Brittish Actors

Collection of Classic Brittish Actors

Joe McFadden
Joe Mason
Joe McFadden

Joe McFadden was born in 1975 in Glasgow. He appeared in such TV dramas as “Take the High Road” and “Taggert” as a child actor. Films inclide “Beginer’s Luck” in 2001. Best known for his role as PC Joe Mason in “Heartbeat” which he played from 2007 until 2009.

“Daily Record” article:

FOR 26 years, his boyish good looks and doe eyes have made Joe McFadden a TV favourite in shows such as Heartbeat and Cranford.

But the Scot, who will turn 39 in October, has admitted those attributes have been something of a mixed blessing.

And Holby City’s new hunky doc confessed that he’s glad his face has finally caught up with his age.

Joe said: “I’m lucky, I suppose, that I can still look quite young. I don’t moisturise or drink lots of water.

“But, in a way, it’s a curse as well because for years I wasn’t playing my age and was playing people younger.

“Eventually, I’ve caught up with myself.”

He’s laughing and this isn’t a moan. The face has kept him on our telly screens since a role in Taggart in 1988.

After high-profile roles including Scots soap High Road, The Crow Road and film Small Faces, Joe this week joined Holby City as Raffaello “Raf” di Lucca – a highly driven registrar who specialises in cutting-edge resuscitation techniques. Not the kind of role you could give to someone if they looked 12.

Joe is glad but he is still slightly apprehensive about approaching 40.

He said: “I kind of feel like there’s no getting away from it, so I’ve just got to accept it. I’m kind of OK with it.

“Someone said, ‘You should be happy you are the age you are because some people don’t get to that age and some die before they get to 40’, which puts a whole new slant on it.

“I’m quite happy in my life and where I am. I really wouldn’t want to go back 10 years.”

For a start, Joe now has grown-up responsibilities. He has a seven-month-old at home.

That’s a seven-month-old cockapoo puppy, Douglas.

He laughed: “He’s Doug the Dug – although they don’t appreciate that where I live as much as you would in Scotland.”

Doug the Dug is just back from the vet to sort out an ear infection. And, while Joe likes to keep his private life just that, he’s bursting with pride at Douglas. He said: “He’s lovely. Cockapoos are good because they don’t shed and have loads of energy. They are tireless and are always wanting walks, which gets you out of the house.

“But I didn’t realise there were so many around north London, where I live.”

An added bonus of his new job on Holby City is that it’s only half an hour to Elstree, where it’s filmed, from the home he now shares with Douglas.

He said: “If I’m filming all day, he goes to a nursery daycare near Elstree. He loves it because he loves all the other dogs.

Although Joe appeared as Raf on screen for the first time last week, he has been filming since October last year.

He has a year’s contract and is looking forward to the response of viewers but he is hoping none of them asks him for medical help if he’s around when something goes wrong.

Laughing, he said: “I’ll end up killing people.

“I suppose there’s a lot of common sense, although I wouldn’t know what to do with a pregnant woman. After hot water and towels, it would be, ‘Call the midwife’.

He added: “You’re making me want to do a first aid course in case someone sees me in Holby and calls on my services.”

Joe has had experience on the other side of the fence. Sadly, his mum died of cancer six years ago and, dealing with his real grief, he then had to act it, too, as his Heartbeat character PC Joe Mason’s mum also died.

Time heals but it doesn’t make you forget. Being in a hospital hasn’t made him think about his own loss.

He said: “It’s not a real hospital. Nothing feels that real. It’s not real blood and you are usually dealing with a prosthetic person. I don’t have any flashbacks.” He thinks for a moment. “I suppose what is clear is you are meeting people on the worst days of their lives in many occasions and people are so vulnerable.

“My character is supposed to be very sensitive and tries to reassure people.”

And Joe has needed medical assistance himself.

Back in his 20s, while doing a play in Wales, he ended up with a kettle of boiling water going all over his feet.

He said: “Luckily, there was a first-aider there who knew to get my feet into water and get clingfilm on.

“I’ve got no scarring. It’s amazing how it’s healed.”

Working on Holby City has given Joe a new-found respect for the NHS and what they can do.

He said: “I was lucky to get to watch some open-heart surgery and it was just incredible to see this amazing stitching the surgeon was doing.

“He was putting a valve into this person’s heart and I was just thinking, ‘We are so lucky we are alive today that they can do these amazing things’.

“They can stop your heart and put you on bypass and get a machine to breathe for you and something to make the blood pump.

“We should treasure the NHS and hold on to it.”

His character also has to do some surgery and Joe revealed he had been “stitching someone’s bowel this week”.

As well as sitting in on an operation, Joe has been getting pointers on his new screen career as a doctor, watching lots of 24 Hours in A&E, Nurse Jackie and Grey’s Anatomy.

It’s not the first doctor Joe has played. He was Dr Dan Pemberton in Zig Zag Love, alongside Robert Carlyle. And it’s not the first Italian called Raf he’s played, having starred in Raphael: A Mortal God, a drama about painter Raphael Santi.

His latest Raf is a Scots Italian and, while he hasn’t based him on anyone, Joe has taken something of his brother-in-law.

He said: “My sister is married to an Italian guy.

“It’s not based on him but they are quite serious people. They don’t say a lot and what they do is quite considered and well thought out.

“They have a real passion.”

With Joe joining the show, it’s taking on a tartan hue, with John Michie and Michael Thomson already part of the cast.

Although Joe has been working on the show since October, he admitted he had been keen to make his first screen appearance this week.

He said: “You never feel like you’ve actually joined the show until you’ve been on screen.

“I went out with some of the cast on a Christmas night out and I hadn’t realised how popular the show was. People were coming up to the other cast members all the time.”

His last long-term telly job was Heartbeat, which was axed in 2010. Since then, he’s been treading the boards with the National Theatre of Scotland and touring the Alan Ayckbourn play Haunting Julia.

He has a year’s contract for Holby City and is looking forward to being a telly face again.

He said: “I’ve had offers since Heartbeat but there was nothing that I was right for or particularly wanted to do.

“I was getting such great theatre roles, so I did them instead.

“But Holby is great. Every week is different. There’s a new ailment or new medical jargon and medicines to try to get your tongue around.”

I’m going to say it – Holby City really is just what the doctor ordered.

The above “Daily Record” article can also be accessed online here.

Julia McKenzie
Julia McKenzie
Julia McKenzie

Julia McKenzie was born in 1938 in Enfield, Essex.   She made her London stage debut in 1966 in “Maggie May” by Lionel Bart.   Her film roles include “Hotel du Lac” and “Shirley Valentine”.   She recently succeeded  Joan Hickson and geraldine McEwan as the new Miss Marple, Agatha Christie’s genteel sleuth on television.   She is married to actor Jerry Harte.

“MailOnline” article on Julia McKenzie from 2008:

From the olde worlde tea rooms to the chintzy front parlours in Miss Marple’s picturesque village of St Mary Mead, there is talk of little else.

It’s not about the latest body found in the library, nor the grim discovery of a blonde in the bushes, nor even the scandal of the jealous lover who poisoned his rival.

No, this time the gossip is about Miss Marple herself. And, as usual, it’s a mystery only she can solve.

Why has she stepped back even further in time with a retro makeover? Whatever has happened to the slightly dotty Aunt Jane that we had grown to know and love over the last five years?

And whatever would Agatha Christie have to say about it?

Miss Marple would, of course, put down her knitting, purse her lips, peer over her spectacles and answer all these questions with perception and logic to achieve a clear-up rate that would put Scotland Yard’s finest sleuths to shame.

You can almost hear her saying: ‘Well, of course, I’m only an old lady, but it seems to me that one or two important clues have been missed.’

Julia McKenzie laughs as she imagines what the shocked residents of Christie’s fictitious village deep in Middle England would think of her portrayal of Miss Marple.

When ITV1 screens the first of a new big-budget Marple series, beginning on Sunday, she has the unenviable task of following both Geraldine McEwan and the late Joan Hickson in the role.

‘I fully expect a rough ride,’ she admits. ‘There is a special ownership of these iconic figures. People will have formed their own idea of which one was best, and now I come along and they have to get used to a different interpretation.

‘You will either like me or loathe me.’

When Christie wrote her first Miss Marple novel 78 years ago, she envisaged her as tall, delicate and thin, with a pink wrinkled face, twinkling blue eyes and white hair piled high.

She modelled her on her grandmother, of whom she said: ‘She expected the worst of everyone and everything and, with almost frightening accuracy, was usually proved right.’

That was the way Geraldine McEwan played her in the last three series until she decided it was time to hand over to someone else.

Christie took a ten-year break from writing Marple stories, but when she picked up her pen again, depicted her as a small, tweedy, robust, taciturn old maid  –  which is how Joan Hickson played her between 1984 and 1994.

Now, the mantle has been passed to McKenzie, who admits that picking up Miss Marple’s ever-present knitting and voluminous leather handbag has been ‘beyond daunting and scary.’

She says: ‘I am the seventh actress to take on Miss Marple, and although Joan and Geraldine were the best known, I felt as if everyone was looking to me to be different  –  even though I’d be crucified if I changed her too much.

‘I took the decision to go for the middle course. I’m wearing lots of tweed suits, my hair has been dyed grey and is tied in a bun with a wave, going back to the Thirties and beyond, and it’s a very traditional look.

‘My Miss Marple can be flirty, and there’s a good sense of humour below the surface. I see her as a shy, reserved woman with an analytical brain and an astute sense of justice.

‘I love that whole era, when people kept their distance from each other and everyone was so polite and genteel.

‘If I lean towards anyone, it is to Joan, whom I regard as the definitive Miss Marple.’

Her debut as Miss Marple will be in the thriller A Pocket Full Of Rye, in which businessman Rex Fortescue (Ken Cranham) dies after his breakfast is poisoned.

Miss Marple is called in, but not before Rex’s widow Adele (Anna Madeley) is also poisoned and the housemaid Gladys is found strangled with a peg on her nose.

Christie’s spinster sleuth heads off a clash with the investigating officer, Inspector Neele, played by Matthew Macfadyen, with flattery, comparing him to a great screen lover of the time.

‘You remind me of a young Errol Flynn,’ she tells him archly.

Between murders, there are two steamy sex scenes. Julia admits that she was surprised at how much sex there is in the story. ‘I thought they’d slipped another script into it,’ she says, with a twinkle in her large blue eyes as she smiles.

‘My reaction? I said: “What?! What is this?!” I was more than surprised! I suppose as long as it doesn’t involve Marple, it’s all right. I only hope it won’t upset true Christie fans, because she would never have written anything like that.

‘I like her relationships with the detectives. She does what she feels she has to do to get information and to make sure that information is passed on. This guy, Inspector Neele, she probably thinks is a bit of all right, so she flirts with him.

Miss Marple enjoys the fact that she is able to put the clues together. But she knows she can’t do anything without the police.

‘I don’t think there were any women police at that time. So she’s got to wrap that up some way, the male ego. That’s what’s interesting and different.’

A veteran star of TV sitcoms  –  Fresh Fields and French Fields  –  and of the West End musical stage, she had begun to feel the demands of theatre too tiring.

‘I was doing eight shows a week, then collapsing into bed for the whole of Sunday in order to get ready for the Monday. It was no life, even though I loved it.’

She was already toying with the idea of giving up her musical career when she landed the Miss Marple role. She and her husband, actor/director Jerry Harte, were on holiday in New Zealand when the phone rang to tell her she had landed the part.

‘My agent said: “You are the next Miss Marple.” My legs went hollow and all I could do was to repeat what he said. I had to hand the phone to Jerry.

‘I had ten days to read myself into the role, meet producers, costume designers and a make-up team. I wanted to make most of the decisions, so that as much of my own personality as possible was in the part.

‘I felt she should be dressed the same as when she was in school. Like she had a blazer and skirt. I wanted this in tweed. I’ve only got two or three suits, but quite a lot of blouses. I quite like that look.’

At the costumier’s, she tried on Dame Peggy Ashcroft’s jacket from The Jewel In The Crown, and felt it was perfect for Miss Marple. So she ordered several copies in light tweeds.

Her hair colour was changed to blue-grey and part of it was dressed up with a wig.

She then chose a dark blue brimless hat which she felt Miss Marple would wear.

‘I like that hat but the producers don’t,’ she says. Although she wears it in A Pocket Full Of Rye, she lost the battle on that and is given different headwear  –  a severe brimmed hat  –  in later productions.

Swept up in the excitement of a new challenge, she discussed her future with Jerry  –  they have no children  –  and decided to give up her musical career. ‘It is time to move on,’ she says. ‘I am 68 and I don’t want the stress of eight shows a week.’

Even so, each Miss Marple episode takes five weeks of 12-hour days to film. Then there is the public interest that a major TV role brings.

‘It will seem strange not being able to go anywhere without being recognised. Someone once stopped me and said: “We did enjoy you on the telly  –  they made you up to look like a right old hag, didn’t they?”

I said: “No  –  that was me.” I’ve never been booked for my looks. But the ageing process is hard. I practically need psychiatric help to get my picture taken.’

The first day of filming was an ordeal. ‘I was feeling unsure. When it was my turn in front of the cameras, I was very nervous.’

Producer Karen Thrussell says in spite of Julia’s modest self-doubt, she has given Miss Marple her own distinctive edge.

‘Joan Hickson was very schoolteacherly. Geraldine was more fun and eccentric. She liked to dance around the edge of every story, but Julia’s much more traditional Miss Marple is right there in the centre. I think Agatha Christie would have approved because she is so close to the way she envisaged her character.’

Did Julia imagine she could make a good sleuth?

‘I’d be useless  –  I lose my glasses all the time. You wouldn’t catch Miss Marple being so disorganised. I can be a bit nosey. I like a bit of gossip.’

Julia has one big fan. David Suchet, the well-loved detective Hercule Poirot, said he couldn’t think of anybody he would like more than Julia McKenzie to play Miss Marple.

Julia is thrilled. Everything is falling into place for her, like the denouement in Miss Marple’s story.

‘I’m having the most marvellous Indian summer,’ she says.

The above “MailOnline” article can be accessed online here.

John Howard Davies

John Howard Davies. Wikipedia.

John Howard Davies is best known for his performance in the title role of David Lean’s  “Oliver Twist” in 1948.   He went on to make “The Rocking Horse Winner”, “The Magic Box” and “Ton Brown’s Schoolday’s” before retiring as a child actor.   He returned to the entertainment industry as an adult as an award winning producer of British television series such as “The Good Life”, “Fawlty Towers” and “Mr Bean”. He died in 2011.

Matthew Sweet’s “Guardian” obituary of John Howard Davies:

Please, sir – I want some more.” Rationing was still in force when, under the eye of David Lean’s camera, a thin, pale eight-year-old boy named John Howard Davies raised his gruel bowl and dared to request a second serving. That image of Davies in Oliver Twist (1948) spoke to the mood of the moment – suggesting the sort of deprivation that postwar Britain was attempting to legislate out of existence. One scene called for Davies, who has died of cancer aged 72, and his fellow child actors to look on enviously as the bigwigs of the workhouse devoured a great pile of pastries, hams and chicken. The astonished expressions are genuine. None of these boys had ever seen food like it.

The film’s production company, Cineguild, had launched a national campaign to secure a talented unknown for the title role. (Cinemagoers were invited to submit the names of boys of their acquaintance who possessed “a natural flair for acting”.) In the event, the producer, Ronald Neame, found the successful candidate closer to home. Davies was the son of a childhood friend. Neame and Lean did not burden their young star with much dialogue, preferring to capture the haunted eloquence of his features. Sometimes Lean would let the camera roll and whisper a mournful story to produce the tears or anxious looks that he required.

JHD – as his friends knew him – would confess in later years that he thought himself insufficiently gifted to be a character actor, and insufficiently good-looking to be a star. Briefly, however, this is exactly what he was. He gave his best performance as the tormented hero of The Rocking Horse Winner (1949), punched above his weight in Tom Brown’s Schooldays (1951), and made a cameo appearance alongside Robert Donat in The Magic Box (1951) – but by the time the Festival of Britain had marked the nation’s emergence from postwar austerity, his acting career was over and he was sitting in a classroom at Haileybury school, Hertford. More than a decade later, however, Davies would receive a spectacular second helping – in the form of a new career as a producer, director and commissioner of epoch-making television comedy.

Davies was born in Paddington, west London, the son of Jack Davies, a film critic and prolific screenwriter at Gainsborough and Elstree studios, and the novelist Dorothy Davies. After national service in the Royal Navy, he pursued a variety of short-lived careers from clerk to salesman. He even made a brief return to acting, in the ITC series The Adventures of William Tell (1958) and in an Australian production of The Sound of Music, on which he met his first wife, Leonie.

In 1966 he joined the BBC as a production assistant and was promoted to the producer’s chair two years later. His credit appeared on episodes of the ecclesiastical sitcom All Gas and Gaiters, the legal satire Misleading Cases, Spike Milligan’s The World of Beachcomber and As Good Cooks Go, an ill-fated vehicle for the comedian Tessie O’Shea.

But it was his trust in a coalition of young performers and their idea for a stream-of-consciousness sketch show with the provisional title of Bun, Whackett, Buzzard, Stubble and Boot that inaugurated his golden period and allowed Monty Python’s Flying Circus (1969-74) to take wing over the BBC2 schedules. He produced and directed the first four episodes and defended the programme from its detractors within the BBC – though not all of its stars took to him. Graham Chapman recalled Davies as “not a very human person … if you made a mistake of any kind, any sort of pause in speech, he would treat you rather as if he was a schoolmaster”.

This instinct for discipline, however, gave Davies common ground with John Cleese, who, once he had left Python, sent his former producer a script he had co-written with his wife, Connie Booth. Davies read the first draft of Fawlty Towers (1975, 1979) in bed, and laughed so much that he fell out.

His creative influence over the series was considerable. He chose the hotel used in the exterior shots (for its smell of rancid beer and convenient location halfway between TV Centre and his home). He cast Prunella Scales as Sybil Fawlty (and claimed that her character was an amalgam of his first two wives). It was his idea that the letters on the hotel’s sign should be in a permanent state of flux – sometimes reading “flowery twats”, sometimes “farty towels”. His natural taste was for the comedy of violence and schadenfreude, and he took pride in having devised the moment in which Cleese gives Andrew Sachs’s Manuel a sharp blow to the forehead with a dessert spoon.

Less cruel humour also thrived under his guidance. Davies produced the entire run of The Good Life (1975-78), the 1972 series of Steptoe and Son, Frankie Howerd’s Whoops Baghdad (1973) and the first two series of The Goodies (1970-72), a role that obliged him to balance the cost of elaborate visual effects against the size of the laugh they were likely to yield. In 1972 an episode emerged from the typewriter of Graeme Garden and Bill Oddie that asked for a giant kitten to demolish the Post Office Tower before being sedated by the principals, dressed as mice, riding a three-wheeled cycle borne aloft by hot air balloons. Davies said yes. Kitten Kong won the Silver Rose of Montreux.

Promoted to BBC head of comedy in 1978, and then head of light entertainment in 1982, Davies was involved in the production or commissioning of The Fall and Rise of Reginald Perrin (1976-79), Yes, Minister (1980-84), Only Fools and Horses (1981-96) and Not the Nine O’Clock News (1979-82). There were also forays into commercial television. In 1973 he was briefly managing director of EMI Productions, and in 1985 moved to Thames where he launched Mr Bean (1990-95), oversaw the television transfer of Simon Brett’s genteel radio sitcom After Henry (1988-92), and became a hate figure for Benny Hill fans when he was credited with terminating the comedian’s television career. His direction of the 1996 Easter special of The Vicar of Dibley proved to be his lap of honour for the BBC.

In later years, as sitcoms waned, he was often asked for the secret of how to formulate a successful series. “All the best sitcom characters,” he said, “are relentlessly horrible.”

He is survived by his third wife, Linda, two children and two stepchildren.

• John Howard Davies, actor, director, producer and television executive, born 9 March 1939; died 22 August 2011The above “Guardian” obituary can also be accessed online here.

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Freddie Bartholomew

Freddie Bartholomew was one of the most popular child stars in U.S. films of the 1930’s.   He was born in 1924 in Lodon.   He was raised in England and made two films there before going to Hollywood in 1934,    He played the young David in the wonderful 1934 “David Copperfield” which was directed by George Cukor.   His other films included “Anna Karenina” with Greta Garbo, “Little Lord Fauntleroy” with Mickey Rooney and “Captains Courageous” with Spencer Tracy.   He served in the Airforce during World War Two and did not pursue a film career but became an asvertising executive in New York.   He died at the age of 67 in Floria in 1992.

TCM Overview:

Curly-haired Hollywood child star whose earnest presence, refined British diction and angelic looks established him as a boxoffice favorite in the 1930s and 40s. After a few minor roles in British films, the ten-year-old was signed by MGM to star as Dickens’s hero in David O. Selznick’s production of “David Copperfield” (1935). He went on to play Greta Garbo’s son in “Anna Karenina” (1935) and followed up with his two most popular roles: as the American boy who learns he is the heir to a dukedom in “Little Lord Fauntleroy” (1936) and as a pampered rich brat who is rescued and educated by rough fishermen in Rudyard Kipling’s adventure yarn, “Captains Courageous” (1937).

With a salary eclipsed only by that of child superstar Shirley Temple, Bartholomew was earning $2,500 a week by the late 30s, though his career began to wane after numerous court battles between his guardian-aunt and his parents over his earnings. After service in WWII he made a stab at a career in vaudeville and nightclubs before turning to TV, where he hosted a daytime program in the 1950s and then became associate director of a New York TV station. In the mid-1950s he again switched careers, this time joining New York’s Benton and Bowles agency as an advertising executive.

The above TCM overview can also be accessed online here.

 

Michael Sheen
Michael Sheen
Michael Sheen

Michael Sheen was born in 1969 in Newport, Wales. He gave a brilliant performance as Tony Blair opposite Helen Mirren as Queen Elizabeth in “The Queen”. He has also starred in a repeat of his Broadway performance as David Forst in “Frost/Nixon” with Frank Langella as Richard Nixon.

TCM Overview:

1999) unleashed one of the U.K.’s best kept secrets on international audiences. The West End continued to be his anchor, with acclaimed roles in “Look Back in Anger” and “Caligula,” but Sheen grew increasingly more familiar to filmg rs with supporting roles in the gothic horror film series “Underworld” (2003) and the romantic comedy “Laws of Attraction” (2004). His collaborations with writer Peter Morgan were among his best-known, including his memorable portrayal of British Prime Minister Tony Blair in Morgan’s “The Queen” (2006), and as political interviewer David Frost in “Frost/Nixon.” The resounding success of the latter Morgan work led to a run on Broadway and a Hollywood film adaptation by Ron Howard (2008), both of which co-starred Sheen and Frank Langella. From there his career skyrocketed, as he starred in “Underworld: Rise of the Lycans” (2009), “Twilight: New Moon” (2009) and “Alice in Wonderland” (2010). For the third time in his career, he played Tony Blair, this time in “The Special Relationship” (HBO, 2010), before co-starring with Jeff Bridges in “Tron: Legacy” (2010) and opposite Rachel McAdams in Woody Allen’s “Midnight in Paris” (2011). Whether he was appearing in historical dramas, big budget fantasies or small indies, Michael Sheen was an intense and passionate performer who was one of the few Welsh exports to make it big in America.

Sheen was born Feb. 5, 1969, and grew up a middle-class boy in the working class town of Port Talbot, Wales. Although his parents worked in personnel, they shared with their two children a deep appreciation for acting, with his father enjoying some success later in life as a Jack Nicholson impersonator. As a young man, Sheen turned down the opportunity to pursue a possible professional football career, opting to follow in the footsteps of fellow Port Talbot natives Richard Burton and Anthony Hopkins by attending the Royal Academy of Dramatic Art in London. During his second year, he won the coveted Laurence Olivier Bursary for consistently outstanding performances. While Sheen was still studying, he landed a pivotal role opposite stage legend Vanessa Redgrave in Martin Sherman’s “When She Danced” (1991). In 1993, Sheen joined the theater troupe Cheek By Jowl and was critically acclaimed for his performance in “Don’t Fool with Love.” That same year, he played opposite Ian Holm onstage in Harold Pinter’s “Moonlight” and excelled in his role as a mentally unstable man who becomes enmeshed in a kidnapping plot in “Gallowglass,” a three-part BBC serial.

In Yukio Ninagawa’s 1994 international tour of “Peer Gynt,” a critic from The London Times panned the multimedia production, but singled out Sheen for his ability to express “astonishing vitality despite lifeless direction.” The actor nabbed his first feature film role in 1994, playing Dr. Jekyll’s footman in “Mary Reilly” opposite John Malkovich and Julia Roberts. The film did not make it into theaters until 1996, a year after Sheen’s second movie, “Othello” (1995), starring Kenneth Branagh, was filmed and released. Sheen appeared onstage twice in 1995, opposite Kate Beckinsale in a staging of “The Seagull” and as star and director of “The Dresser.” In the first of his major big screen roles, he was memorable as Robert Ross, Oscar Wilde’s erstwhile lover, in the 1997 biopic “Wilde.” Sheen also managed to set critics’ tongues wagging with a deft stage performance in the role of “Henry V;” not a part traditionally given to a slight, boyish-looking actor. One writer raved “Sheen, volatile and responsive in an excellent performance, showed us the exhilaration of power and conquest.”

Sheen next tackled one of history’s more colorful artists, composer Wolfgang Amadeus Mozart, in the West End production of “Amadeus” and followed the production’s success to Broadway the following year. His reputation soared, with the addition of his role as Jimmy Porter in a London revival of “Look Back in Anger.” For his performance, Susannah Clapp of The Observer hailed his “luminous quality” and ability to be goaded, fiery and defensive all at the same time. Hot off the success of “Amadeus,” Sheen began racking up more film credits, including in the British road film “Heartlands” (2002) opposite Mark Addy and in the 19th century military drama “The Four Feathers” (2002), starring Heath Ledger, Wes Bentley and Kate Hudson. Sheen enjoyed a supporting role in Stephen Fry’s directorial debut, “Bright Young Things” (2003), and from that satirical British production, landed a major role opposite Beckinsale again in the gothic horror actioner, “Underworld” (2003). His film career barreled ahead in 2003 with a supporting role in Richard Donner’s tanker “Timeline” (2003) and an impressive portrayal of British Prime Minister Tony Blair in director Stephen Frears’ telepic, “The Deal” (2003).

Next, he grabbed positive notices for playing a divorce-embattled rock star, stealing scenes from Pierce Brosnan and Julianne Moore, in the romantic comedy “Laws of Attraction” (2004). Back on the London stage, Sheen earned raves for his performance in “Caligula,” winning the Evening Standard Award and Critics Circle Award for Best Actor, along with a nomination for the prestigious Olivier Award. More critical recognition was forthcoming for Sheen’s supporting role in “The Queen” (2006) where his tested and true take on Tony Blair practically guaranteed a BAFTA supporting actor nomination. Sheen reprised his “Underworld” role in the sequel “Underworld: Evolution” (2006) before essaying Roman emperor Nero in the BBC miniseries “Ancient Rome: The Rise and Fall of an Empire” (2006). He followed up with another heady TV offering, “H.G. Wells: War With the World” (2006), in which he starred as the iconic science fiction author. Sheen set the West End buzzing again in the summer of 2006 in Peter Morgan’s “Frost/Nixon,” based on a series of televised interviews that British television presenter David Frost conducted with impeached American president Richard Nixon in 1976. Sheen played Frost and fellow stage vet Frank Langella essayed Nixon. The pair’s glowing reviews led to a six-month run on Broadway, as well as a nomination for Distinguished Performance from the Drama League Awards for Sheen.

Sheen appeared onscreen twice during his stage runs: in a supporting role in the acclaimed drama “Blood Diamonds” (2006) and a co-starring role as a wheelchair-bound genius in the solid indie character study “The Music Within” (2006). In 2008, he and Langella re-teamed to reprise their stunning portrayals in Ron Howard’s screen adaptation of “Frost/Nixon,” which overwhelmingly impressed film critics. The following year, Sheen starred in the “Underworld” prequel, “Rise of the Lycans,” and headed up the cast of the fact-based British football drama, “The Damned United” (2009), appearing in the role of Leeds team manager, Brian Clough. He received the vast majority of attention that year, however, for his portrayal of the vampire Aro in the second installment of the “Twilight” film series, “New Moon” (2009). Many Twi-hard teens obsessed with the film and novels were discovering Sheen’s brilliance for the first time, so with this extremely lucrative film – it made over $200 million in a matter of days – he reached an audience he might not have otherwise. Sheen also joined the cast of Tim Burton’s fantastical “Alice in Wonderland” (2010) in the role of the Cheshire Cat, alongside Johnny Depp’s Mad Hatter. Meanwhile, Sheen maintained his lock on playing Tony Blair with “The Special Relationship” (HBO, 2010), a look at the British prime minister’s intimate relationship with President Bill Clinton (Randy Quaid), for which he was nominated for an Emmy for Outstanding Lead Actor in a Miniseries or a Movie. After reprising Aro for “The Twilight Saga: Breaking Dawn – Part 1” (2011), he was a boorish pseudo-intellectual friend who is friends with the fiancé (Rachel McAdams) of a successful, but dissatisfied Hollywood screenwriter (Owen Wilson) in Woody Allen’s successful surrealist romantic comedy “Midnight in Paris” (2011). During the production, Sheen began an off-camera romance with McAdams in July 2010.

The above TCM overview can also be accessed online here.

Penelope Keith
Dame Penelope Keith
Dame Penelope Keith

Penelope Keith. Wikipedia.

Dame Penelope Anne Constance Keith, DBEDL (née Hatfield; born 2 April 1940) is an English actress, active in all genres, including radio, stage, television and film and primarily known for her roles in the British sitcoms The Good Life and To the Manor Born. She succeeded Lord Olivier as president of the Actors’ Benevolent Fund after his death in 1989, and was appointed Dame Commander of the Order of the British Empire (DBE) in the 2014 New Year Honours for services to the arts and to charity.

Keith joined the Royal Shakespeare Company in 1963, and went on to win the 1976 Olivier Award for Best Comedy Performance for the play Donkeys’ Years. She became a household name in the UK playing Margo Leadbetter in the sitcom The Good Life (1975–78), winning the 1977 BAFTA TV Award for Best Light Entertainment Performance.

In 1978, she won the BAFTA TV Award for Best Actress for The Norman Conquests. She then starred as Audrey fforbes-Hamilton in the sitcom To the Manor Born (1979–81), a show that received audiences of more than 20 million. She went on to star in another six sitcoms, including Executive Stress (1986–88), No Job for a Lady (1990–92) and Next of Kin (1995–97). Since 2000, she has worked mainly in the theatre, with her roles including Madam Arcati in Blithe Spirit (2004) and Lady Bracknell in The Importance of Being Earnest (2007).

Penelope Anne Constance Hatfield was born in Sutton in 1940.  Her father, an army officer who was a Major by the end of the Second World War, left her mother Connie when Keith was a baby, and she spent her early years in Clacton-on-Sea and Clapham. Her great uncle, John Gurney Nutting, was a partner in the coachbuilding firm of J Gurney Nutting & Co Limited, and Keith recalls sitting in the Prince of Wales’s car. 

Although not a Roman Catholic, at the age of six she was sent to a Catholic boarding school in Seaford. Here she became interested in acting, and she frequently went to matinées in the West End with her mother. When she was eight years old, her mother remarried and Penelope adopted her stepfather’s surname, Keith. While she did not get on with her stepfather, her mother was a “rock of love” to her. She was rejected by the Central School of Speech and Drama, on the grounds that, at 5’10” (1.78 m), she was too tall. However, she was then accepted at the Webber Douglas Academy of Dramatic Art and spent two years there while working at the Hyde Park Hotel in the evenings.

Keith began her career working in repertory theatre around Britain, including LincolnManchester, and Salisbury. Keith’s earliest appearances were in The Tunnel of LoveGigi, and Flowering Cherry. In 1963, she joined the Royal Shakespeare Company and acted with them in Stratford and at the Aldwych Theatre in London.

Keith began her television career in programmes such as The Army GameDixon of Dock GreenWild, Wild Women and The Avengers.  In the early 1970s, she appeared in The Morecambe & Wise ShowGhost Story and The Pallisers. Her film appearances during this time included Every Home Should Have OneTake A Girl Like YouRentadick and Penny Gold. In 1967, she had a minor role in Carry On Doctor, but the scene was cut from the final edit. She appeared as a nurse in A Touch of Love 1969.

Her best known theatre appearance, in 1974, was playing Sarah in The Norman Conquests, opposite Richard Briers, her co-star in The Good Life. Keith and Briers would often film The Good Life during the day and perform on stage in the West End in the evening.

Penelope Keith achieved popular fame in 1975 when the BBC sitcom The Good Life began. In the first episode, she was only heard and not seen in her role as Margo Leadbetter, but as the episodes and series went on, the scope of her role increased. In 1977, Keith won a BAFTA award for “Best Comedy Performer” for her role of Margo Leadbetter.

From 1979–81, she played the lead role of Audrey fforbes-Hamilton in the TV series To the Manor Born. Following To the Manor Born, Keith has appeared in the lead role in six other sitcoms: Sweet SixteenMovingExecutive StressNo Job for a LadyLaw and Disorder and Next of Kin. She also had the starring role in a TV adaptation of Agatha Christie’s play Spider’s Web. She won a second BAFTA award as “Best Actress” in 1978 for The Norman Conquests.

In 1982, Keith starred in a TV production of Frederick Lonsdale’s On Approval. In 1988, she hosted one series of the ITV panel show What’s My Line?, following the death of its former presenter, Eamonn Andrews. She had a featured role in the 1998 ITV serial Coming Home.

Keith has regularly appeared on stage, taking the classics and new plays across the country. These include Shakespeare, Shaw, Sheridan, Wilde, Rattigan and Congreve. She played Lorraine in Noël Coward‘s Star Quality, while in 2004 she played Madame Arcati in Coward’s Blithe Spirit at the Savoy Theatre. In 2004, Keith starred in the first of 10 full-cast BBC radio dramatisations of M.C. Beaton‘s Agatha Raisin novels, playing the title role. Two years later, she appeared at the Chichester Festival in the premiere of Richard Everett‘s comedy Entertaining Angels, which she later took on tour.

In 2007, she played the part of Lady Bracknell in The Importance of Being Earnest on tour, which transferred to the West End in 2008, at the Vaudeville Theatre. She has voiced adverts including ones for Pimm’sLurpakTesco and, most famously, The Parker Pen Company, which was named one of the 100 Greatest Adverts in a Channel 4 programme. In 2012, she starred in Keith Waterstone’s Good Grief, having previously appeared in the play’s premier production in 1998.

In 1997, she starred in the radio adaptations of To the Manor Born.  In 2003, she appeared opposite June Brown in the television film Margery and Gladys. In 2007, she starred in a one-off To the Manor Born Christmas Special,

In 2009 she presented Penelope Keith and the Fast Lady, a one-off documentary for BBC Four about Dorothy Levitt, the Edwardian motoring pioneer. She presented the four-part BBC documentary The Manor Reborn in 2011.

Since 2014, she has presented all three series of the More4/Channel 4 programme Penelope Keith’s Hidden Villages, and in June 2016 she presented Penelope Keith at Her Majesty’s Service again for Channel 4. In December 2017, she presented Penelope Keith’s Coastal Villages, a continuation of the Hidden Villages series.

In early 2018, she presented the Channel 4 series Village of the Year with Penelope Keith.

It was announced in February 2018 that Keith would be starring as Mrs St Maugham in the Chichester Festival Theatre production of Enid Bagnold‘s The Chalk Garden from 25 May to 16 June 2018.

In 1978, the year The Good Life ended, she married Rodney Timson, a policeman. They had met while he was on duty at Chichester Theatre where Keith was performing. Timson, who is four years her junior, had been married twice before.  They adopted two children.

Keith and Timson live in Milford, Surrey. Keith has a great passion for gardening. In 1984, she had a rose named after her. Penelope Keith has been President of the Actors’ Benevolent Fund since 1990, taking over after the death of Lord Olivier, and is president of the South West Surrey National Trust.

In 2014 Penelope Keith presented 4 Extra Goes Gardening in which she celebrated the work of garden designer Gertrude Jekyll at her former home, Munstead Woods in Godalming. It is occasionally repeated on BBC Radio 4 Extra.

On 2 April 2002, her 62nd birthday, she began a one-year term as High Sheriff of Surrey, the third woman to hold the post. She is also a Deputy Lieutenant of Surrey.

She was appointed an Officer of the Order of the British Empire (OBE) in the 1989 New Year Honours,  and was promoted to a Commander (CBE) in the 2007 New Year Honours for “charitable services”.

In the 2014 New Year Honours, she became a Dame Commander of the Order of the British Empire (DBE) for services to the Arts and to Charity.

Fenella Fielding

Fenella Fielding obituary in “The Guardian” in 2018.

There was always something exotic and possibly louche about Fenella Fielding. You never felt that she had skimped on mascara, eyeshadow or lipstick, or that her hair was necessarily all her own in its chaotic and often strangely unkempt manifestation. At the same time, she might appear in public, and occasionally on television, on a chat show, or the popular word game Call My Bluff, dressed in clothes of a distinctly severe line, with white collars back and front, clasped with big jewellery, which gave her the appearance of an unlikely modern nun on the run. No one ever had such a laughing drawl, or haughtier, naughtier intonations.

And then she would be spied scuttling around the stacks in the LondonLibrary, researching and reading, writing up her diary; as an intellectual, she was no slouch. She was as clever as she was funny, the emphatic articulation a sign of both the musical value she attached to words and the precise weight and emphasis of their meaning. A lot of gurgling and swooping went on, but years at the coal face of cabaret and intimate revue ensured that Fielding’s timing was never out, her meaning never insecure, her indecision always final.

Her defining performance was that of Lady Parvula de Panzoust, an outrageous, high-fashion maneater, in Sandy Wilson’s Valmouth (1958), a brilliant musical version of Ronald Firbank’s orchidaceous 1919 novelette. When the piece was revived by the director John Dexter at the Chichester festival theatre in 1982, Fielding returned to the role, as did her fellow original cast members, Bertice Reading and Doris Hare, to theirs.

By then, Fielding’s stage career was virtually over. Her utterly distinctive performance persona was both her chief calling card and her greatest handicap. The world of entertainment treasured a talent it found increasingly hard to accommodate.

In 1979, she opened the restored Lyric Hammersmith’s studio space with a solo show (with piano trio) that included poems by WH AudenFran Landesman and AP Herbert, as well as Broadway songs and an erotic sketch during which you heard her orgasmic moanings offstage before she marched on smartly to shoot the lover boy dead. With her flounced auburn locks arrayed in startling bunches on either side of her face, and dressed in a chic rust trouser suit, she resembled a whacked-out Theda Bara with just enough juice to last the evening. She was gloriously funny and uncompromising.

Later in her career, certainly as Madame Arcati, the eccentric medium, in Noël Coward’s Blithe Spirit at the Salisbury Playhouse in 1999, her magnificent weirdness was scuppered by a weakened technical assurance; nor could you imagine such a creature pedalling herself home for seven miles on a bicycle. Fielding’s Arcati would only have contemplated a sedan chair fitted out with an abundance of cushions and custards, borne by two well-built local lads with a penchant for show tunes.

Fenella grew up in a mansion flat in Clapton, east London, with her parents, Philip and Tilly Feldman (both Jewish, he an immigrant Lithuanian, she originally Romanian), an elder brother, Basil (later Lord Feldman, a Tory peer), and a “sort of nanny person” who took Fenella to dance classes on the Holloway Road. Philip was a cinema manager and boss of a ladies underwear factory, a prominent freemason and, according to his daughter, abusively violent towards her.

The family moved to Edgware in 1940 when Fenella was 13 and a pupil at the North London collegiate school. She won a scholarship to Rada, but left after one year, pressured by her parents to “get a proper job”. She took a secretarial course while studying at Saint Martin’s School of Art (now Central Saint Martins) and worked for the actors’ agent Al Parker, and in a beautician’s parlour.

But she was determined to go on the stage. After a grounding in concert halls and club theatres around London, she left home, took a flat in Clarges Street, Mayfair, which she shared with a prostitute, and started making cameo appearances on the night club scene of the 1950s: at Churchill’s in Bond Street, the Don Juan in Brook Street and in the Washington Mayfair hotel.

She was talent-spotted while appearing at the London School of Economics in a revue written by Ron Moody, and this led to her first West End professional engagement, in a 1954 revue, Cockles and Champagne, at the Saville. So she was a comparatively late starter, but she made up for lost time as an exotic vamp, Luba Tradjejka, in Jubilee Girl (1956) at the Victoria Palace.

She was acquiring a following, and the producer Michael Codron cast her first in Valmouth and then in a revue, Pieces of Eight (1959), at the Apollo co-starring Williams – with whom she soon fell out, noting that he wanted her to be good, but not too good – which featured sketches written by Peter Cookand Harold Pinter.

Her earliest films included Doctor in Distress (1963), with Bogarde at his smoothest and sprightliest as Simon Sparrow, and Ken Hughes’s Drop Dead Darling (1966) in which, as a wealthy object of Tony Curtis’s attentions, she was treated to a ride out in the country, where she jumped over a hedge Curtis had artfully placed on the edge of a cliff.

Fielding played Valeria the vampire in Carry on Screaming (1966), a very funny spoof of the Hammer horror films, in which she curled up on a sofa and exhaled the line, “Do you mind if I smoke?” after which vapour billowed out from beneath her body; the phrase served as the title of her chatty 2017 autobiography, written with Simon McKay.

She could be perfect in Feydeau farces, and was just that in Sardou’s Let’s Get a Divorce at the Mermaid in 1966 and as the aptly named Lady Eager in another Mermaid classic, Lock Up Your Daughters (1969), an updated musical version by Keith Waterhouse and Willis Hall, with music by Laurie Johnson, of both Henry Fielding’s Rape Upon Rape and Vanbrugh’s The Relapse, with Christopher Plummer as Lord Foppington leading a cast including Georgia Brown, Glynis Johns and Roy Kinnear.

The Chichester festival theatre was another regular haunt; she was Mrs Sullen in The Beaux’ Stratagem there in 1967, and an imperious duchess in Look After Lulu, adapted by Coward from Feydeau, in 1978. Even Ibsen held no fear for her, and there were glowing reports of her Hedda Gabler in Leicester in 1969 and her Nora in A Doll’s House at the Gardner Centre in Brighton in 1970.

She moved in 1966 into a top-floor flat in Connaught Mews, near Marble Arch, which cost her just £13 a week. She had a knack for landing on her feet in her personal life that perhaps evaded her professionally later on. She did not marry, but said that for 20 years she kept two lovers on the go, one of them married, without either knowing of the other’s existence, as befits a Feydeau specialist. 

In her memoir she described the men who had behaved badly in the workplace: Tony Hancock was “drunk”, Warren Mitchell simply “horrible” and Norman Wisdom (with whom she filmed Follow a Star in 1959) prone to on-set lechery: “His hand up your skirt first thing in the morning was not a lovely way to start a day’s filming,” she said.

Critics loved her and hated most of the things she was in. When she played Kaa the rock snake in The Jungle Book at the Adelphi in 1984, she wrapped herself around a pole in a manner that reminded Michael Billington of Hermione Gingold in a Medea parody clinging to a phallic pillar with a cry of “This is my personal column!”, while another scribe said of her Lady Fidget in a vile production of The Country Wife at the Mermaid in 1990 that she “pouts like a tulip in a field of potatoes”.

Fielding continued working past her 90th birthday, making radio programmes, recording poetry and voiceovers and rarely going anywhere without her spider-like eyelashes, eyelashes Dusty Springfield once acknowledged as the model for her own. She was not immune to the appeal of drink, drugs and psychotherapy, but survived all these brushes to come out fighting, and as huskily cheerful and optimistic as ever. She was appointed OBE in the Queen’s birthday honours in June.

She is survived by her brother. 

• Fenella Marion Fielding (Feldman), actor, born 17 November 1927; died 11 September 2018

Estelle Winwood
Estelle Winwood
Estelle Winwood
Estelle Winwood
Estelle Winwood

 

Estelle Winwood was born in 1883 in Kent and died in Los Angeles in 1984 at the age of 101.   She was still acting at 96, some record.   She had made her movie debut in the British “House of Trent” in 1933.   In 1937 she was in Hollywood making “Quality Street” with Katharine Hepburn but did not make another film until “The Glass Slipper” in 1955.   She then began a busy career as a character actress.   Among her films are “The Swan”, “This Happy Ending”, “Alice and Kicking”, “Darby O’Gill and the Little People” and “Murder by Death” where she was hilarious as the wheelchaird bound nurse of Elsa Lanchester.

IMDB entry:

When Estelle saw the girl on a white horse at the circus, she then decided that she wanted to be an actress. And she was from the age of 5, to the disapproval of her father. Her mother had her train with the Liverpool Repertory Company, and Estelle performed in many plays and many roles in the West End. In 1916, she made her debut on Broadway and worked with a number of acclaimed stage actors. Estelle spent the rest of the ‘teens and ’20s working in plays on both sides of the Atlantic. Being an actor in the theater, Estelle was not about to be one of those who acted in flicks and held out for a very long time. In fact, besides a small role in a few English films in the early 1930s, her real debut was Quality Street (1937), a picture that she undertook when she was in her 50s. Anyway, that was enough as it would be almost two decades before she would return to the big screen. She appeared on the stage in the plays “The Merry Wives of Windsor,” “Ten Little Indians,” and “The Importance of Being Earnest.” But, in 1955, Estelle did return to the movies as Leslie Caron‘s “fairy godmother” in The Glass Slipper (1955). Estelle would spend the next 10 years appearing in films, often cast as eccentric, frail old ladies, some of whom could be deadly. Not to be left out, Estelle also would work on Television, doing guest spots in a number of shows. At 84, Estelle played a woman who was enamored by crooked Zero Mostel in the comedy The Producers (1967). Her last film would be the detective spoof Murder by Death (1976). When Estelle was asked, on the occasion of her 100th birthday, how she felt to have lived so long, she replied, “How rude of you to remind me!”.

– IMDb Mini Biography By: Tony Fontana <tony.fontana@spacebbs.com>

The bove IMDB entry can also be accessed online here.

Article on Estelle Winwood on “Tina Aumont’sEyes” website:

A wonderful stage actress and later character performer who specialized in dotty busybodies, Estelle Winwood’s first love was the stage, where she would spend the first twenty years of her career before gaining her first movie appearance.

Born in Kent, England, on January 24th 1883, Estelle was acting in London’s West End before moving to New York in 1916 where she made her Broadway debut. The next two decades were spent commuting between London and New York where Estelle excelled in theatre, appearing in many popular productions including ‘Moliere’ (1919), ‘The Tyranny of Love’ (1921), ‘ The Taming of the Shrew’ (1925), ‘Fallen Angels’ (1927), and ‘The Admirable Crighton’ (1931).

After a handful of minor roles, Winwood’s first part of note was in the George Stevens romancer ‘Quality Street’ (’37) starring Katherine Hepburn and Franchot Tone. Estelle was very good as a suspicious neighbour and helped liven up this rather dull production. After a few television roles (which included playing the medium Madame Arcati in a 1946 version of ‘Blithe Spirit’) Winwood’s next movie would not be until 1955, when she played Leslie Caron’s Fairy Godmother in the Cinderella story ‘The Glass Slipper’. The following year she was a jovial barmaid in the terrific suspenser ‘23 Paces to Baker Street’ (’56), and then had a wonderfully eccentric role as Grace Kelly’s great-aunt Symphorosa in Charles Vidor’s lush romantic comedy ‘The Swan’ (’56).

One of Winwood’s most memorable roles came a couple of years later when she played Curd Jürgens’ alcoholic housekeeper in the charming Blake Edwards romp ‘This Happy Feeling’ (’58), which also starred Debbie Reynolds and a young John Saxon. Estelle was great fun and stole the show as a cocktail loving lush. Estelle was then a sort of Disney villain in the early Sean Connery adventure ‘Darby O’Gill and the Little People’ (‘59), playing the interfering mother to Kieron Moore’s local bully. Her best role at this time though was in the enjoyable retirement-home comedy ‘Alive and Kicking’ (’59), playing a bored resident seeking adventure in old-age, alongside the excellent Kathleen Harrison and Sybil Thorndike.

Winwood’s next movie role was in the bar scene in John Huston’s ‘The Misfits’ (’61), playing a kindly old lady collecting money for the church. After playing Kim Novak’s neighbour in the Jack Lemmon caper ‘The Notorious Landlady’, Winwood had a fun part as a witch in Bert I. Gordon’s enjoyable spoof ‘The Magic Sword’ (both ’62). Back among the A-list, Estelle was then Bette Davis’s aunt in the exciting evil-twin thriller ‘Dead Ringer’ (’64), directed by Davis’ ‘Now, Voyager’ co-star Paul Henreid.

After guest spots on ‘Perry Mason’ and ‘Bewitched’, Estelle found 1967 to be a very diverse year. First she was Vanessa Redgrave’s lady-in-waiting in Joshua Logan’s overlong but lavish musical ‘Camelot’, and then a neighbour with a missing cat, in Curtis Harrington’s watchable thriller ‘Games’. Finally she was memorable in Mel Brooks’ cult comedy ‘The Producers’, playing an amorous old lady backing Zero Mostel’s certain-to-flop musical. After more television work Winwood’s final movie was the very funny spoof ‘Murder by Death’ (’76), playing the aged nurse to Elsa Lanchester’s Miss Marbles. She was a joy to watch and once again stole the show from a fantastic cast that included Oscar winners Alec Guinness, Maggie Smith and David Niven. Estelle’s final screen appearance was in a 1980 episode of ‘Quincy’ which, at 96 years of age, made her the oldest actor working in America.

Married four times, Estelle Winwood died in her sleep in California, on June 20th 1984, aged 101. In an acting career of over 80 years, she was the oldest member of the Screen Actors Guild at the time of her death. A wonderful scene-stealer and vastly talented actress, the shrewd Estelle Winwood was a perfectionist who didn’t suffer fools and always called the shots on her career path. And what a diverse career it was!

Favourite Movie: 23 Paces to Baker Street
Favourite Performance: Alive and Kicking

 The above article can also be accessed online here.
Fiona Shaw
Fiona Shaw

Fiona Shaw. TCM Overview.

Fiona Shaw is one of Ireland’s greatest actresses who has a leading reputation on the British stage.   She was born in Cork in 1958.   She trained at RADA in London.   Her films include “My Left Foot” in 1989, “Mountains of the Moon”, “Jane Eyre”, “Persuasion” and in the U.S. in “The Black Dahlia” and of course Petunia Dursley in the Harry Potter movies.

TCM Overview:

inroads onscreen as well since the late 1980s. Intense and fiercely intellectual off-stage and on, this statuesque brunette with a great aquiline profile graduated from the Royal Academy of Dramatic Art in 1982 and promptly made her debut in “Love’s Labour’s Lost”. Since then, she has turned in one powerful–sometimes controversial–stage performance after another, including Celia in “As You Like It” (1985), Erika in “Mephisto” (1986), a near-psychotic Katherine in “The Taming of the Shrew” (1987-1988) and “Mary Stuart” (1988 and 1996), earning a reputation as a superb classical actress/daredevil. Shaw’s most hotly-debated role was as “Richard II”, which she played in 1995 and which marked her sixth collaboration (since 1988) with her longtime friend, director Deborah Warner. The two made their NYC debut in 1996 with a hit staging of “The Waste Land”, T. S. Eliot’s 433-line poem about death and resurrection. Critics praised Shaw for her brilliant performance in the tour de force which had the actress standing alone on a bare stage, conjuring up a bleak gallery of characters lost in a realm of spiritual blight.

Shaw’s best-known film role to date was as the sympathetic therapist with whom the cerebral palsy-afflicted Christy Brown (Daniel Day-Lewis) falls unrequitedly in love in “My Left Foot” (1988). The actress has easily moved between comedy and tragedy onstage and her film performances have also captured her facility with these shifts. Shaw made her debut as a nun caring for children during World War II in “Sacred Hearts” (1984) and following her “My Left Foot” success, has shown her versatility in diverse role ranging from the free-spirited wife of explorer Sir Richard Burton (Patrick Bergin) in “Mountains on the Moon” (1990) to her scene-stealing turn as the sex-starved head of Pileforth Academy in the comedy sequel, “Three Men and a Little Lady” (1990) to a lascivious liberal in “London Kills Me” (1991).

She played over-the-top villainesses in the unworthy comedies “Super Mario Bros.” and “Undercover Blues” (both 1993) before essaying fine supporting turns in “Persuasion” (1995), as the sister of the heroine’s true love, and “Charlotte Bronte’s ‘Jane Eyre'” (1996), as the dreadful aunt. Under Warner’s watchful eye, she recreated her stage triumphs as “Hedda Gabler” (1993, with Stephen Rea) and “The Waste Land” (1995). Shaw once again appeared onscreen alongside Rea and newcomer Eamonn Owens as Mrs. Nugent, the bane of existence for Owens’ “The Butcher Boy” (1997) in Neil Jordan’s acclaimed dark comedy about a serial killer. She was wasted in support of Sean Bean and Sophie Marceau in Bernard Rose’s remake of “Anna Karenina” (also 1997) and Ralph Fiennes and Uma Thurman as a senior intelligence officer in the disastrous big screen version of “The Avengers” (1998).

Shaw lent her intelligence to the role of Hedda Hopper in the acclaimed HBO movie “RKO 281” (1999), which traced the behind the scenes machinations during the making of “Citizen Kane” in 1940-41. In 2000, she appeared in the popular BBC miniseries “Gormenghast” as Irma Prunesquallor and was prominently featured in Warner’s big-screen debut “The Last September” as a sophisticated Anglo-Irish woman caught up in the decline of a great house. Co-starring stage legends Maggie Smith and Michael Gambon and executive produced by Jordan, “The Last September” was well-received by critics and art-house audiences, with Shaw singled out for praise for her virtuoso performance. Just weeks after the film hit American screens the actress returned to the stage at Dublin’s Abbey Theatre as the tragic heroine in another Warner-helmed project, “Medea”.

The above TCM overview can also be accessed online here.