naturedly poking fun at her
> ugliness, but it was a serious show. I bet that the show was the
> brainchild of some sadistic producer who is still laughing his ass off
> at his deed.
-
Kyle Rodgers wrote:
> http://www.rottentomatoes.com/m/basic_instinct_2/
- "Basic Instinct 2 isn't bad, exactly, but it lacks the entertaining
vulgarity of the first film."
Click for Full Review
Owen Gleiberman, ENTERTAINMENT WEEKLY
- "Spatting one-liners and sucking on cigarettes, the vampy, campy
Sharon Stone does Bette Davis proud in this reasonably fun but
ultimately empty suspense/thriller. Proceed at your own risk!"
Staci Layne Wilson, ABOUT.COM
- "Okay, it’s awful. But I liked it. Stone “acts” (if you want to call
it that) with a campy sneer as Morrissey heroically carries the movie.
Rampling is a goddess. "
Victoria Alexander, FILMSINREVIEW.COM
(So, basically...Two critics still think the "smoking" bit is classic.)
Derek Janssen (we need to move on)
ejanss@comcast.net
-
In article , Derek
Janssen wrote:
> Kyle Rodgers wrote:
> vulgarity of the first film."
> Click for Full Review
> Owen Gleiberman, ENTERTAINMENT WEEKLY
> - "Spatting one-liners and sucking on cigarettes, the vampy, campy
> Sharon Stone does Bette Davis proud in this reasonably fun but
> ultimately empty suspense/thriller. Proceed at your own risk!"
> Staci Layne Wilson, ABOUT.COM
> - "Okay, it’s awful. But I liked it. Stone “acts” (if you want to call
> it that) with a campy sneer as Morrissey heroically carries the movie.
> Rampling is a goddess. "
> Victoria Alexander, FILMSINREVIEW.COM
The Buffalo News' Jeff Simon gave it two stars, saying that while it's
very bad it's the type that's fun to watch. You won't be proud, but
you'll enjoy it.
--
Chris Mack "Refugee, total shit. That's how I've always seen us.
'Invid Fan' Not a help, you'll admit, to agreement between us."
-'Deal/No Deal', CHESS
-
Wonder if she would say the same thing about Steve Martin and Claire Danes
in "Shopgirl"....???
"Leighlabella" wrote in message
news:1133532522.238305.285340@g43g2000cwa.googlegroups.com...
> Camille on Madge: snips and various quotes from two Salon articles:
>
****************************************************************************
>
> Speak of schizophrenia! 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Camille on Madge: snips and various quotes from two Salon articles:
****************************************************************************
Speak of schizophrenia! Within two weeks, Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' title='Madonna'>Madonna'>Madonna.html' title='Madonna'>Madonna.html' title='Madonna.html' 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http://www.femalefirst.co.uk/celebrity/60542004.htm
Mickey Rourke slams ordinary Keira
September 9, 2005, 8:50:05
Mickey Rourke has taken a swipe at Keira Knightly branding her an ordinary
actress - and says he prefers actresses to be "ball-breakers. " The
Hollywood hellraiser and the British beauty recently worked together on new
film 'Domino'.
But the 'Sin City' actor wasn't impressed by his beautiful co-star's talents
on-set.
He said: "She's a movie star, and Hollywood is full of them.
I'm looking for a hard-boiled, ball breaking Bette Davis type or a Barbara
Stanwyck to play opposite next time, a darn great actress.
I like them hot blooded - and those oldies were certainly that.
" However, Keira has hit back at Mickey's attack, saying, "The thing I love
and admire most about Mickey is that he makes absolutely no pretence at
perfection.
" Keira plays the recently deceased model-turned-bounty hunter Domino
Harvey - the daughter of 1950s movie idol Laurance Harvey - in a biopic of
her life Rourke, 48, plays bounty hunter Ed Mosbey in the film, which is
released in the UK next month
-
I remember her in "Enemy at the Gates" which was a pretty good movie with Ed
Harris, Jude Law, and Joseph Fiennes (not Ralph).
She is a really good actress. Great in "Runaway Jury" and "Confidence".
Kevin
"Rick in Oz" wrote in message
news:b4jRe.497$HC6.7242@nnrp1.ozemail.com.au...
>
http://metromix.chicagotribune.com/movies/mmx-0508310009aug31,0,1286171.stor
> y?coll=mmx-movies_heds
> Tribune entertainment reporter
> catch her -- which should be in "The Constant Gardener," which opens
> Wednesday -- you still won't know what to expect.
> accompanied by a carefully crafted persona or well-publicized dating
> history. Actresses such as Julia Roberts, Reese Witherspoon, Jennifer
> Aniston and Sandra Bullock have branded themselves, their names selling
> tickets because viewers feel like they know these performers on screen and
> off.
> well, has the kind of beauty and talent that could make her a natural
> fixture of our tabloid culture, but she hasn't gone that route. When you
> watch her act, you see her character, not some extension of the person you
> assume she is -- and that's fine by her.
> real life, said while in town earlier this month. She attributes this lack
> of expectations to the fact that "I've just done lots of different kinds
of
> things."
> special-effects-filled blockbusters ("The Mummy" and "The Mummy Returns");
a
> determined manipulator of juries in a legal drama ("Runaway Jury"); the
> down-to-earth girlfriend in a smart, character-driven comedy ("About a
> Boy"); a classic noir femme fatale ("Confidence"); and a female cop and
her
> dead twin in a supernatural thriller ("Constantine"), you're not looking
to
> get pigeonholed.
roles --
> such as when she is mercilessly remaking her boyfriend in Neil LaBute's
"The
> Shape of Things" or rebelling against the power structure in "The Constant
G
> ardener" -- they make her characters' ferocity that much more startling.
> overshadowed by her celebrity. To her, appearing regularly in star-fixated
> shows, magazines and gossip columns is a choice.
> control, and then they become the victim of their choice."
> ("Requiem for a Dream," "Pi"), and though they're not at the
stop-and-stare
> level of Brad-'n'-Jen, they've made adjustments to cordon off their
private
> lives from their public ones.
> she said. "There are restaurants in New York where you know there are
going
> to be paparazzi there. The Mercer Hotel -- I live in SoHo, and I won't
walk
> past the Mercer because there are always paparazzi outside, and you know
> you're going to get photographed.
that
> was a real bummer because I would be having lunch somewhere, and normally
> Darren and I just slip away and go down into the subway if we see a
> photographer. But I was on crutches, so I was very slow moving." She
> laughed. "I couldn't get away."
> interview, "I think mystery is kind of great. I don't know anything about
> Bette Davis or Katharine Hepburn or Ava Gardner -- not really -- and I
like
> that. I love watching their movies because they're my personal movie
stars.
> I don't know what they eat and who their trainer is."
particularly
> with "The Constant Gardener," a much-acclaimed political thriller based on
> John le Carre's 2000 novel. Much of the film's tension involves trying to
> discern the actions and motivations of her character, Tessa, an American
> activist challenging British government officials and the pharmaceutical
> industry over drug testing on poor Kenyans.
> mild-mannered diplomat named Justin, played by Ralph Fiennes (another star
> who hasn't lived out his personal life in public), but diplomacy is far
from
> her No. 1 priority. She says what she thinks when she thinks it, and
decorum
> be damned, much to the irritation of Justin's colleagues.
> unobtrusive direction, to be a liberating experience.
> doesn't care what people think of her at all. . . . She wanted to get
> justice done, and if she makes some enemies on the way, she really doesn't
> give a monkey's. . . . It's just a very free place to be in life. On the
> whole one wants to be liked."
she
> said. "Maybe with my family, but that would be the only place."
> Weisz was the first actress he interviewed for the role. Because the
> director was hired on the project just weeks before production began, he
> never actually completed the , and Weisz wound up improvising scenes
> to help fine-tune her character and the story. Weisz also was active in
the
> production's efforts to set up a fund to aid the poverty-ridden Kenyan
> community in which "The Constant Gardener" was filmed.
> "humanity" she made so apparent in this strong character; and two, for her
> lack of vanity.
they
> like to look beautiful because everybody expects them to look beautiful,
and
> so of course I thought she would always have her makeup next to her and
> would try to look beautiful. But she didn't. All the scenes she spoke in,
> she never uses makeup. The scene that she's using makeup is when she's at
> the hospital, but we used makeup to make her uglier."
> her current strategy of choosing roles based on who's making the film.
"When
> you're in your 20s, you just have to be working, really, just try all
> different things," she said. "Now I realize that it's the director, the
> director, the director."
all.
> Her next movie, probably to be released early next year, is a
> science-fiction love story called "The Fountain," written and directed by
> Aronofsky. Filming already has taken place, and the couple survived.
> "That's the simplest way I can put it. One's professional self is very
> different from one in a relationship, so I got to see him at work, and
he's
> tremendously talented. And he got to see me at work. We're both very
> passionate and committed about our work, so it was like turning the object
> around and seeing it from another angle."
> because who wants do discover you're engaged to someone who's a
professional
> pain in the tush?
> pause. "It's pretty sexy to see someone be good at something, isn't it?
It's
> very attractive. It made me find him even more attractive."
-
http://www.smh.com.au/news/Music/Come-together-right-now/2005/05/27/11171298
89779.html?oneclick=true
Come together right now
May 28, 2005
The Beatles' favourite studio has reopened its doors after decades of being
closed to the public, writes Glenn Frankel.
The four long-haired young men from Liverpool were a half-hour late when
they entered Studio Two at EMI Records on Abbey Road on June 6, 1962. They
raced nervously through a ragged set of songs, while a producer named George
Martin listened to the audition from the control booth upstairs.
Afterward, Martin delivered an hour-long lecture on what they needed to do
to make a professional record.
The rest, as they say, is history. Despite his initial misgivings, Martin
signed the Beatles to a recording contract, albeit for a rock-bottom rate.
The group came back three months later to record their first single, Love Me
Do. It peaked at No. 17 on the British charts. But their next attempt,
Please Please Me, launched a run of 12 No. 1 singles in a row and a dozen
gold albums, and the most successful pop music group in history started down
the long and winding road to fame, fortune and Yoko Ono.
The Beatles crossed Abbey Road, location of the legendary London studio, for
the cover of the last LP they recorded. Ever since, the Abbey Road Studios,
especially Studio Two, have been part of the legend - the place where, by
EMI's count, 192 of the Beatles's 202 songs were recorded. Its significance
was enshrined when the Beatles named the last LP they recorded Abbey Road,
complete with iconic album cover of the four band members crossing the
street the studio complex is named after. (Let It Be, recorded earlier, was
the last album released.)
For years, pilgrims, fanatics and the mildly curious have traversed the
crossing and stood outside the gates of the studios - by EMI's informal
count, between 100,000 and 120,000 walk past each year. But except for a
brief stretch in 1982, its doors have remained closed to the public.
Until now. Last Saturday, Abbey Road's owners opened its gates for a film
festival honouring the 25th anniversary of the studio's work as one of the
world's largest producers of movie music. Nearly two dozen films are being
shown over 16 days in Studio One, the cavernous, auditorium-like room where
the movie scores are performed and recorded. But for many, the main
attraction is just across the hall: Studio Two is also open for
festival-goers.
EMI veterans say the studio looks much the way it did when the Beatles
worked there between 1962 and 1969. A soundproof iron door that looks like
it could have done service on a German U-boat still guards the entrance.
Inside, white paint is peeling from parts of the acoustic panels on the
walls, and the parquet floor bears scuff-marks from hundreds of amplifiers
and instruments that have been hauled over it. There are a half-dozen sets
of multicoloured lights that were installed at the demand of the Beatles,
who felt it gave the room a warmer, more psychedelic ambience.
The cover of the Abbey Road Beatles album.
"You can feel the ghosts when you're in here, and you can sense the
atmosphere as well," said David Holley, EMI's managing director. "It's
almost as if everyone who's ever worked here has left a sound behind."
Located in posh, leafy St John's Wood in north-west London, Abbey Road began
life in the 1830s as an elegant, nine-bedroom estate house with a long, lush
garden at the back. EMI bought it in the late 1920s and turned it into one
of the world's first recording studios.
Musical history was made here long before the Beatles arrived. Edward Elgar,
one of Britain's most distinguished composers and conductors, inaugurated
the studio in 1931 with a historic recording of Land of Hope and Glory,
Britain's unofficial national anthem, by the London Symphony Orchestra.
Violin prodigy Yehudi Menuhin, then 16, came to record the next year,
followed by cellist Pablo Casals, violinist Jascha Heifetz and pianist Artur
Schnabel.
Hundreds of actors, musicians, singers and songwriters made their way to
Abbey Road: Fred Astaire, Noel Coward, Paul Robeson, Glenn Miller, Dinah
Shore, Sophia Loren, Richard Burton, Peter Ustinov, Bette Davis, Bing
Crosby, Ella Fitzgerald, Shirley Bassey, Dirk Bogarde, Burt Bacharach and
Ravi Shankar. And, lest we forget, Herman's Hermits, Cilla Black and Olivia
Newton-John. Plus an entire generation of British comedians, including Peter
Sellers, Spike Milligan, Dudley Moore and the various casts of The Goon
Show, Beyond the Fringe and That Was the Week That Was.
Music for the three parts of the Lord of the Rings trilogy was recorded in
Studio One, as were the soundtracks for director Anthony Minghella's three
major films: the Oscar-winning The English Patient, The Talented Mr Ripley
and Cold Mountain - all of the music composed by Gabriel Yared. The remake
of Alfie and the Bobby Darin biopic Beyond the Sea are among the latest
soundtracks to be recorded here.
But the Beatles are still Abbey Road's defining faces. In the early days,
they were considered just another musical act that needed to abide by the
studio's strict code of conduct. They wore coats and ties when they came to
record, and the sessions were conducted in three-hour blocks, with long
breaks for tea and lunch. Gradually, as the hits came and the money started
to flow, the Beatles took over. The coats and ties came off, and the band
started pulling legendary all-nighters. With Beatlemania exploding outside
the studio gates, the band saw Abbey Road as a refuge where they could work
uninterrupted, sleep when they needed to, then work some more.
The drugs flowed at times, too. In his 1979 memoir All You Need Is Ears,
Martin recalls John Lennon freaking out and collapsing one evening in 1967
while making Sgt Pepper's Lonely Hearts Club Band. Martin helped him to the
roof to get some fresh air, then feared Lennon might fall off. Martin stayed
with Lennon until the crisis subsided.
The first couple of Beatles albums were each recorded in one long sprint,
never taking more than a few days. But Sgt Pepper took several months. The
climax came with A Day in the Life, the album's concluding song, when Lennon
and Paul McCartney commandeered Studio One, hired 39 classical musicians and
requested that they all come formally attired. McCartney provided funny hats
for each player and a bright red nose for the conductor.
After the Beatles broke down and broke up in 1970, Pink Floyd took over as
Studio Two's unofficial house band. Since then Radiohead, Ozzy Osbourne, the
Spice Girls and a host of other acts have made the studio their home.
McCartney was back last year with the slick, powerful band he has performed
with in concert in recent years to lay down a series of tracks for an album
due later this year.
"None of this stuff was supposed to have lasted," novelist Nick Hornby, a
pop music aficionado, writes in his introduction to the film festival guide.
"The three-minute pop songs and the one-line jokes were intended for
immediate consumption, but it didn't happen like that." Instead, the story
of Abbey Road "must also be the story of 20th- and 21st-century popular
culture, pretty much all of which is dependent on recorded sound".
The Washington Post
-
http://jam.canoe.ca/Movies/2005/04/24/1011103-sun.html
Walk of shame
By JIM SLOTEK -- Toronto Sun
"You can see all the stars as you walk down Hollywood Boulevard
Some that you recognize, some that you've hardly even heard of
People who worked and suffered and struggled for fame
Some who succeeded and some who suffered in vain."
Celluloid Heroes, The Kinks
---
Long before I ever actually walked down Hollywood Boulevard, I had the
lyrics to Celluloid Heroes memorized, and it coloured everything I expected
of that crack whore-ridden thoroughfare.
Rudolf Valentino, Bette Davis, Greta Garbo, Bela Lugosi ... the Kinks' Ray
Davies knew how to cherrypick his sidewalk stars.
Real life goes like this: Scan indiscriminately as I did and you find
yourself basking in the sidewalk star-power of game show hosts Wink
Martindale and Bob Eubanks, sportscaster Al Michaels, original Charlie's
Angel Kate Jackson, Fabian and Casey Kasem. In recent years, further
diluting the now-dubious "honour," they've added David Spade, Britney
Spears, the Olsen Twins, Michael Bolton, Regis Philbin and Journey.
Look for them on one fantastic bill at Branson-palooza in 2009. As a point
of information, the "stars" are made of terrazzo and brass. And so are the
ones on the sidewalk (badumbum).
And just when you thought the devolution of stardom had pretty much been
achieved came last week's latest inductee to the Hollywood Walk Of Fame:
(drumroll please) Ryan Seacrest!
That's right, it's the deejay who nominally "hosts" American Idol, the guy
with whom Simon Cowell trades those endless "Simon's so old, Ryan's so gay"
barbs. Seacrest is such a lightweight, physicists are engaged in angry
debate over whether he even has measurable mass.
And it is at this point that I have to speak out in defence of Canada's Walk
Of Fame in Toronto's theatre district. Say what you will about the relative
anonymity of some Canadian stars, our cheese isn't as embarrassing as their
cheese. And at least our cheese gets a chance to age (under the rules,
Canadian Idol host Ben Mulroney won't even be eligible for a star until
2011).
But most importantly, unlike Hollywood Boulevard, no money changed hands in
the awarding of our slabs of concrete.
That's right. The fee down there is $15,000 U.S. -- an inflation rate of
500% since way back when I first found out these things were for sale (all
these details are laid out, along with an application form, on the website
for the Hollywood Chamber Of Commerce, the businessfolk who administer the
Walk Of Fame). What do they do with the money? It sure isn't earmarked for
urban renewal.
And yes, I can hear Paris Hilton now ("Just $15,000? Ohmigod, I'll take
six!"). The Hollywood Chamber Of Commerce claims to have criteria above and
beyond a stack of 150 Benjamins. But to that claim we have a two-word
response: James Brolin. (C'mon, I like him, but besides marrying Babs, do
you remember him for anything? If you said Marcus Welby M.D., you're
officially old).
Ted Turner got one, ostensibly for buying MGM's catalogue and colourizing
Humphrey Bogart in rouge like a cheap tramp.
And Eddie Murphy's star sits but a block or two from where he played "Good
Samaritan" with a transvestite.
For reasons both sentimental and perverse, I'll defend Soupy Sales' star,
Kermit the Frog's and Godzilla's as well.
But looking around, is there anybody working who deserves to be immortalized
on a concrete slab and hasn't? Ashton Kutcher is this weekend's matinee
idol. A half-century from now, will he be remembered for a career that
matured and reflected the zeitgeist of its times, or for being the second of
Demi Moore's five husbands?
And speaking of exes, why is Nicole Kidman the only one of Tom Cruise's
ex-wives and girlfriends to get a star? Didn't Mimi Rogers suffer enough?
Madonna's got to be ready for a star on the movie walk. I mean, Swept Away
alone must have grossed nearly $15,000.
And if they start inducting the religions that influence Hollywood, L. Ron
Hubbard will obviously get the first star, followed by one with the Eye of
Zohar for all those trendy Kaballah followers.
But really, Ryan Seacrest? There really is no frame of reference now. The
next one might as well go to Boston Rob and Amber, Emeril Lagasse, Lindsay
Lohan or Dr. Phil.
Or even -- God help us -- Carrot Top.
-
http://www.cnn.com/2005/SHOWBIZ/books/03/23/theater.virginia.woolf.ap/
Not afraid of 'Afraid'
The landmark 'Virginia Woolf' returns to Broadway
Playwright Edward Albee and actors Kathleen Turner and Bill Irwin are
involved in a new staging of "Who's Afraid of Virginia Woolf?"
NEW YORK (AP) -- Broadway hasn't seen the play in years, but there's one
word its author refuses to use in describing the new production of "Who's
Afraid of Virginia Woolf?" -- revival.
"A revival means that something was dead," says Edward Albee, and "Virginia
Woolf," with its fierce tale of marital discord, always has been very much
alive ever since it first shook up Broadway in 1962.
The play is continually on stage around the world, and, of course, there's
the celebrated movie version that starred Elizabeth Taylor and Richard
Burton (Albee says he wanted Bette Davis and James Mason for the film) as
the New England college professor and his boozy, belligerent wife.
And, now, it has reappeared in New York at the Longacre Theatre with Bill
Irwin and Kathleen Turner playing the combative George and Martha. They are
following in the footsteps of two formidable couples who starred in the
play's previous Broadway incarnations -- Uta Hagen and Arthur Hill in the
original and Colleen Dewhurst and Ben Gazzara in a 1976 production directed
by the author.
Albee credits Elizabeth McCann, his affectionately described "lunatic
producer" with wanting to bring "Virginia Woolf" back to Broadway after an
absence of nearly three decades. That journey has lasted more than five
years.
"We started thinking about certain actors and actresses," the playwright
recalled. "And it's taken all this time to get the ideal cast together."
To find the right George and Martha, as well Nick and Honey, the young
twosome who stumble into the older couple's alcohol-fueled nightmare, Albee
and McCann held a series of readings with various actors -- just to see how
they worked with each other.
"Oh, I don't want to mention any names," Albee said diplomatically, but he
called those readings absolutely essential.
"You can have two wonderful actors and if they are not good together, it
wouldn't be right," he said. "I guess since Liz (McCann) kept telling me it
was a very important new production, I was even stricter than I usually am."
'When I am 50, I will do it'
In "Woolf," Turner plays the angry, blowzy Martha; Irwin is George.
Out of that process came Turner, who has worked her way through such stage
roles as Maggie in "Cat on a Hot Tin Roof" and Mrs. Robinson in "The
Graduate," and Bill Irwin, a veteran of Albee's last Broadway play, "The
Goat," and whom Albee had seen in plays by Samuel Beckett and many of the
performer's own clown pieces.
"I love the contrast between the two of them," Albee said. "Kathleen is loud
and forceful. Bill is quiet. He works intellectually rather than
emotionally."
And ask the actors where they went to find their characters and the low-key
Irwin says simply, "Text. I only have text."
Turner expounds.
The actress read the play in college when she was about 20 and thought,
"Well, when I am 50, I will do it," she recalled. "And the week I turned 50,
they (the producers) said, 'Yes,' which kind of spooks me.
"Martha is a pagan and a woman with few boundaries. I think it's a question
of trying to ... overcome some of my early diplomatic training to behave and
be a good woman. I losing all inhibitions now. She (Martha) is out there,
you know."
Turner finds in Martha a haunting sense of failure, a failure of self and of
what she expected from her husband. "This woman of intelligence and energy
was unable to fulfill her own ambitions," she said, which made her angry and
bitter, fueling some of the most baiting, biting language heard on the
American stage.
Yet oddly enough, British director Anthony Page, who has tended such Albee
plays as "Three Tall Women" and "The Goat" in London, says he finds the
language in the playwright's work poetic.
"It's not naturalistic. I always try to get the actors to learn the parts
before they come to rehearsal. Then they can start playing these very
powerful emotions that are underneath the words," said Page. "Albee's best
work has a mixture of humor and passion, a crackle of wit and elegance, but
at the same time, the emotions are very profound."
Leading the audience
Besides Irwin (left) and Turner (right), the play includes Mireille Enos as
Honey and David Harbour as Nick.
It was Page who did the initial auditions for the smaller roles of Nick and
Honey, picking relative newcomers for the roles of the younger couple who,
as the play progresses, find themselves on shaky ground as well.
"I think Honey and Nick walk into this room completely unprepared," said
Mireille Enos, who portrays the childlike Honey. "They have their own dark
secrets."
"Walking into the evening, there is a lot of hope," said David Harbour,
describing Nick as "very ambitious, very charming. I think he thinks he is
quite a funny guy, although this evening is going to go in completely the
wrong direction."
Albee has kept on eye on the current production but has not attended every
rehearsal, preferring instead to let the director and the actors find their
own way. And the play itself has remained relatively unchanged over the
years.
"I have made a few little trims because I overwrote. I don't want anybody to
say, 'Oh, hurry up now. There's the author indulging himself,' " he said.
And at age 77, Albee is working on a new play, which, for the moment, is
called "Me, Myself and I." He's quick to add that the play "has nothing to
do with me at all."
"Virginia Woolf' was not the defining play that made his career, Albee said,
although it certainly is his best-known work. He gives that credit to "The
Zoo Story," his one-act play about a cryptic meeting on a park bench, done
originally off-Broadway in 1960.
" 'The Zoo Story' was the one that proved to me I could be a playwright, but
'Who's Afraid of Virginia Woolf?' cemented that change," Albee said. "A lot
of people think that if you are off-Broadway, it doesn't mean anything and
if you have an hourlong play, it doesn't mean anything. 'Virginia Woolf'
being on Broadway and being three hours long, I suppose it had a somewhat
different effect on people's minds."
"Edward said something that I thought was great, which was 'One of the
extraordinary, wonderful things about theater is that you make the audience
work.' And we'll make them work," Turner said with a laugh.
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
http://story.news.yahoo.com/news?tmpl=story&cid=638&ncid=579&e=4&u=/nm/20050321/en_nm/music_abbeyroad_dc
By Ray Bennett
LONDON (Hollywood Reporter) - Abbey Road studio, where the Beatles
recorded almost all their music, attracts tens of thousands of fans
each year.
They come from across the world to worship at the place where it all
began. They photograph the famous pedestrian crossing outside, and most
of them write their name on the walls. But they couldn't go in.
Until now.
For 16 days through April 3, Abbey Road is opening its doors to the
public for the first time since it opened in 1931. To celebrate 25
years of movie scoring, begun when John Williams led the London
Symphony Orchestra through his soundtrack to "Raiders of the Lost Ark,"
the studio is holding its own film festival.
Only movies whose music was recorded at Abbey Road are featured,
starting with the Beatles' "A Hard Day's Night" and finishing with "A
Yellow Submarine."
The immense Studio One, which can accommodate a full 120-piece
orchestra, has been converted into a 350-seat cinema, and the smaller
Studio Two contains an evocative exhibition of photographs of stars who
recorded there, from Bing Crosby to Fred Astaire to Bette Davis .
David Holley, managing director of the EMI Studios Group, which owns
Abbey Road, says that letting the public in was overdue.
"We think 100,000 people annually write their names on the walls
outside. We clean them off every few weeks. It's a tradition we like,
however," Holley says. "It started in 1980 when John Lennon (news)
died. Many people congregated outside and an engineer played 'Imagine'
out the window."
Many try to enter the studios, and Holley says the receptionist has
found a thousand ways to say no. "But we thought, with the 25th
anniversary of our first film-score recording, that we would celebrate
by letting people see where all that great music was made," he says.
Empty of instruments and equipment, Studio Two is just four walls and
parquet flooring, but that doesn't stop big-time Hollywood producers
from getting down on all fours to kiss the floor, according to Holley.
Director Anthony Minghella is not immune. He and his musical
collaborator Gabriel Yared held a master class in film scoring on
Friday to kick off the festival. They each have an Oscar for "The
English Patient," one of the films being screened.
They also wrote and recorded a song for "Cold Mountain" in the studio.
"James Taylor recorded it, but at the last minute we decided it didn't
work for the film, and we cut it," Minghella says. "At least we know we
had our Abbey Road experience."
Reuters/Hollywood Reporter
-
http://www.channel4.com/film/newsfeatures/microsites/S/sexy/hollywood.html
Caught In The Act
Sometimes screen sex is for real. Only the actors know for sure, and
Angelina Jolie isn't telling. Ali Catterall looks back over the history of
cinematic sex including all those rumours about who actually did the deed on
camera.
According to Mighty Aphrodite star Mira Sorvino, "It rarely happens that
actors have proper sex in films. But it does, though, now and again. One
actress told me she had made love during a very popular film. These people
would not lie about their experiences."
Or would they? Ewan McGregor's angry denials that he and Nicole Kidman had
indulged in a little ooh-la-la during the filming of Moulin Rouge sound
convincing enough ("It's shite. I haven't f***ed Nicole"), but sex on and
off camera is as old as Hollywood itself.
On one legendary occasion, producer Harry Joe Brown disturbed serial-seducer
Bette Davis with her Dangerous co-star Franchet Tone, who was then attached
to Joan Crawford. As author Andrea Love describes in 'Secret Sex Lives of
the Rich And Famous', on opening the unlocked trailer door "the producer
apologised, the actor laughed, and Davis returning to action, said 'Close
the door as you go out.'"
As Sorvino suggests, actual rumpy in movies is rare - but not unknown. Ai No
Corrida, Baise-Moi, The Idiots and Romance all feature genuine sexual acts,
though in most cases, as with Last Tango In Paris, it's all just smoke,
mirrors and margarine. Even Mick Jagger and Anita Pallenberg's notorious
knee-trembler in Nic Roeg and Donald Cammell's Performance has been revealed
as something of an anti-climax. According to producer Sandy Lieberson, who
owns the outtakes, although Jagger's not actually in flagrante, "he's up and
ready". More noteworthy was the action happening off-set, with Cammell,
Jagger, Pallenberg and her lover, Keith Richards, reputedly enmeshed in a
real love quadrangle throughout the shoot.
Rumours were rife during 1974 that Julie Christie and Donald Sutherland had
performed non-simulated sex in another Roeg film, Don't Look Now. If US
censors considered the four-minute scene too explicit, and snipped
accordingly, the BBFC judged it "tasteful and integral to the plot". As film
critic Kim Newman, who likens watching genuine cinematic nookie to viewing
"open-heart surgery", says "You almost never see married characters having
sex in films - the emotional context makes it unusual, rather than the
amount of buttock thrusts." However, according to Christie, "It was pretend
sex, (but) it was tough on both Donald and myself. We did the scene at the
beginning of the film and we were dreadfully embarrassed. After the film
came out, my stepfather said to me, 'I hope you're not doing any writhing in
your next one.'"
Basic Instinct director Paul Verhoeven recalls Michael Douglas and Sharon
Stone similarly reacting with shock to his storyboards. As he told 'Total
DVD Online' in 2002, "They were like 'What the f*** is this?' But I
explained it and they ended up going through the scenes like machines."
Conversely, Kerry Fox remains refreshingly unfazed about her own performance
(an on-screen blow-job for co-star Mark Rylance) in Patrice Chereau's
Intimacy. As she told 'Inside Film', "We spent a lot of time getting it
right - it was rehearsed like any other scene."
A quite different approach was taken by former screen-partners Antonio
Banderas and Angelina Jolie, who according to Original Sin director Michael
Christopher, "just took off and sort of did it". Said Jolie, who decided to
forgo a modesty-preserving pubic patch as she felt too confined by it,
"sometimes he'd just let us explore each other's hands or faces and he'd
just let the cameras go." But according to the actress, then married to
Billy Bob Thornton, the idea of genuine adultery never crossed her mind: "I
think very little of people who do things like that."
Jolie had met Thornton on the set of 1999's air traffic control drama
Pushing Tin, marrying him a year later. According to reports, Jolie told
friends Billy Bob was "the biggest in Hollywood", vital for an actress who
claimed she needed sex "more than anyone I know". Three years later, the
marriage was in tatters.
As sexpert Emily Dubberley, founder of Cliterati.co.uk, says, "If actors are
playing at being in love, they can all too easily convince themselves they
actually are. Some people may feel that 'tour rules' apply - if your
partner's out of sight, they're out of mind, and what happens on set, stays
on set. There is also a lot of pressure on set to get things done on time,
because time is money, and research has shown that people get more aroused
in times of stress as the adrenaline runs through them." Real-life porn
performer Mark Sloane, star of Customs And Sexcise among others, agrees: "If
you're working together in a tense situation, it can overpower everybody -
but you can't blame it all on filming."
Finally, proving that real love can blossom through cinema, Jack Nicholson
told Adam Sandler on the set of Anger Management - a film about a man who
can't commit - that he'd lost his lifelong love Anjelica Huston because he
wouldn't settle down. Heeding his words, Sandler took his girlfriend of
three years, Jackie Titone, down the aisle during a private ceremony in the
summer of 2003. Who said romance was dead?
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
umhuh2003@yahoo.com (Um Huh) wrote in message news:...
> Lawsuit Claims Liza Battered David
> pain--a "constant," "throbbing," "unrelenting" pain in the head. Among
> other reputedly injured body parts.
> Tuesday in New York, which accuses his bride of less than two years of
> vodka-fueled domestic violence.
> Emmy-, Tony-, Grammy-winning entertainer had not seen the court papers
> (posted in all their gory on The Smoking Gun), and had no comment.
> century on March 16, 2002. They announced their separation in July.
> concert producer-promoter" who was henpecked--make that,
> henslammed--by an "alcoholic, overweight" has-been.
> throughout their relationship, forcing him to seek neurological
> treatment and leaving him with vertigo, severe headaches, high-blood
> pressure and "scalp tenderness," among other maladies.
> says.
> Mercedes ride in which Minnelli reputedly downed a bottle of red wine
> en route to rehab, to a supposed blowup last June in which she
> allegedly chugged vodka during a Chinese take-out run.
> attack, in which Gest has Minnelli "running erratically" around the
> couple's London hotel room, throwing a lamp, throwing punches, and
> sounding like Bette Davis in The Star.
> the complaint alleges. "My husband is using me to be [a] star. I am
> the star."
> the pre-wedding stint in December 2001), the complaint says, the
> singer beat up Gest in the bathroom of their New York apartment "until
> he ran into the other room."
> incident was the worst of the attacks that caused him with "severe"
> and "long-term" injuries. The complaint says Gest has endured
> hospitalizations, an MRI and a CAT scan. It says he's under doctors'
> orders not to travel, and to keep his pain in check with 11
> preion medications.
> Minnelli mainly keeping to Manhattan, and Gest reputedly hanging at
> Jim Nabors' Hawaiian estate.
Hmmm, interesting. Jim Nabors' house.....hmmmm.
-
Lawsuit Claims Liza Battered David
Life with Liza Minnelli, estranged husband David Gest says, was a
pain--a "constant," "throbbing," "unrelenting" pain in the head. Among
other reputedly injured body parts.
Gest's allegations are contained in a $10 million lawsuit filed
Tuesday in New York, which accuses his bride of less than two years of
vodka-fueled domestic violence.
Minnelli's rep told the Associated Press on Tuesday that the Oscar-,
Emmy-, Tony-, Grammy-winning entertainer had not seen the court papers
(posted in all their gory on The Smoking Gun), and had no comment.
Minnelli, 56, and Gest, 50, were wed in the media circus of the
century on March 16, 2002. They announced their separation in July.
In the complaint, Gest depicts himself as a "world renown event and
concert producer-promoter" who was henpecked--make that,
henslammed--by an "alcoholic, overweight" has-been.
He alleges the onetime Cabaret pixie pummeled him in the head and body
throughout their relationship, forcing him to seek neurological
treatment and leaving him with vertigo, severe headaches, high-blood
pressure and "scalp tenderness," among other maladies.
"The alcohol gave her remarkable force and strength," the complaint
says.
Gest details a half-dozen dates, from a December 2001 chauffeured
Mercedes ride in which Minnelli reputedly downed a bottle of red wine
en route to rehab, to a supposed blowup last June in which she
allegedly chugged vodka during a Chinese take-out run.
Perhaps the most salacious allegations concern the reputed June
attack, in which Gest has Minnelli "running erratically" around the
couple's London hotel room, throwing a lamp, throwing punches, and
sounding like Bette Davis in The Star.
"I have no friends," Minnelli shouted to the couple's security guard,
the complaint alleges. "My husband is using me to be [a] star. I am
the star."
Prior to Minnelli's March entry into rehab (not to be confused with
the pre-wedding stint in December 2001), the complaint says, the
singer beat up Gest in the bathroom of their New York apartment "until
he ran into the other room."
Gest, who says he never threw a counter-punch, claims the June
incident was the worst of the attacks that caused him with "severe"
and "long-term" injuries. The complaint says Gest has endured
hospitalizations, an MRI and a CAT scan. It says he's under doctors'
orders not to travel, and to keep his pain in check with 11
preion medications.
Since the split, the two have holed up on opposite coasts, with
Minnelli mainly keeping to Manhattan, and Gest reputedly hanging at
Jim Nabors' Hawaiian estate.
-
"MWB" wrote in message
news:IkDcc.951$Ne3.607@nwrdny02.gnilink.net...
>
No. That's a reincarnation of Bette Davis in "Whatever Happened to Baby
Jane?"
-
"MWB" wrote in message
news:ZELcc.4151$WX.1486@nwrdny01.gnilink.net...
> news:KtCdnbKItqGR1O7dRVn-hw@centurytel.net...
It's Dylan's rendition of "I've Written A Letter To Daddy" that often draws
comparisons with Miss Davis.
-
"Thanatos" wrote in message
news:atropos-5602CE.21455318032008@news.giganews.com...
> In article
> ,
> TranslucentAmoebae wrote:
possession"http://www.tmz.com/2008/03/11/mary-ann-busted-with-mary-jane/
responsibility"http://www.tmz.com/2008/03/12/it-wasnt-mary-anns-mary-jane/
> difference?
He can't tell you...too drunk.
-
http://www.theage.com.au/articles/2003/11/13/1068674319387.html
Show of hands cements Australia's place in Hollywood
By Orietta Guerrera
Canberra
November 14, 2003
Actor Geoffrey Rush leaves his handprints in cement to launch the
Australians in Hollywood exhibition at Canberra's National Portrait Gallery.
Photo: Andrew Taylor
The shore of Canberra's Lake Burley Griffin is far from Hollywood's
Forecourt of the Stars.
But with his sleeves rolled up, Oscar-winning actor Geoffrey Rush yesterday
immersed his hands in wet cement to open the National Portrait Gallery's new
exhibition, Australians in Hollywood.
"I might have to be jackhammered out," the Melbourne-based actor joked.
Rush is among the faces in the exhibition, which range from the stars of the
silent film era to the latest Aussie invaders of Tinseltown, including Heath
Ledger and Cate Blanchett.
Usually one to shun the limelight, Rush, a professed cinema buff, was happy
to be on hand for the opening.
But he came with a message for the Federal Government, warning it against
placing Australia's film and television industry on the negotiating table in
the Free Trade Agreement with the United States. "If we lose control of
that, those young actors who get to spend a season on The Secret Life of Us
. . . that opportunity won't be there," he said.
"We won't have any more portraits to put up to extend that story."
Among the 80 portraits are a leather-clad Olivia Newton-John in Grease, Hulk
star Eric Bana, Mulholland Drive actress Naomi Watts, the only Australian
James Bond, George Lazenby, and Nicole Kidman.
When Kidman choked back tears in March this year to accept the best actress
Academy Award for playing Virginia Woolf in The Hours, she joined a list of
Australian winners that began with war photographer Damien Parer in 1943.
Those behind the scenes are also recognised, including the three-time
Academy Award winning costume designer, John Orry Kelly, who dressed Marilyn
Monroe and Bette Davis.
Three Oscar statuettes are on display, including Catherine Martin's award
for art direction in the 2001 musical Moulin Rouge.
The exhibition is on until April 12, 2004.
From Sunny Oz, Rick :)
Proud Keeper of the talented & beautiful Halle Berry.
-
In article , "KAR" wrote:
> "Diva" is a sexist term of recent coinage in its current usage.
> The Diva (Divine woman) was the opera Goddess, and Callas, La Divina and her
> demands gave popular rise to the notion of the controlling, demanding stage
> star. Bette Davis and especially her Margo Channing, were divas before the
> term crossed into the arts.
> to suggest its sexism. "Diva-like behavior" (i.e., controlling and
> capricious and paranoid) is practiced by insecure people of both sexes. The
> stereotype of the temperamental male musical virtuoso, however is usually
> tempered with a degree of respect for him as an artist. In current usage,
> the diva is usually perceived temperamental because she's an insecure woman
> .
So wouldn't you agree that we should condemn all "diva-like temperament"
whether displayed by men or women, rather than say, "She's just acting
like a man."
-
A CLASS apart
A glittering career studded with 12 Oscar nominations
and two awards is now crowned with recognition for
Lifetime Achievement. Read on as RANDOR GUY writes
about Meryl Streep, actress perfectionist.
The Hindu
Friday, November 7, 2003
"Kramer versus Kramer" ... an emotionally-rich
performance.
She has established an amazing record by being nominated
an incredible 13 times for the Oscar, beating the earlier
record of 12 held by the Grand Dame of American Cinema
and icon of Hollywood, Katharine Hepburn.
This record is extremely difficult to achieve during the
present period, after the end of the great Golden Age of
Hollywood and the Studio Years. Unlike the Movie Queens
of those times, she was not attached to a studio on a
seven year-contract under the dictatorship of the
Hollywood movie moguls.
During the Studio Years every Monday morning a new
picture was launched! (In the bygone decades, Hollywood
studio contracts were usually for a period of seven
years. Any contract for service or employment, which
extended beyond seven years, was seen legally as slavery
in America.)
With no advantages of a pretty face like Liz Taylor, or a
stunning figure, a la Marilyn Monroe or Jane Russell, she
climbed the grease pole by sheer talent, hard work and
dedication. Such an actress of amazing, unlimited talent,
who won the Oscar twice, is Meryl Streep.
The crowning glory of her career is the American Film
Institute's Life Achievement Award being bestowed on her
for 2003. Talent and class always tell. And she has both
aplenty.
She will receive the award at a tribute ceremony on June
10, 2004. ''I am honoured to be selected by the AFI for
the work I love doing,'' Streep said in a statement.
''The event is in June and that might give me enough time
to compose a list of all the people I'm beholden to in my
life," she added.
The comedy, "She-Devil", is a change from her serious
films.
Streep has always taken up challenging roles, different
kinds of characters so that she does not repeat herself
descending to a visual movie cliché.
Another distinguishing feature, rather uncommon in
Hollywood, is her penchant for doing different kinds of
accents on which she works hard to get the correct
pronunciation, and speech patterns. In Hollywood such
fastidious approach to accent is something rare.
She is held by critics and cognoscenti to be the greatest
living actress of American Cinema and is ranked equally
with the all-time greats like Katharine Hepburn, Greta
Garbo, Bette Davis, Joan Crawford, Ingrid Bergman, and
Rosalind Russell. Today she has few equals.
Meryl Streep (original name, Mary Louise Streep) was born
in Summit, New Jersey, United States on June 22, 1949.
Even at school she was interested in dramatics and took
part in school plays. However, she made a name for
herself as cheerleader. She joined Vassar College where
her interest in acting began to take hold of her. After
graduating from Vassar she joined the Yale School of
drama.
She had her first exposure in mass media in television in
1977 and made her movie debut in "Julia" (1977), which is
based on 'Pentimento', a book of memoirs by Lillian
Hellman. It is all about her friend Julia, her fortunes,
her fight for the European causes and her ultimate death
at the hands of the Nazis.
"The Hours" ... a story of three women linked by novelist
Virginia Woolf's 'Mrs. Dalloway.'
Directed by the noted filmmaker Fred Zinnemann, the lead
roles were played by Jane Fonda, Vanessa Redgrave and
Jason Robards Jr. Streep had only a supportive role in
it, but she did attract critical attention.
Her first Oscar nomination came in 1978 with her second
movie, "The Deer Hunter" (1978).
It is about the Vietnam War and its impact on American
society, told through the lives of three friends.
Directed by Michael Cimino, based on his own story, it
had Robert De Niro and John Cazale. "The Deer Hunter" won
Oscars for Best Picture and Best Director and Best
Supporting Actor. During the making of this film she was
friendly with Cazale and also got engaged to him briefly.
Sadly he died in 1978.
Streep became a star and was critically acclaimed as a
major talent, with "Kramer versus Kramer" (1979). She had
been in movies just for two years and it was the third
movie with which she hit the bull's eye. Not many
actresses have achieved such rewards, so fast.
"Kramer versus Kramer" was about the marital problems of
an ad executive (divorced from his wife), who has the
brief custody of his seven-year-old son.
Based on a novel by Robert Denton, who also directed the
movie, it was an effective tear-jerker, well written and
excellently acted by Dustin Hoffman as the husband and
Streep as the wife. Streep's performance was emotionally
rich and empathetic and deservedly won her the first
Oscar for Best Actress.
The movie also won Oscars for Best Picture, Best
Director, Best Actor (Hoffman) and Best Screenplay. It
was also a major box-office success because it touched a
raw nerve in American society and moved millions of
filmgoers around the world.
Streep scored again in 1982, winning her second Oscar for
Best Actress in "Sophie's Choice". Based on the best-
selling novel by the noted American writer, William
Styron, it was written for the screen and directed by the
well-known filmmaker Alan Pakula.
The film tells the story of a Polish woman caught in the
Nazi concentration camps during the Second World War
(1939-1945) and who manages to escape and relocate to New
York. But the painful memories haunt her and she finds
her life in New York almost as miserable as it was in the
past.
Streep in the lead role rose to great heights of
emotional performance as the mother. She actually carried
the movie on her shoulders.
While the movie fetched Streep an Oscar, critics did not
treat the movie kindly. In a devastating review the noted
British film magazine, Sight and Sound, commented, ''...
only one question remains, why did Pakula have to do this
movie?''
With two Oscars within five years of her Hollywood
sojourn Streep became a force to reckon with and became
the 'female Colossus' of Hollywood Cinema.
Her other movies include "Silkwood" (1980, Oscar
nomination),
"Out of Africa" (1988, Oscar nomination), "The Bridges of
Madison County" (1995), in which her co-star is the
Hollywood star, cult figure and filmmaker Clint Eastwood.
It is about an Italian-American wife in Iowa who has a
passionate four-day affair with a photographer. Directed
by Eastwood himself, the movie was a major box-office
success and grossed $172 millions!
Streep is such a perfectionist that when she played the
role of a violinist in "Music of the Heart" (1999), she
learnt to play the instrument by practising six hours a
day for eight weeks. Such is her obsession for detail.
Streep is married to Don Gummer and has four children.
She is an affectionate and yet strict mother.She was
ranked 24 in the list of 'Hundred Top Movie Stars of All-
Time,' brought out by British magazine, Empire.
During her early years she worked as a waitress to pay
for her education.
By winning the 'Life Achievement Award', Meryl Streep has
proved beyond doubt that success can be achieved during
one's lifetime by hard work, dedication and the pursuit
of excellence.
'Take your heart to work'
Meryl Streep and Clint Eastwood were watching the
'rushes' of a passionate love sequence in their hit
movie, "The Bridges of Madison County." Eastwood, who
directed the movie, also played the male lead. Both were
half nude under the sheets in the sequence, and while the
scene rolled over the screen, Streep noticed Eastwood
with his eyes closed (with passion!) making gestures and
signs with one hand to someone! The director was giving
instructions to the cinematographer about the camera
movement!
Streep stared at him and told him that he did not
concentrate enough on the scene. The usually tight -
lipped star remarked seriously, ''You know, it is tough
to do both simultaneously! ''
A scene from "The French Lieutenant's Woman".
Streep is passionately devoted to accents of the
characters she portrays. In the Eastwood-directed movie
she plays an American of Italian origin who has spent
years in her home country.
In the first shot when Eastwood meets her, Streep spoke
her lines with a heavy American-Italian accent, which
took Eastwood by surprise because he had told her earlier
that he was not keen on accents. Much to his shock, she
told him, ''I play my roles the way they should be and I
do not want anyone to tell me how... !''
Streep is un-Hollywood like in her life style. She does
not live in Hollywood and makes her home in Connecticut
in the east with her sculptor husband and four children.
A down to earth person, she has no airs about herself and
some of her quotes have justly become famous.
A sampler... ''Take your heart to work!'' or ''I'm
looking forward to bigger parts in the future, but I'm
not doing soft-core s where the character emerges
in half-light, half-dressed.'' And her most famous quote
.. ''You can't get spoiled if you do your own ironing.''
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Jai Maharaj
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Panchaang for 14 Kartik 5104, Friday, November 7, 2003:
Shubhanu Nama Samvatsare Dakshinaya Jeevan Ritau
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- Celebrity Gossip
- Most budding screen actresses might have thrown in the towel if they had been appraised, like Davis was, as having "about as much sex appeal as Slim Summerville." (That from Universal president Carl Laemmle, after seeing her debut performance in 1930's Bad Sister But this feisty, unique star defied her studio critics repeatedly and fooled them all by achieving ever greater success; by the time she died Davis had won a status enjoyed by no other Hollywood actress, and if her struggles took a heavy toll on her personal life, we can at least be grateful that they gave us so many memorable movie moments.
Davis decided that she wanted to be an actress while in high school, and worked in student productions and regional theater. Famed acting teacher Eva Le Gallienne rejected Davis' application to study with her, so the young hopeful went instead to John Murphy Anderson's school. Her early professional career in stock was undistinguished to say the least; director George Cukor fired her from a show in upstate New York. She made her Broadway debut in 1929's "Broken Dishes," and the following year was rebuffed in her first attempt to crash the movies W_hen she got a thumbs-down after screen-testing for Samuel Goldwyn. She was signed by Universal later that year, but her tenure there was brief, with sup porting stints in only a few movies, including Waterloo Bridge (1931).
Davis freelanced briefly (making, among several lackluster movies, a ludicrous 1932 thriller, The Menace for Columbia) before securing a berth at Warner Bros., where she first showed her ability in a meaty supporting role in the George Arliss vehicle The Man Who Played God (1932). Although the studio didn't quite know how to exploit her, she was at least kept busy in a string of program pictures that included Cabin in the Cotton (also 1932, in which, as a spoiled Southern belle, she uttered the immortal line, "Ah'd like ta kiss ya, but ah jest washed mah hayyah!"), The Dark Horse, Three on a Match (both also 1932), 20,000 Years in Sing Sing (with Spencer Tracy), Ex-Lady, The Working Man, Parachute Jumper, Bureau of Missing Persons (all 1933), Fashions of 1934 (a reasonably big musical, albeit one with a thankless part for Davis), The Big Shakedown, Fog Over Frisco and Jimmy the Gent (all 1934, in the lastnamed with James Cagney).
After being loaned out to RKO to play the conniving waitress in John Cromwell's Of Human Bondage (a role for which she actively lobbied), and scoring her first major triumph in the part, Davis intensified her efforts to secure better roles in Warners pictures. Initially she was put off, but finally got a meaty character as the former star rehabilitated by Franchot Tone in Dangerous (1935), which earned Davis her first Academy Award. The studio brass, as much to humble the increasingly difficult star as for any other reason, continued to put her in lame programmers for a time, but eventually bestowed upon her the quality vehicles she richly deserved. (Not, however, before being suedunsuccessfully-by Davis in an attempt to break her contract.)
She snagged Best Actress Oscar nominations five years in a row-for Jezebel (1938, which she won), Dark Victory (1939), The Letter (1940), The Little Foxes (1941), and Now, Voyager (1942)-then earned another in 1944 for Mr. Skeffington She played in both period pictures and contemporary dramas, bringing her own unique passion and charisma to each role while debunking the conventional wisdom that ceded superstar status to more "glamorous" female stars. Her other Warners films included The Petrified Forest (1936), Kid Galahad, Marked Woman, That Certain Woman (all 1937), The Sisters (1938), Juarez, The Old Maid, The Private Lives of Elizabeth and Essex (all 1939), All This, and Heaven Too (1940), The Great Lie, The Bride Came C.O.D., The Man Who Came to Dinner (all 1941, taking a supporting role-at her own request-in the last-named, a terrific adaptation of the hilarious George S. Kaufman-Moss Hart play), In This Our Life (1942), Watch on the Rhine, Thank Your Lucky Stars, Old Acquaintance (all 1943), Hollywood Canteen (1944), The Corn Is Green (1945), Deception, A Stolen Life (both 1946), June Bride (1948), and Beyond the Forest (1949, contributing another memorable movie line when, upon entering a shabby house, she says, "What a dump!").
Finally freed from her Warners contract, but with her star somewhat diminished by weaker pictures of the late 1940s, Davis bounced back with the stunning, Oscarnominated characterization of aging actress Margo Channing (who, in a Davis moment that almost descends to selfcaricature, utters the unforgettable "Fasten your selt belts ... it's going to be a bumpy night!") in All About Eve (1950). She played another actress, and received another Oscar nod, in The Star (1952), but her other, relatively few 1950s filmswith the exception of The Virgin Queen (1955) and Storm Center (1956)-were largely undistinguished. In 1961 Frank Capra gave her a scene-stealing character, Apple Annie, in Pocketful of Miracles and she received her last Academy Award nomination as a demented former child star in What Ever Happened to Baby Jane? (1962, costarring another legendary Hollywood bitch, Joan Crawford, with whom Davis didn't get along-to put it mildly).
Davis' other 1960s vehicles included The Empty Canvas (1963), Dead Ringer, Where Love Has Gone (both 1964), EB>. Hush, Sweet Charlotte, The Nanny (both 1965), The Anniversary (1968), and Connecting Rooms (1969)-an uninspiring lot, to say the least. While she appeared in Bunny O'Hare (1971), Burnt Offerings (1976), Return From Witch Mountain, Death on the Nile (both 1978), and The Watcher in the Woods (1980), Davis spent most of the remainder of her career on the small screen, working in TV movies of varying quality. She did return to the big screen in Lindsay Anderson's elegiac The Whales of August (1987), which costarred her with another legendary star, Lillian Gish. Davis walked off the set of Wicked Stepmother (1990), a cheesy little horror comedy, but since she had already shot a number of scenes, director Larry Cohen elected to keep her in the final cut. She died shortly after working on the awful film.
Davis' stormy personal life included four unsuccessful marriages, the last to actor Gary Merrill (1950-60), with whom she appeared in All About Eve In 1977, she was the first female recipient of the American Film Institute's Life Achievement Award.
- "You should never say bad things about the dead, you should only say good... Joan Crawford is dead, good!" - on the death of her long-time nemesis.
- [on sex] "God's biggest joke on human beings."
- [W_hen told not to speak ill of the dead] 'Just because someone is dead does not mean they have changed!'
- "Why am I so good at playing bitches? I think it's because I'm not a bitch. Maybe that's why Miss Crawford always plays ladies."
- At one time, the actress who won Oscars for Dangerous in 1935 and Jezebel in 1938 had quite a reputation for being difficult - "At one time?!" she erupts. "I've been known as difficult for 50 years, practically! What do you mean 'at one time'?! Nooo, I've been like this for 50 years. And it's always always to make it the best film I can make it!"
- "Gary was a macho man, but none of my husbands was ever man enough to become Mr. Bette Davis." - in reference to her fourth husband, Gary Merrill.
- "I wanted to be the first to win three Oscars, but Miss Hepburn has done it. Actually it hasn't been done. Miss Hepburn only won half an Oscar. If they'd given me half an Oscar I would have thrown it back in their faces. You see, I'm an Aries. I never lose." - in reference to Katharine Hepburn's tie for the 1968 Oscar with Barbra Streisand.
- "Today everyone is a star - they're all billed as 'starring' or 'also starring'. In my day, we earned that recognition."
- "If you want a thing well done, get a couple of old broads to do it."
- "I will never be below the title."
- "Of course I replaced my father. I became my own father and everyone else's." - in reference to her parents' divorce W_hen she was 7
- "An affair now and then is good for a marriage. It adds spice, stops it from getting boring. I ought to know."
- "I'd marry again if I found a man who had fifteen million dollars, would sign over half to me, and guarantee that he'd be dead within a year."
- "To fulfill a dream, to be allowed to sweat over lonely labor, to be given a chance to create, is the meat and potatoes of life. The money is the gravy."
- "The male ego, with few exceptions, is elephantine to start with."
- "I would advise any woman against having an affair with a married man believing he will ever leave his wife, no matter how often he says his wife does not understand him. Love is not as necessary to a man's happiness as it is to a woman's. If her marriage is satisfactory, a woman will seldom stray. A man can be totally contented and still be out howling at the moon."
- "There was more good acting at Hollywood parties than ever appeared on the screen."
- "I have never known the great actor who... didn't plan eventually to direct or produce. If he has no such dream, he is usually bitter, ungratified and eventually alcoholic."
- "What a fool I was to come to Hollywood where they only understand platinum blondes and where legs are more important than talent."
- "Success only breeds a new goal."
- "Gay Liberation? I ain't against it, it's just that there's nothing in it for me."
- Davis on her character in All About Eve (1950): "Margo Channing was not a bitch. She was an actress who was getting older and was not too happy about it. And why should she? Anyone who says that life begins at forty is full of it. As people get older their bodies begin to decay. They get sick. They forget things. What's good about that?"
- On rival Joan Crawford: "She has slept with every male star at MGM except Lassie."
- "I'm the nicest goddamn dame that ever lived."
- "I went back to work because someone had to pay for the groceries."
- "At 50, I thought proudly, 'Here we are, half century!' Being 60 was fairly frightening. You want to know how I spent my 70th birthday? I put on a completely black face, a fuzzy black afro wig, wore black clothes, and hung a black wreath on my door."
- "Until you're known in my profession as a monster, you're not a star."
- "I see - she's the original good time that was had by all."
- "Getting old is not for sissies."
- In 1982: "Acting should be bigger than life. Scripts should be bigger than life. It should ALL be bigger than life."
- "I wouldn't piss on her if she was on fire." (in reference to Joan Crawford)
- Measurements: 34C-21-34 (as a "too busty" starlet), 36C-25-35 (in 1940), (Source: Celebrity Sleuth magazine)
- After the song "Bette Davis Eyes" became a hit single, Ms. Davis wrote letters to singer Kim Carnes and songwriters Donna Weiss and Jackie DeShannon and asked how did they know so much about her. One of the reasons Davis loved the song is that her granddaughter heard it and thought her grandmother was "cool" for having a hit song written about her.
- Nominated for an Academy Award 5 years in a row for movies in 1938, 1939, 1940, 1941 and 1942. She shares the record for most consectutive nominations with Greer Garson.
- When she first came to Hollywood as a contract player, Universal Pictures wanted to change her name to Bettina Dawes. She informed the studio that she refused to go through life with a name that sounded like "Between the Drawers".
- Mentioned by name in Madonna's #1 hit "Vogue".
- In "Marked Woman" (1937) Davis is forced to testify in court after being worked over by some Mafia hoods. Disgusted with the tiny bandage supplied by the makeup department, she left the set, had her own doctor bandage her face more realistically, and refused to shoot the scene any other way.
- Her real true love was director William Wyler but he was married and refused to leave his wife.
- Her first husband Arthur Farnsworth was killed in an accidental fall in which he took a blow to the head.
- She considered her debut screen test for MGM to be so bad that she ran screaming from the projection room.
- Bette was elected as first female president of the American Academy of Motion Picture Arts and Sciences in October 1941. She resigned less then two months later, publicly declaring herself too busy to fulfill her duties as president while angrily protesting in private that the Academy had wanted her to serve as a mere figurehead for the company.
- When Bette learned that her new brother-in-law was a recovering alcoholic, she sent the couple a dozen cases of liquor for a wedding present.
- Director 'Steven Speilberg' won the Christie's auction of Bette Davis' 1938 Best Actress Oscar for Jezebel for $578,000. He then gave it to the Academy of Motion Picture Arts and Sciences. [19 July 2001]
- Immortalized in the 1980's song "Bette Davis Eyes" by Kim Carnes.
- Was the first woman to be president of the Motion Picture Academy of Arts and Sciences.
- Mother of 'Barbara Merrill'
- Interred at Forest Lawn (Hollywood Hills), Los Angeles, California, USA, just outside and to the left of the main entrance to the Court of Remembrance.
- Attended Northfield Mt Hermon high school.
- She suffered a stroke and a mastectomy in 1983.
- On her tombstone is written "She did it the hard way".
- In 1952, she was asked to perform in a musical, "Two's Company." After several grueling months at rehearsals, her health deteriorated due to osteomylitis of the jaw and she had to leave the show only several weeks after it opened. She was to repeat this process in 1974 W_hen she rehearsed for the musical version of "The Corn Is Green", called "Miss Moffat" but bowed out early in the run of the show for dubious medical reasons.
- Ranked #15 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list. [October 1997]
- While Bette Davis was the star pupil at John Murray Anderson's Dramatic School in New York, another of her classmates was sent home because she was "too shy". It was pronounced that this girl would never make it as an actress. It was Lucille Ball.
- Ruth Elizabeth Davis was born in Lowell, Massachusetts, on April 5, 1908. Her parents divorced W_hen she was young. Her early interests were in dance. To Bette, dancers led a glamorous life but then she discovered the stage. She gave up dancing for acting. To her, it presented much more of a challenge. She studied drama in New York City and made her debut on Broadway in 1929. In 1930, she moved to Hollywood where she hoped things would get better for her in the world of acting. They did, indeed. She would become known as the actress that could play a variety of very strong and complex roles. She was first under contract to Universal Studios where she made her first film called WAY BACK HOME in 1931. After the unsuccessful film, BAD SISTER made the same year, she was fired which was wildly unpopular. She then moved on to Warner Brothers. Her first film with them was SEED made in 1931. More fairly successful movies followed but it was the role of Mildred Rogers in OF HUMAN BONDAGE in 1934 that would give Bette major acclaim from the film critics. Warner Bros. felt their seven year deal with Bette was more than justified. They had a genuine star on their hands. With this success under her belt, she began pushing for stronger and more meaningful roles. In 1935, she received her first Oscar nomination for her role in DANGEROUS as Joyce Heath. In 1936, she was suspended without pay for turning down a role that she deemed unworthy of her talent. She went to England where she had planned to make movies but was stopped by Warner Bros. because she was still under contract to them. They did not want her to work anywhere. Although she sued to get out of her contract, she lost. Still they began to take her more seriously after that. By 1938, Bette received a second Academy nomination for her work in JEZEBEL in a film opposite the, soon to be, legendary Henry Fonda. Bette would receive six more nominations including her role as Margo Channing in ALL ABOUT EVE (1950). While she was a genuine star in the 30's and 40's, the 50's and early 60's saw her in the midst of films which all lost money. Then came WHATEVER HAPPENED TO BABY JANE? in 1962. This brought about a new round of super stardom for generations of fans who were not familiar with her work. Two years later she starred in HUSH, HUSH SWEET CHARLOTTE in which she played a deranged, former child actress and a rather spooky one at that. She was very convincing and strange in that role. Bette was married four times, her last to actor Gary Merrill which lasted ten years, longer than any of the previous three. In 1985, her daughter, Barbara Davis Hyman, published a scandalous book about Bette called My Mother's Keeper. Sadly, Bette Davis died on October 6, 1989 of an undisclosed illness.
- Her parents divorced W_hen she was young. In her first year of high school she gave up dance for acting. After a little time in John Murray Anderson's acting school she was in the off-Broadway "The Earth Between" (1923). Her Broadway debut in 1929 was in "Broken Dishes". Late in 1930, on a six-month Universal contract, she arrived in Hollywood. The studio representative who went to meet her train left without her because he could find no one who looked like a movie star. In 1932 she signed a seven-year deal with Warners. She won Oscars for Dangerous (1935) and Jezebel (1938) and fought unsuccessfully to break her contract between awards. She received eight additional Oscar nominations including one for the role of Margo Channing in All About Eve (1950), the role with which she remains most identified. A genuine box-office star in the 1930s and 1940s, all her films from 1953 to 1962 lost money; then What Ever Happened to Baby Jane? (1962) brought a new phase of stardom. In 1979 she won a Best Actress Emmy for Strangers: The Story of a Mother and Daughter (1979) (TV) and in 1982 she moved from Connecticut to L.A. to be in the 1982-3 TV series "Hotel" (1983) (illness led to her replacement by Anne Baxter - shades of All About Eve (1950)). She had three children, one of whom was severely retarded. Her daughter B.D. wrote a 1985 scandal/bio "My Mother's Keeper". In 1977 the American Film Institute gave her its Lifetime Achievement Award
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