My ranking of the 1971 Best Actress nominees
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Born in New York City to legendary screen star Henry Fonda and Ontario-born New York socialite Frances Seymour Brokaw, Jane Seymour Fonda was destined early to an uncommon and influential life in the limelight. Although she initially showed little inclination to follow her father's trade, she was prompted by Joshua Logan to appear with her father in the 1954 Omaha Community Theatre production of "The Country Girl". Her interest in acting grew after meeting Lee Strasberg in 1958 and joining the Actors Studio. Her screen debut in Tall Story (1960) (directed by Logan) marked the beginning of a highly successful and respected acting career highlighted by two Academy Awards for her performances in Klute (1971) and Coming Home (1978), and five Oscar nominations for Best Actress in They Shoot Horses, Don't They? (1969), Julia (1977), The China Syndrome (1979), The Morning After (1986) and On Golden Pond (1981), which was the only film she made with her father. Her professional success contrasted with her personal life, which was often laden with scandal and controversy. Her appearance in several risqué movies (including Barbarella (1968)) by then-husband Roger Vadim was followed by what was to become her most debated and controversial period: her espousal of anti-establishment causes and especially her anti-war activities during the Vietnam War. Her political involvement continued with fellow activist and husband Tom Hayden in the late 1970s and early 1980s. In the 1980s she started the aerobic exercise craze with the publication of the "Jane Fonda's Workout Book". She and Hayden divorced, and she married broadcasting mogul Ted Turner in 1991.Klute- Actress
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Julie Christie, the British movie legend whom Al Pacino called "the most poetic of all actresses," was born in Chabua, Assam, India, on April 14, 1940, the daughter of a tea planter and his Welsh wife Rosemary, who was a painter. The young Christie grew up on her father's plantation before being sent to England for her education. Finishing her studies in Paris, where she had moved to improve her French with an eye to possibly becoming a linguist (she is fluent in French and Italian), the teenager became enamored of the freedom of the Continent. She also was smitten by the bohemian life of artists and planned on becoming an artist before she enrolled in London's Central School of Speech Training. She made her debut as a professional in 1957 as a member of the Frinton Repertory of Essex.
Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. Her true métier as an actress was film, and she made her debut in the science-fiction television series A for Andromeda (1961) in 1961. Her first film was a girlfriend part in the Ealing-like comedy Crooks Anonymous (1962), which was followed up by a larger ingénue role in another comedy, The Fast Lady (1962). The producers of the James Bond series were sufficiently intrigued by the young actress to consider her for the role that subsequently went to Ursula Andress in Dr. No (1962), but dropped the idea because she was not busty enough.
Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress originally cast in Billy Liar (1963). Christie's turn in the film as the free-wheeling Liz was a stunner, and she had her first taste of becoming a symbol if not icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute in Young Cassidy (1965). Charlton Heston wanted her for his film The War Lord (1965), but the studio refused her salary demands.
Although Amercan magazines portrayed Christie as a "newcomer" when she made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (1965), she actually had considerable work under her professional belt and was in the process of a artistic quickening. Schlesinger called on Christie, whom he adored, to play the role of mode Diana Scott when the casting of Shirley MacLaine fell through. (MacLaine was the sister of the man who would become Christie's long-time paramour in the late 1960s and early '70s, Warren Beatty, whom some, like actor Rod Steiger, believe she gave up her career for. Her "Dr. Zhivago" co-star, Steiger -- a keen student of acting -- regretted that Christie did not give more of herself to her craft.)
As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from immature sex kitten to jaded socialite. For her complex performance, Christie won raves, including the Best Actress Awards from the Academy of Motion Picture Arts and Sciences and the British Film Academy. She had arrived, especially as she had followed up "Darling" with the role of Lara in two-time Academy Award-winning director David Lean's adaptation of Boris Pasternak's Doctor Zhivago (1965), one of the all-time box-office champs.
Christie was now a superstar who commanded a price of $400,000 per picture, a fact ruefully noted in Charlton Heston's diary (his studio had balked at paying her then-fee of $35,000). More interested in film as an art form than in consolidating her movie stardom, Christie followed up "Zhivago" with a dual role in Fahrenheit 451 (1966) for director François Truffaut, a director she admired. The film was hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the the more-appropriate-for-the-role Terence Stamp. Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. The film is an interesting failure.
Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (1967), which also featured two great English actors, Peter Finch and Alan Bates. It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too "mod" and thus untrue to one of Hardy's classic tales of fate. Some said that her contemporary Vanessa Redgrave would have been a better choice as Bathsheba, but while it is true that Redgrave is a very fine actress, she lacked the sex appeal and star quality of Christie, which makes the story of three men in love with one woman more plausible, as a film.
Although no one then knew it, the period 1967-68 represented the high-water mark of Christie's career. Fatefully, like the Hardy heroine she had portrayed, she had met the man who transformed her life, undermining her pretensions to a career as a movie star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a "treadmill leading to more treadmills" and who was wealthy enough after Bonnie and Clyde (1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of "Madding Crowd" and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends four decades after their affair ended in 1974.
Christie's last box-office hit in which she was the top-liner was Petulia (1968) for Richard Lester, a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an "arch-kook" who was emblematic of the '60s. It is one of the major films of the decade, an underrated masterpiece. Despite the presence of the great George C. Scott and the excellent Shirley Knight, the film would not work without Julie Christie. There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.
And she walked away.
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or at maintaining herself as a top-drawer working actress (success at the box office being a guarantee of the best parts, even in art films.) She turned down the lead in They Shoot Horses, Don't They? (1969) and Anne of the Thousand Days (1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (1969), a critical and box office flop, to fulfill her contractual obligations, she spent her time with Beatty in Calfiornia, renting a beach house at Malibu. She did return to form in Joseph Losey's The Go-Between (1971), a fine picture with a script by the great Harold Pinter, and she won another Oscar nomination as the whore-house proprietor in Robert Altman's minor classic McCabe & Mrs. Miller (1971) that she made with her lover Beatty. However, like Beatty himself, she did not seek steady work, which can be professional suicide for an actor who wants to maintain a standing in the first rank of movie stars.
At the same time, Julie Christie turned down the role of the Russian Empress in Nicholas and Alexandra (1971), another film that won the second-choice (Janet Suzman) a Best Actress Oscar nomination. Two years later, she appeared in the landmark mystery-horror film Don't Look Now (1973), but that likely was as a favor to the director, Nicolas Roeg, who had been her cinematographer on "Fahrenheit 451," "Far From the Madding Crowd" and "Petulia." In the mid '70s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (1975) (which she regretted due to its depiction of women) and Heaven Can Wait (1978).
Christie was still enough of a star, due to sheer magnetism rather than her own pull at the box-office, to be offered $1 million to play the Jacqueline Kennedy Onassis character in The Greek Tycoon (1978) (a part eventually played by Jacqueline Bisset to no great acclaim). She signed for but was forced to drop out of the lead in Agatha (1979) (which was filled by Vanessa Redgrave) after she broke a wrist roller-skating (a particularly southern Californian fate!). She then signed for the female lead in American Gigolo (1980) when Richard Gere was originally attached to the picture, but dropped out when John Travolta muscled his way into the lead after making twin box-office killings as disco king Tony Manera in Saturday Night Fever (1977) and greaser Danny Zuko in Grease (1978). Christie could never have co-starred with such a camp figure of dubious talent. When Travolta himself dropped out and Gere was subbed back in, it was too late for Christe to reconsider, as the part already had been filled by model-actress Lauren Hutton. It would take 15 years for Christie and Gere to work together.
Finally, the end of the American phase of her movie career was realized when Christie turned down the part of Louise Bryant in Reds (1981), a part written by Warren Beatty with her in mind, as she felt an American should play the role. (Beatty's latest lover, Diane Keaton, played the part and won a Best Actress Oscar nomination.) Still, she remained a part of the film, Beatty's long-gestated labor of love, as it is dedicated to "Jules."
Julie Christie moved back to the UK and become the UK's answer to Jane Fonda, campaigning for various social and political causes, including animal rights and nuclear disarmament. The parts she did take were primarily driven by her social consciousness, such as appearing in Sally Potter's first feature-length film, The Gold Diggers (1983) which was not a remake of the old Avery Hopwood's old warhorse but a feminist parable made entirely by women who all shared the same pay scale. Roles in The Return of the Soldier (1982) with Alan Bates and Glenda Jackson and Merchant-Ivory's Heat and Dust (1983) seemed to herald a return to form, but Christie -- as befits such a symbol of the freedom and lack of conformity of the '60s -- decided to do it her way. She did not go "careering," even though her unique talent and beauty was still very much in demand by filmmakers.
At this point, Christie's movie career went into eclipse. Once again, she was particularly choosy about her work, so much so that many came to see her, essentially, as retired. A career renaissance came in the mid-1990s with her turn as Gertrude in Kenneth Branagh's ambitious if not wholly successful Hamlet (1996). As Christie said at the time, she didn't feel she could turn Branagh down as he was a national treasure. But the best was yet to come: her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man in Afterglow (1997), which brought her rave notices. She received her third Best Actress Oscar nomination for her performance, and showed up at the awards as radiant and uniquely beautiful as ever. Ever the iconoclast, she was visibly relieved, upon the announcement of the award, to learn that she had lost!
Christie lived with left-wing investigative journalist Duncan Campbell (a Manchester Guardian columnist) since 1979, first in Wales, then in Ojai, California, and now in London's East End, before marrying in January 2008. In addition to her film work, she has narrated many books-on-tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's "Old Times", which garnered her superb reviews.
In the decade since "Afterglow," she has worked steadily on film in supporting roles. Christie -- an actress who eschewed vulgar stardom -- proved to be an inspiration to her co-star Sarah Polley, the remarkably talented Canadian actress with a leftist political bent who also abhors Hollywood. Of her co-star in No Such Thing (2001) and The Secret Life of Words (2005), Polley says that Christie is uniquely aware of her commodification by the movie industry and the mass media during the 1960s. Not wanting to be reduced to a product, she had rebelled and had assumed control of her life and career. Her attitude makes her one of Polley's heroes, who calls her one of her surrogate mothers. (Polley lost her own mother when she was 11 years old.)
Both Christie and Polley are rebels. Sarah Polley had walked off the set of the big-budget movie that was forecast as her ticket to Hollywood stardom, Almost Famous (2000), to have a different sort of life and career. She returned to her native Canada to appear in the low-budget indie The Law of Enclosures (2000), a prescient art film in that director John Greyson offset the drama with a background of a perpetual Gulf War three years before George W. Bush invaded Iraq, touching off the second-longest war in U.S. history. Taking a hiatus from acting, Polley went to Norman Jewison's Canadian Film Centre to learn to direct, and direct she has, making well-regarded shorts before launching her feature film debut, Away from Her (2006), which was shot and completed in 2006 but held for release until 2007 by its distributor.
Polley, who had longed to be a writer since she was a child actress on the set of the quaint family show Avonlea (1990) wrote the screenplay for her adaptation of Alice Munro's short story "The Bear Went Over the Mountain" with only one actress in mind: Julie Christie. Polley had first read the short story on a flight back from Iceland, where she had made "No Such Thing" with Christie, and as she read, it was Julie whom she pictured as Fiona, the wife of a one-time philandering husband, who has become afflicted with Alzheimer's disease and seeks to save her hubby the pain of looking after her by checking herself into a home.
After finishing the screenplay, it took months to get Christie to commit to making the film. Julie turned her down after reading the script and pondering it for a couple of months, saying "No" even though she liked the script. Polley then had to "twist her arm" for another couple of months. But alas, Julie has a weakness for national treasures: Just like with Branagh a decade ago, the legendary Julie Christie could not deny the Great White North's Sarah Polley, and commit she did. Polley then found out why Christie is so reticent about making movies:
"She gives all of herself to what she does. Once she said yes, she was more committed than anybody."
According to David Germain, a cinema journalist who interviewed Christie for the Associated Press, "Polley and Christie share a desire to do interesting, unusual work, which generally means staying away from Hollywood.
"'It's been a kind of greed and a kind of egotism, but it's not necessarily wanting to avoid the Hollywood thing, but in fact, it incorporates wanting to avoid the Hollywood thing, because the Hollywood thing is so inevitably not original,' Christie said. 'It's avoiding non-originality, so that means you're really down to a very small choice.'"
The collaboration between the two rebels yielded a small gem of a film. Lions Gate Films was so impressed, it purchased the American distribution rights to the film in 2006, then withheld it until the following year to build up momentum for the awards season.
Julie Christie's performance in "Away From Her" is superb, and already has garnered her the National Board of Review's Best Actress Award. She will likely receive her fourth Academy Award nomination, and quite possibly her second Oscar, for her unforgettable performance, a labor of love she did for a friend.
We, the Julie Christie fans who have waited decades for the handful of films made by the numinous star: Would we have wanted it any other way? We are the Red Sox fans of the movies, once again rewarded with a world-class masterpiece by our heroine. Perhaps, like all human beings, we want more, but we have learned over the last thirty-five years to be content with the diamonds that are Julie's leading performances that she gives just once a decade, content to feel that these are a surfeit of riches, our surfeit of riches, so great is their luminescence.McCabe & Mrs. Miller- Actress
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Few in modern British history have come as far or achieved as much from humble beginnings as Glenda Jackson did. From acclaimed actress to respected MP (Member of Parliament), she was known for her high intelligence and meticulous approach to her work. She was born to a working-class household in Birkenhead, where her father was a bricklayer and her mother was a cleaning lady. When she was very young, her father was recruited into the Navy, where he worked aboard a minesweeper. She graduated from school at 16 and worked for a while in a pharmacy. However, she found this boring and dead-end and wanted better for herself. Her life changed forever when she was accepted into the prestigious Royal Acadamy of Dramatic Art (RADA) at the age of 18. Her work impressed all who observed it. At age 22, she married Roy Hodges.
Her first work came on the stage, where she won a role in an adaptation of "Separate Tables", and made a positive impression on critics and audiences alike. This led to film roles, modest at first, but she approached them with great determination. She first came to the public's notice when she won a supporting role in the controversial film Marat/Sade (1967), and is acknowledged to have stolen the show. She quickly became a member of Britain's A-List. Her first starring role came in the offbeat drama Negatives (1968), in which she out-shone the oddball material. The following year, controversial director Ken Russell gave her a starring role in his adaptation of the 1920s romance Women in Love (1969), in which she co-starred with Oliver Reed. The film was a major success, and Jackson's performance won her an Academy Award for Best Actress. In the process, she became an international celebrity, known world-wide, yet she didn't place as much value on the status and fame as most do. She did, however, become a major admirer of Russell (who had great admiration for her in return) and acted in more of his films. She starred in the controversial The Music Lovers (1971), although it required her to do a nude scene, something that made her very uncomfortable. The film was not a success, but she agreed to do a cameo appearance in his next film, The Boy Friend (1971). Although her role as an obnoxious actress was very small, she once again performed with great aplomb.
1971 turned out to be a key year for her. She took a risk by appearing in Sunday Bloody Sunday (1971), as a divorced businesswoman in a dead-end affair with a shallow bisexual artist, but the film turned out to be another major success. She accepted the starring role in the British Broadcasting Corporation's much anticipated biography of Queen Elizabeth I, and her performance in the finished film, Elizabeth R (1971), was praised not only by critics and fans, but is cited by historians as the most accurate portrayal of the beloved former queen ever seen. The same year, she successfully played the role of Queen Elizabeth I again in the historical drama Mary, Queen of Scots (1971). That same year, she appeared in the popular comedy series The Morecambe & Wise Show (1968) in a skit as Queen Cleopatra, which is considered on of the funniest TV skits in British television, and also proof that she could do comedy just as well as costume melodrama. One who saw and raved about her performance was director Melvin Frank, who proceeded to cast her in the romantic comedy A Touch of Class (1973), co-starring George Segal. The two stars had a chemistry which brought out the best in each other, and the film was not only a major hit in both the United States and Great Britain, but won her a second Academy Award. She continued to impress by refusing obvious commercial roles and seeking out serious artistic work. She gave strong performances in The Romantic Englishwoman (1975) and The Incredible Sarah (1976), in which she portrayed the legendary actress Sarah Bernhardt. However, some of her films didn't register with the public, like The Triple Echo (1972), The Maids (1975), and Nasty Habits (1977). In addition, her marriage fell apart in 1976. But her career remained at the top and in 1978 she was named Commander of the Order of the British Empire. That year, she made a comeback in the comedy House Calls (1978), co-starring Walter Matthau. The success of this film which led to a popular television spin-off in the United States the following year. In 1979, she and Segal re-teamed in Lost and Found (1979), but they were unable to overcome the routine script. She again co-starred with Oliver Reed in The Class of Miss MacMichael (1978), but the film was another disappointment.
During the 1980s, she appeared in Hopscotch (1980) also co-starring Walter Matthau, and HealtH (1980) with Lauren Bacall, with disappointing results, although Jackson herself was never blamed. Her performance in the TV biography Sakharov (1984), in which she played Yelena Bonner, devoted wife of imprisoned Russian nuclear scientist Andrei Sakharov opposite Jason Robards, won rave reviews. However, the next film Turtle Diary (1985), was only a modest success, and the ensemble comedy Beyond Therapy (1987) was a critical and box office disaster and Jackson herself got some of the worst reviews of her career.
As the 1980s ended, Jackson continued to act, but became more focused on public affairs. She grew up in a household that was staunchly supportive of the Labour Party. She had disliked the policies of Conservative Prime Minister Margaret Thatcher, even though she admired some of her personal attributes, and strongly disapproved of Thatcher's successor, John Major. She was unhappy with the direction of British government policies, and in 1992 ran for Parliament. Although running in an area (Hampstead and Highgate) which was not heavily supportive of her party, she won by a slim margin and immediately became its most famous newly elective member. However, those who expected that she would rest on her laurels and fame were mistaken. She immediately took an interest in transportation issues, and in 1997 was appointed Junior Transportation Minister by Prime Minister Tony Blair. However, she was critical of some of Blair's policies and is considered an inter-party opponent of Blair's moderate faction. She was considered a traditional Labour Party activist, but is not affiliated with the faction known as The Looney Left. In 2000, she ran for Mayor of London, but lost the Labour nomination to fellow MP Frank Dobson, an ally of Blair, who then lost the election to an independent candidate, Ken Livingstone.
In 2005, she ran again and won the nomination, but lost to Livingstone, winning 38% of the vote. When Blair announced he would not seek reelection as Prime Minister in 2006, Jackson's name was mentioned as a possible successor, although she didn't encourage this speculation. In 2010, she sought reelection to parliament and was almost defeated, winning by only 42 votes.
In 2013, she responded to the death of Margaret Thatcher by strongly denouncing her policies, which was condemned by many as graceless. In 2015, elections for parliament were called again but she didn't seek reelection. She was succeeded in Parliament by Christopher Philp, a Conservative Party member who had been Jackson's opponent in 2010.Sunday, Bloody Sunday- Actress
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On January 30, 1937, renowned theatre actor Michael Redgrave was performing in a production of Hamlet in London. During the curtain call, the show's lead, Laurence Olivier, announced to the audience: "tonight a great actress was born". This was in reference to his co-star's newborn daughter, Vanessa Redgrave.
Vanessa was born in Greenwich, London, to Michael Redgrave and Rachel Kempson, both thespians. Three quarters of a century after her birth (despite numerous ups and down) this rather forward expectation has definitely been lived up to with an acclaimed actress that has won (among many others) an Academy Award, two Emmys, two Golden Globes, two Cannes Best Actress awards, a Tony, a Screen Actors Guild award, a Laurence Olivier theatre award and a BAFTA fellowship.
Growing up with such celebrated theatrical parents, great expectations were put on both herself, her brother Corin Redgrave and sister Lynn Redgrave at an early age. Shooting up early and finally reaching a height just short of 6 foot, Redgrave initially had plans to dance and perform ballet as a profession. However she settled on acting and entered the Central School of Speech and Drama in 1954 and four years later made her West End debut. In the decade of the 1960s she developed and progressed to become one of the most noted young stars of the English stage and then film. Performances on the London stage included the classics: 'A Touch of Sun', 'Coriolanus', 'A Midsummer's Night Dream', 'All's Well that Ends Well', 'As You Like It', 'The Lady from the Sea', 'The Seagull' and many others. By the mid 1960s, she had booked various film roles and matured into a striking beauty with a slim, tall frame and attractive face. In 1966 she made her big screen debut as the beautiful ex-wife of a madman in an Oscar nominated performance in the oddball comedy Morgan! (1966), as well as the enigmatic woman in a public park in desperate need of a photographer's negatives in the iconic Blow-Up (1966) and briefly appeared in an unspoken part of Anne Boleyn in the Best Picture winner of the year A Man for All Seasons (1966).
She managed to originate the title role in "The Prime of Miss Jean Brodie" the same year on the London stage (which was then adapted for the big screen a few years later, but Maggie Smith was cast instead and managed to win an Oscar for her performance). Her follow up work saw her play the lead in the box office hit adaptation Camelot (1967), a film popular with audiences but dismissed by critics, and her second Academy Award nominated performance as Isadora Duncan in the critically praised Isadora (1968).
Her rise in popularity on film also coincided with her public political involvement, she was one of the lead faces in protesting against the Vietnam war and lead a famous march on the US embassy, was arrested during a Ban-the-Bomb demonstration, publicly supported Yasar Arafat's Palestine Liberation Organization (PLO) and fought for various other human rights and particularly left wing causes. Despite her admirably independent qualities, most of her political beliefs weren't largely supported by the public. In 1971 after 3 films back to back, Redgrave suffered a miscarriage (it would have been her fourth, after Natasha Richardson, Joely Richardson and Carlo Gabriel Nero) and a break up with her then partner and father of her son, Franco Nero. This was around the same time her equally political brother Corin introduced her to the Workers Revolutionary Party, a group who aimed to destroy capitalism and abolish the monarchy. Her film career began to suffer and take the back seat as she became more involved with the party, twice unsuccessfully attempting to run as a party member for parliament, only obtaining a very small percentage of votes.
In terms of her film career at the time, she was given probably the smallest part in the huge ensemble who-dunnit hit, Murder on the Orient Express (1974) and given another thankless small part as Lola Deveraux in the Sherlock Holmes adventure The Seven-Per-Cent Solution (1976).
After a celebrated Broadway debut, she created further controversy in 1977 with her involvement in two films, firstly in Julia (1977) where she acted opposite Jane Fonda as a woman fighting Nazi oppression and narrated and featured in the documentary The Palestinian (1977) where she famously danced holding a Kalashnikov rifle. She publicly stated her condemnation of what she termed "Zionist hudlums", which outraged Jewish groups and as a result a screening of her documentary was bombed and Redgrave was personally threatened by the Jewish Defense League (JDL). Julia (1977) happened to be a huge critical success and Redgrave herself was nominated for a Best Supporting Actress Oscar, but Jewish support groups demanded her nomination to be dropped and at the event of the Academy Awards burned effigies of Redgrave and protested and picketed. Redgrave was forced to enter the event via a rear entrance to avoid harm and when she won the award she famously remarked on the frenzy causes as "Zionist hoodlums" which caused the audience to audibly gasp and boo. The speech reached newspapers the next morning and her reputation was further damaged.
It came as a surprise when CBS hired her for the part of real life Nazi camp survivor Fania Fenelon in Playing for Time (1980), despite more controversy and protesting (Fenelon herself didn't even want Redgrave to portray her) she won an Emmy for the part and the film was one of the highest rating programs of the year. Her follow up film work to her Oscar had been mostly low key but successful, performances in films such as Yanks (1979), Agatha (1979), The Bostonians (1984), Wetherby (1985) and Prick Up Your Ears (1987) further cemented her reputation as a fine actress and she received various accolades and nominations.
However mainly in the 1980s, she focused on TV films and high budget mini-series as well as theatre in both London and New York. She made headlines in 1984 when she sued the Boston Symphony Orchestra for $5 million for wrongful cancellation of her contract because of her politics (she also stated her salary was significantly reduced in Agatha (1979) for the same reason). She became more mainstream in the 1990s where she appeared in a string of high profile films but the parts often underused Redgrave's abilities or they were small cameos/5-minute parts. Highlights included Howards End (1992), Little Odessa (1994), Mission: Impossible (1996) and Cradle Will Rock (1999), as well as her leading lady parts in A Month by the Lake (1995) and Mrs Dalloway (1997).
In 2003 she finally won the coveted Tony award for her performance in 'The Long Day's Journey Into Night' and followed up with another two Tony nominated performances on Broadway, her one woman show 'The Year of Magical Thinking' in 2007 and 'Driving Miss Daisy' in 2010 which not only was extended due to high demand, but was also transferred to the West End for an additional three months in 2011.
Vanessa continues to lend her name to causes and has been notable for donating huge amounts of her own money for her various beliefs. She has publicly opposed the war in Iraq, campaigned for the closure of Guantanamo Bay, supported the rights of gays and lesbians as well as AIDs research and many other issues. She released her autobiography in 1993 and a few years later she was elected to serve as a UNICEF Goodwill Ambassador. She also famously declined the invitation to be made a Dame for her services as an actress. Many have wondered the possible heights her career could have reached if it wasn't for her outspoken views, but being a celebrity and the artificial lifestyle usually attached doesn't seem to interest Redgrave in the slightest.
Vanessa has worked with all three of her children professionally on numerous occasions (her eldest daughter, Natasha Richardson tragically died at the age of 45 due to a skiing accident) and in her mid 70s she still works regularly on television, film and theatre, delivering time and time again great performances.Mary, Queen of Scots- Actress
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This alert and classy actress seemed poised for Hollywood stardom in the early 1970s. Although it wasn't meant to be, Janet Suzman has remained one of the more respected classical stage players of her time. Born in 1939, she was raised in a staunchly liberal household in South Africa at a time when the country was moving toward the formal racial discrimination of apartheid. Suzman studied languages at the multi-racial Witwatersrand University in the late 1950s and was an active member of the drama society. She left South Africa during the height of her country's oppression, and moved to England in 1959.
Making her professional stage debut with "Billy Liar" in 1962, she almost immediately joined the Royal Shakespeare Company and received rave notices for her Joan of Arc in "The War of the Roses." She made her official London debut in a production of "A Comedy of Errors" in 1963. In the ensuing years Janet built up an impressive classical resumé portraying most of Shakespeare's illustrious heroines including Rosalind, Portia, Ophelia, Beatrice and the shrewish Kate. She also appeared in several BBC-TV versions of the classics.
In 1969 she married director Trevor Nunn and together they collaborated on some of England's finest stage productions during the early 1970s, notably "Antony and Cleopatra" (1972), "Titus Andronicus" (1972) and "Hello and Goodbye" (1973), which won Suzman the Evening Standard award. She won a second for her role of Masha in the 1976 production of Chekhov's "The Three Sisters." They had a son, Joshua, before they divorced in the 1980s. Later work included notable roles in "She Stoops to Conquer," "The Good Woman of Setzuan" and her "Hedda Gabler."
In the early 1970s she branched out into films. Following an auspicious turn in A Day in the Death of Joe Egg (1972), she won the coveted role of Czarina Alexandra in the florid historical piece Nicholas and Alexandra (1971) co-starring Michael Jayston, in which she enjoyed a sterling British cast in support - including Harry Andrews, Jack Hawkins, Ian Holm, John McEnery, Laurence Olivier and Michael Redgrave. Suzman received an Oscar nomination for her performance, and bigger things seemed inevitable. She went on to grace a number of films, including Voyage of the Damned (1976), Nijinsky (1980) and Priest of Love (1981).
In a reprise of her real life family's activism, Suzman co-starred in the anti-apartheid film A Dry White Season (1989) portraying the wife of the Donald Sutherland character. The cast included other progressive activists such as Susan Sarandon and Marlon Brando (who received an Academy Award nomination for Best Supporting Actor). In a change-of-pace role, she played a Mother Superior in the hysterical farce Nuns on the Run (1990).
In the 1980s Suzman was inspired to direct and coach. She was a visiting professor of drama at Westfield College, London, and later returned to South Africa to provide multi-ethnic castings in versions of Shakespearean plays. Making her directing bow in a production of "Othello" at the Market Theatre in 1987, some of her more notable assignments included "Death of a Salesman" (1992) and a reworked politicized version of Chekhov's "The Cherry Orchard" set in South Africa, titled "The Free State" (1997). In 2002 she returned to the RSC to perform in "The Hollow Crown," and most recently appeared in a London production of "Whose Life Is It Anyway?" (2005) starring Kim Cattrall.
Into the millennium, other than a couple of films such as Max (2002) and Felix (2013), Suzman appeared primarily on the smaller screen in such TV series as Tinga Tinga Tales (2010) (as the voice of the Ostrich) and Sinbad (2012), and a role in the mini-series Labyrinth (2012).Nicholas and Alexandra