Archive for February, 2016
Frank Kelly will always be remembered as “Fr Jack” in the classic cult TV series “Fr Ted”. He died in 2016.
Frank Kelly, who has died aged 77, was the actor best known for playing the irascible, foul-mouthed Father Jack Hackett in the sitcom Father Ted, which was broadcast on Channel 4 from 1995 until 1998.
Kelly’s acting career spanned some 60 years and he was already well known in his native Ireland for his work on the satirical television comedy show Hall’s Pictorial Weekly
(1971-1980), before his role as Father Jack brought him to a wider audience. Father Ted followed the hapless adventures of three priests who have found themselves exiled – for various misdemeanours – on Craggy Island, a fictional island off the west coast of Ireland, along with their chaotic and batty housekeeper, Mrs Doyle.
Much of the success of the series lay in the fond irreverence of the writing (by Arthur Mathews and Graham Linehan) and the interaction between the amiable but somewhat wayward Father Ted Crilly (Dermot Morgan – who died in 1998, shortly after the series ended), the doltish Father Dougal McGuire (Ardal O’Hanlon) and Kelly’s Father Jack, best known for his liberal use of the word “feck” (as well as “arse”, “girls” and “drink”).
With his wall eye, wild grey hair, alcoholic incoherence and occasional lapses into mindless violence, Father Jack delighted viewers and became something of a cult figure. The reason behind his enforced exile was, as with his fellow priests, somewhat unclear, but seemed to be connected to his behaviour at a wedding. Once ensconced on Craggy Island, however, he was always treated with benign tolerance by Fathers Ted and Dougal.
Despite his appalling antics (including, in his attempt to get hold of some “drink”, downing both Toilet Duck and Windolene), Father Jack somehow retained a grandfatherly presence in the series. Kelly later said that he was occasionally approached by young priests who would tell him that they too were taking care of a much older man. “They’ll say, ‘how do you know about ours?’” he explained in 2015. “[He’s] not without foundation in reality.”
Kelly himself could not have been less like his character. Softly spoken, genial and conservative in temperament, he was modest about his own achievements in the show (“Every raised eyebrow is in the script”) and did not seem to mind that other professional achievements were often overshadowed by his role as the outrageous old priest. He treasured one particular page of the script, which he kept for years after the show ended. It read: “Caution. It is very dangerous to approach Father Jack.”
Frank Kelly was born Francis O’Kelly in Dublin on December 28 1938, one of six children of the Irish cartoonist and satirist, Charles E Kelly, and educated at Blackrock College, where he was a schoolboy opera star, before going on to read Law at University College, Dublin. He was called the bar at King’s Inns but decided to switch to acting as a career.
His first film role was as a prison officer in The Italian Job (1969), and from 1968 until 1982 he appeared in the RTÉ children’s series Wanderly Wagon. His work on Hall’s Pictorial Weekly, made his name in Ireland. The show’s satirical take on the country’s politics was such that it was said to have played a part in bringing down the Fine Gael-Labour Party coalition government in 1977.
From 1999 to 2001 Kelly starred in the RTÉ series Glenroe. Other parts included a role in 2003 as John Smith, leader of the Labour Party, in the Stephen Frears drama The Deal.
In 2010, he joined the ITV soap Emmerdale, but left after five months because he missed his family and Ireland. He also appeared as the judge in Mrs. Brown’s Boys D’Movie.
He married Bairbre Neldon in 1964. She survives him with their seven children.
Frank Kelly, born December 28 1938, died February 28 2016
The epitome of opulent, grande dame haughtiness, British character actress Isobel Elsom began on the stage in 1911 and went on to grace a number of silent and sound pictures in England, marrying and divorcing director Maurice Elvey in the interim. In the late 30s she settled in America and earned major Broadway success with the play “Ladies in Retirement,” which she also took to film in 1941. What the tiny-framed Elsom lacked in stature, she certainly made up for in pure chutzpah. The matronly actress remained in Hollywood and played a number of huffy bluebloods in both comedies and drama for over two decades, often as a minor Margaret Dumont-like foil to Jerry Lewisin his solo pictures of the late 50s and early 60s. She sometimes was billed under the last name of a second husband, appearing as Isobel Harbord.
– IMDb Mini Biography By: Gary Brumburgh / firstname.lastname@example.org
The above IMDB entry can also be accessed online here.
Born Ann-Margaret Olsson in Stockholm, Sweden on April 28, 1941, the redhead who would one day be known simply as Ann-Margret spent the first five years of her life in her native country before her electrician father was offered a job in stateside. The family settled near Chicago, IL; first in Fox Lake, then in Wilmette where they lived in the funeral home where her mother worked as a receptionist. As a vivacious pre-teen, Ann-Margret began entering talent contests, taking her singing and dancing to national television at age 16 on “The Amateur Hour” (DuMont Network, 1946-49; NBC, 1949-1954; ABC, 1955-57). She joined a number of professional bands while still in school, but in 1960, George Burns discovered the cabaret performer singing and playing the maracas in the lounge of the Dunes Hotel in Las Vegas. Impressed with her presence, the comedian hired her for $100 per night to perform in his Christmas show at the Sahara Hotel. After landing a recording contract with RCA and releasing the first of many albums in 1961, she made her feature debut as Bette Davis’ daughter in Frank Capra’s wet-blanket remake, “A Pocketful of Miracles” (1961). The effort earned the actress a Golden Globe Award for Best Newcomer, and though her follow-up, a remake of “State Fair” (1962), bombed, she became the “It girl” of the moment when she sang the Oscar-nominated song “Bachelor in Paradise” at the 34th annual Academy Awards.
With her youthful, high-energy dancing style and breathy vocals, Ann-Margret helped resuscitate the nearly comatose Hollywood musical with her role as the small-town girl chosen to kiss a rock star in “Bye Bye Birdie” (1963). She also played a key role in making “Viva Las Vegas” (1964) Elvis Presley’s best musical, matching the King step-for-step in the talent and sex appeal departments. The project also sparked a romance between the pair, who parted as friends and remained close confidantes throughout Elvis’ tumultuous life. However “Bye Bye Birdie” and “Viva Las Vegas” were the high points of a flurry of forgettable films cranked out to capitalize on Ann-Margret’s sex bomb image. She tackled her first serious role in the uninspired “Kitten with a Whip” (1964), playing a tough, conniving escapee from a reformatory; though some noticed the beginnings of a dramatic actress, most refused to take her seriously. A steady diet of fluff ensued until her 1967 marriage to Roger Smith, the former star of “77 Sunset Strip” (ABC, 1958-1964) who took over her management in partnership with Allan Carr. Smith and Carr groomed Ann-Margret as a variety artist, which begat a decade-long series of highly enjoyable musical-comedy TV specials, beginning with “The Ann-Margret Show” (CBS, 1968). She further survived the death of the Hollywood musical by becoming a staple of the Las Vegas scene where such productions still thrived, selling out shows weeks in advance.
During the 1970s, the cultural icon that had inspired and voiced Ann-Margrock on an episode of “The Flintstones” (ABC, 1960-66) finally won respect as a dramatic actress. Her powerful supporting performance as Jack Nicholson’s neglected wife in Mike Nichols’ “Carnal Knowledge” (1971) brought, in the words of one critic, “the only sign of humanity” to the picture. She would go on to win a Golden Globe and earn an Oscar nomination for the role. A life-threatening, 22-foot fall from a stage in 1972 temporarily disrupted her career and put the entertainer in a coma for three days, but she made a triumphant Las Vegas comeback an astonishing 10 weeks later. The high-profile accident brought in a staggering 51 million viewers to watch her “comeback” TV variety special, “Ann-Margret: When You’re Smiling” (NBC, 1973), the following year. She went on to realize her dream of playing opposite John Wayne by landing role in the relaxed Western “The Train Robbers” (1973), following it up with a surprising and intense performance as deaf, dumb, and blind kid Roger Daltrey’s mother in the rock musical “Tommy” (1975), for which she earned an Oscar nomination for Best Actress. Though Ann-Margret remained busy during the late-1970s, few good roles and films presented themselves, with her acclaimed performance opposite Anthony Hopkins in Richard Attenborough’s “Magic” (1978) outnumbered by lame comedies like “Middle Age Crazy” (1980).
Since meaty feature fare was at a minimum for aging actresses, Ann-Margret turned to television during the ’80s as an outlet for her dramatic talent. Her TV movie debut, “Who Will Love My Children?” (ABC, 1983), was a stunner that earned her a Golden Globe for Best Actress in a Miniseries or Motion Picture Made for Television. Encouraged by director John Erman to shed her glamour image to play the part of a cancer-stricken single mother who tries to place her 10 children with new families before she succumbs, Ann-Margret garnered the first of her many forthcoming Emmy nominations. The following year, she offered a Golden Globe-winning interpretation of Blanche DuBois alongside Treat Williams and Beverly D’Angelo in a TV adaptation of “A Streetcar Named Desire” (ABC, 1984). She gave another excellent performance as a complicating member of a trio in the feature film “Twice in a Lifetime” (1985), as “the other woman” who comes between married couple Gene Hackman and Ellen Burstyn. Ann-Margret’s TV career continued steadily with the actress bringing some class to the enjoyably trashy Dominick Dunne-adapted miniseries, “The Two Mrs. Grenvilles” (NBC, 1987), and holding her own opposite Julie Andrews in the touching AIDS drama “Our Sons” (ABC, 1991). These two TV films plus the follow-up miniseries, “Queen” (CBS, 1993) and the misbegotten “Gone with the Wind” (1939) sequel “Scarlett” (CBS, 1994), were all helmed by Erman, whose partnership with Ann-Margret yielded the actress four Emmy nominations altogether.
As she reached the half-century mark, the multi-faceted entertainer returned to the stage, starring in the biggest production ever staged by a single performer at Radio City Music Hall in 1991. Her profile boost continued with her biggest feature film success in years, as the attractive bone of contention between famous screen team Jack Lemmon and Walter Matthau in “Grumpy Old Men” (1993). Hot on the heels of that major box office success, she released the bestselling memoir, Ann-Margret: My Story for a reported $1 million publishing deal. She re-teamed with her co-stars for the equally popular sequel “Grumpier Old Men” in 1995. At this time, the actress kicked off a producing career through Ann-Margret Productions, creating vehicles for herself like “Following Her Heart” (NBC, 1994) and “Seduced By Madness: The Diane Borchardt Story” (NBC, 1996). Her first foray into series TV came with her role as the matriarch of a large New Mexican ranching family in “Four Corners” (CBS, 1998), which unfortunately fizzled after only three episodes. An Emmy- and Golden Globe-nominated leading role in the Lifetime biopic, “Life of the Party: The Pamela Harriman Story” (1998), about the storied socialite; an almost unrecognizable turn as a wily grandmother in “Happy Face Murders” (Showtime, 1999); and a featured role as a 200-year-old Cinderella in the NBC fantasy miniseries, “The 10th Kingdom” (2000) continued her run as queen of dramatic TV movies.
Returning to feature films to kick off a new era of big screen “mother” roles, Ann-Margret played the estranged mom of a football team owner (Cameron Diaz) in Oliver Stone’s “Any Given Sunday” (1999). The following year, she portrayed the wife of nearly washed-up movie mogul Burt Reynolds in “The Last Producer” (2000), also directed by Reynolds. On the small screen she excelled in the “ripped from the headlines” television movie, “Perfect Murder, Perfect Town: JonBenét and the City of Boulder” (2000), and she appeared in the CBS miniseries “Blonde” (2001), based on the Joyce Carol Oates book, as one of the influential women in the life of Marilyn Monr . In “A Woman is a Hell of a Thing” (2001), she was not used to best effect as the New Age-y stepmother of a men’s magazine publisher, but that same year, she hit a music milestone when her Gospel album, God is Love: The Gospel Sessions, was nominated for a Grammy Award in the Southern, Bluegrass or Country Gospel category. The tireless worker hit the road in a touring production of “The Best Little Whorehouse in Texas” before giving a dazzling performance in the telepic, “A Place Called Home” (2004), as an aging, reclusive Southern belle whose feistiness is pitted against a pair of con artists.
In a new century career swing towards light comedy features, Ann-Margret had a supporting role as the mother of Jimmy Fallon’s rookie cop in the action-buddy film, “Taxi” (2004), and supported Jennifer Aniston and Vince Vaughn in the romantic comedy hit, “The Break-Up” (2006). She played Santa’s mother-in-law in the holiday family offering “The Santa Clause 3: The Escape Clause” (2006), but then the actress went into semi-retirement when she was diagnosed with the neuromuscular disease, myasthenia gravis. Thankfully, she returned to the small screen for an Emmy-winning guest appearance on an episode of “Law & Order: Special Victims Unit” (NBC, 1999- ).
The above TCM overview can also be accessed online here.
Born at Queens Hospital on April 14, 1940. As the son of actors Robert Walker and Jennifer Jones, Robert Walker Jr. certainly had the right pedigree to make the grade in Hollywood. His parents separated when Robert was only three, and at age 9 his stepfather became the powerful film mogul David O. Selznick who by this time had already taken firm control of his mother’s career.
Robert Walker Jr. began training at the Actors’ Studio in the early 1960s. He also married wife Ellie Wood in the early 60s and they had three children. Walker Jr. preferred to find his own place in the entertainment field and tried to avoid the obvious comparisons, but his startling resemblance to his late father made it extremely difficult for film audiences to separate the two. He started his film career in good company and with two strong roles in The Hook (1963), a morality story set during the Korean war starring Kirk Douglas and Nick Adams, and The Ceremony (1963) in which he received a Golden Globe Award for “promising newcomer” as Laurence Harvey‘s brother. Walker Jr. also worked on TV and earned a Theatre World Award for his two 1964 off-Broadway roles in “I Knock at the Door” and “Pictures in the Hallway.”
Of slight build and boyishly handsome, Robert seemed on his way when he was handed the biggest challenge of his film career taking over Jack Lemmon‘s Oscar-winning role as Ensign Pulver (1964) in the sequel to the popular service comedy Mister Roberts(1955). Unfortunately, his comparison to Lemmon paled significantly and the script had neither the charm nor wit of its predecessor. The film and Walker were torpedoed by the reviewers and Walker lost major ground in Hollywood. Despite his obvious talent, his subsequent films lacked the quality and promise of his first two, which included The Happening (1967), The Savage Seven (1968), Killers Three (1968) and the title role in Young Billy Young (1969) starring Robert Mitchum. He and his wife Ellie appeared in roles in the hit cult film Easy Rider (1969).
Robert had guest roles in many popular television series during the 1960s, 70s, and 80s. In The Big Valley episode, “My Son, My Son,” aired on November 3, 1965, Walker portrayed Evan Miles, an emotionally disturbed college dropout who becomes obsessed with childhood friend Audra Barkley. He played the title role and another emotionally disturbed character, a troubled actor who lived and performed on the streets and in circuses, in The Naked City episode “Dust Devil on a Quiet Street” from Nov. 28, 1962. He had a memorable role in Star Trek as “Charles ‘Charlie’ Evans” in the episode “Charlie X”, which aired 15 September 1966. In addition, he played Billy the Kid in episode 22 of The Time Tunnel, which originally aired on February 10, 1967, and also portrayed Nick Baxter, an ill alien who caused the deaths of humans by touch, in the episode “Panic” in the television series The Invaders, which aired on April 11, 1967. He played Mark Cole in the October 29, 1967 episode of Bonanza titled ‘The Gentle Ones’. He also had a role in an episode of Columbo, “Mind Over Mayhem”, (1974) and in the 5th season of the series Combat! in the episode “Ollie Joe”. In later years, Walker maintained on TV episodes, his final appearances occurring in 1991 with L.A. Law and In the Heat of the Night.
– IMDb Mini Biography By: JT Atkin
The above IMDB entry can also be accessed online here.
Melina Mercouri obituary from “The Independent” in 1994.
Maria Amalia Mercouris (Melina Mercouri), actress and politician: born Athens 18 October 1920; Member of Parliament (Pasok) for Piraeus 1977- 94; Minister of Culture and Sciences 1981-89, 1993-94; married 1942 Panayiotis Harokopos, 1966 Jules Dassin; died New York City 6 March 1994.
IN 1983 Melina Mercouri delivered the Herbert Read Memorial Lecture at the ICA, writes Peter Thompson. As she was already Greece’s Minister of Culture, and on a private visit, she did her best to steer clear of controversy. But nobody would have missed her meaning when she closed by apologising for her accent and added: ‘I hear it and am reminded of what Dylan Thomas said of a British broadcaster: ‘He speaks as if he had the Elgin Marbles in his mouth.’ ‘
The then director of the British Museum, Sir David Wilson, was in the audience that night. At the reception afterwards he found himself sharing a sofa with Mercouri and manfully keeping up his end of a vigorous – and anything but uncontroversial – conversation. His gallantry, however, became ever more tight-lipped as Mercouri’s campaign for the return of the Parthenon Marbles (she contemptuously rejected the term ‘Elgin Marbles’) gathered pace, even though she insisted her quarrel was with the British government, not the British Museum.
Melina Mercouri grew up in a household drenched with politics. Her grandfather was elected Mayor of Athens a record four times, and her father was a left-wing MP in the difficult period after the Greek civil war. Her happy marriage to the film director Jules Dassin was infused with his own radical and unwavering intellectual commitment.
By chance Mercouri was playing in a musical on Broadway when that infamous band of colonels staged their coup d’etat against Greek democracy in April 1967. From the start she was in the front line of the expatriate struggle for their overthrow, and joined the handful of those deprived of their citizenship by Brigadier Pattakos, the junta’s Interior Minister. ‘I was born a Greek, and I will die a Greek. Pattakos was born a Fascist and will die a Fascist,’ was her riposte.
Her home in Paris became an open house for Greek political exiles, whatever their party affiliations, but the first anniversary of the coup she spent in London, addressing a rally of some 20,000 people in Trafalgar Square which will not be forgotten by anyone who was there.
So when in 1974 the colonels finally departed in ignominy, Mercouri was well set for a political career. She joined forces with Andreas Papandreou’s Panhellenic Socialist Movement (Pasok), and three years later was elected MP in the working-class port city of Piraeus. She wore her wealth with ease, was proud that her male constituents accepted her as an equal, and campaigned spectacularly both for practical neighbourhood improvement and for the advancement of women’s rights in a still largely macho society.
When Pasok won the 1981 elections, Mercouri was appointed Minister of Culture, a post she uniquely retained throughout the eight years of socialist rule. What had been a marginal ministry leapt on to the front pages. Among her successes were the impetus given to cultural activity in the provinces, while she most regretted her inability to win a greater share of state budget for the arts. Above all, though, her ministry became an exciting place, buzzing with ideas and enthusiasm, and drawing on talent and energy rather than political loyalty.
Mercouri brought the same dynamism and eagerness to international cultural co-operation, particularly within the EC, where she was much helped by her friendship with Francois Mitterrand and Jack Lang. During the Greek presidency in 1983 she initiated regular meetings of the community’s Culture ministers, and can also take credit for the institution of Cultural Capitals of Europe. Athens was the first such Cultural Capital in 1985.
But it was with the Parthenon Marbles campaign that her name became synonymous. And what a campaign it was. With Mercouri’s glamour and sense of drama to spearhead it, and an erudite and energetic British lobby to disseminate it, the cause penetrated people’s awareness so deeply that it even provided a theme for political cartoons dealing with the 1983 general election in Britain. After any number of leading articles, television documentaries, opinion polls, diplomatic demarches, and an Oxford Union debate, as well as a new book on the subject, it was still making news 10 years later.
Mercouri summed up the argument for the return of the Marbles in her closing words to the Oxford Union: ‘We say: ‘You have kept those sculptures for almost two centuries. You have cared for them as well as you could, for which we thank you. But now in the name of fairness and morality please give them back.’ I believe such a gesture from Great Britain would ever honour your name.’
Mercouri remained loyal to Pasok through all its tribulations after the party lost the 1989 election. She had tribulations of her own, fighting a battle against cancer, but was re-elected to Parliament in 1989, and came close to being elected Mayor of Athens the following year. When Papandreou returned to power last October he re- appointed her Minister of Culture. At one of her last election rallies she told the Athenians: ‘You can be sure the Parthenon Marbles will come back to their home.’ She would have liked nothing better than to live to see it happen.
Film career as per Wikipedia:
Her first movie was the Greek language film Stella (1955), directed by Zorba the Greek director Michael Cacoyannis. The film received special praise at the 1956 Cannes Film Festival, where she met American film director Jules Dassin, with whom she would share not only her career but also her life. Their first professional pairing was 1957’s He Who Must Die. Other films by Dassin and featuring Mercouri followed, such as The Law (1959). She became well-known to international audiences when she starred in Never on Sunday (1960), in which Dassin was the director and co-star, and for which she earned the Best Actress Award at the 1960 Cannes Film Festival and was nominated for the Academy Award for Best Actress and theBAFTA Award for Best Actress in a Leading Role.
After her first major international success, she went on to star in Phaedra (1962), for which she was nominated again for the BAFTA Award and the Golden Globe Award for Best Actress in Motion Picture Drama. The recognition of her acting talent did not stop though, as her role in Topkapi (1964) granted her one more nomination, this time for the Golden Globe Award for Best Actress in Motion Picture Musical or Comedy. She worked with such directors as Joseph Losey, Vittorio De Sica, Ronald Neame, Carl Foreman, Norman Jewison, and starred in films like Spanish language The Uninhibited by Juan Antonio Bardem.
She continued her stage career in the Greek production of Tennessee Williams‘s Sweet Bird of Youth (1960), under the direction of Karolos Koun. In 1967, she played the leading role inIllya Darling (from 11 April 1967 to 13 January 1968) on Broadway, for which she was nominated for the Tony Award for Best Performance by a Leading Actress in a Musical, while her performance in Promise at Dawn (1970) earned her another Golden Globe Award nomination.
On 8 October 1962, Mercouri appeared on the American TV show What’s My Line. After the panel were blindfolded, a strange man appeared on-stage and proclaimed himself “the second mystery guest”. Host John Charles Daly quickly called for “the relieving crew” and said “schedule two” (a code word used on live broadcasts in case of an emergency: the cameras are turned to a neutral position and the sound is cut off). The man talked a bit about a dating service he apparently owned before being hustled off the stage by announcer Johnny Olson and executive producer Gil Fates. Daly apologized to the panel and the program continued.
Mercouri concentrated on her stage career for the following years, playing in the Greek productions of The Threepenny Opera and, for a second time, Sweet Bird of Youth, in addition to the ancient Greek tragedies Medea andOresteia. She retired from film acting in 1978, when she played in her last film, A Dream of Passion, directed by her husband, Jules Dassin. Her last performance on stage was in the opera Pylades at the Athens Concert Hall in 1992, portraying Clytemnestra.
Effectively cast as both amiable heroes and imposing figures of evil, Italian-born actor Nick Mancuso established himself as a new and valuable performer on stage in productions put on by the Stratford Festival and the Toronto Free Theater. He made his Hollywood motion picture debut in the horror outing “Nightwing” (1979), which proved to be a failure, but Mancuso quickly bounced back with one of his finest performances in “Ticket to Heaven” (1981) as a downtrodden man seduced into joining a cult. From that point onward, he alternated between working in the United States and Canada, including the fondly remembered “Stingray” (NBC, 1985) and its short-lived series offshoot, and such major studio pictures as “Under Siege” (1992) and “Rapid Fire” (1992). Moving back and forth from lead roles to more character-oriented assignments, Mancuso’s dark good looks and multilingual abilities also made him the perfect choice to play different ethnicities. Although he was rarely at a loss for employment, Mancuso launched a new career path later in life as an enthusiastic advocate for healthy life choices and homeopathic alternatives to conventional medication. While never a bona fide star by Hollywood standards, Mancuso commanded a great deal respect amongst both his peers and the public for an impressively lengthy and varied acting history in three mediums.
The above TCM Overview can also be accessed online here.
Though his romantic adventures as the womanizer du-jour for over four decades occasionally overshadowed his creative endeavors, star Warren Beatty was an actor and Academy Award-winning director and writer who starred in and made some of the most ambitious and influential films of the 1960s on through the 1990s. His list of credits may have come up shorter than some of his more celebrated peers, but few could boast such films as “Bonnie and Clyde” (1967), “McCabe and Mrs. Miller” (1971), “Shampoo” (1975), “Reds” (1981) and “Bugsy” (1991) as their own. In truth, his list of romantic conquests probably exceeded his film credits, with the likes of Jane Fonda, Diane Keaton, Carly Simon, Madonna, Diane Sawyer, Natalie Wood, Cher, Julie Christie and Michelle Phillips all making the rounds with Beatty. But ultimately it was actress Annette Bening who tamed the wild man and claimed him as her husband after meeting on the set of “Bugsy.” Beatty settled down into marriage shortly after, while his career eased to a crawl after directing and starring in the political satire, “Bulworth” (1998). After the disastrous flop “Town & Country” (2001), Beatty retreated from filmmaking altogether, seemingly content with watching Bening earn accolades for one stellar performance after another. His deep involvement in liberal politics sparked rumors of a run for office – governor or perhaps even president – but Beatty always brushed aside such talk. It was, in fact, a return to filmmaking that excited his fans the most, as Beatty held out hope for a highly-anticipated return.
Eva Gaëlle Green was born on July 6, 1980, in Paris, France. She has a sororal twin sister. Her father, Walter Green, is a dentist who appeared in the 1966 film Au Hasard Balthazar (1966). Her mother, Marlène Jobert, is an actress turned children’s book writer. Eva’s mother was born in Algeria, of Sephardi Jewish heritage (during that time, Algeria was part of France), and Eva’s father is of Swedish and French descent. Eva left French school at 17. She switched to English in Ramsgate, Kent, and went to the American School in France for one year. She studied acting at Saint Paul Drama School in Paris for three years, then had a 10-week polishing course at the Weber Douglas Academy of dramatic Art in London. She also studied directing at the Tisch School of Arts at New York University. She returned to Paris as an accomplished young actress, and played on stage in several theater productions: “La Jalousie en Trois Fax” and “Turcaret”. There, she caught the eye of director Bernardo Bertolucci. Green followed a recommendation to work on her English. She studied for two months with an English coach before doing The Dreamers (2003) with Bernardo Bertolucci. During their work, Bertolucci described Green as being “so beautiful it’s indecent”. Green won critical acclaim for her role in The Dreamers (2003). She also attracted a great deal of attention from male audiences for her full frontal nudity in several scenes of the film. Besides her work as an actress, Green also composed original music and recorded several sound tracks for the film score. After “The Dreamers”, Green’s career ascended to the level where she revealed more of her multifaceted acting talent. She played the love interest of cult French gentleman stealer, Adventures of Arsene Lupin (2004), opposite Romain Duris. In 2005, she co-starred, opposite Orlando Bloom and Liam Neeson, in Kingdom of Heaven (2005), produced and directed by Ridley Scott. The film brought her a wider international exposure. She turned down the femme fatale role inThe Black Dahlia (2006), that went to Hilary Swank, because she didn’t want to end up always typecast as a femme fatale after her role in “The Dreamers”. Instead, Eva Green accepted the prestigious role of “Vesper Lynd”, one of three Bond girls, oppositeDaniel Craig, in Casino Royale (2006) and became the 5th French actress to play a James Bond girl, after Claudine Auger in Thunderball (1965), Corinne Cléry inMoonraker (1979), Carole Bouquet in For Your Eyes Only (1981) and Sophie Marceau inThe World Is Not Enough (1999). Since her school years, Green has been a cosmopolitan multilingual and multicultural person. Yet, since her father always lived in France with them and her mother, she and her twin sister can’t speak Swedish. She developed a wide scope of interests beyond her acting profession and became an aspiring art connoisseur and an avid museum visitor. Her other activities, outside of acting, include playing and composing music, cooking at home, walking her terrier, and collecting art. She shares time between her two residencies, one is in Paris, France, and one in London, England.
– IMDb Mini Biography By: Steve Shelokhonov