Movies are all about capturing that perfect moment. Cinemagraphs, gifs that isolate specific movements while freezing the rest, allow us to relive our favorite scenes over and over again.posted on Aug. 8, 2012, at 11:00 p.m.
Video:
Hollywood’s most glamorous and tempestuous couple are brought to life by Helena Bonham Carter (‘Les Miserables,’ ‘The King’s Speech’) as Liz Taylor and Dominic West (‘The Wire,’ ‘The Hour’) as Richard Burton. Don’t miss the biopic on BBC America.
one of my all time favorite movies!
7:56PM BST 19 Jul 2013
The first time I saw Elizabeth Taylor and Richard Burton together off-screen was on a bitterly cold January day in 1963 at Heathrow Airport.
I had met Taylor before. I was 14 when she came to the Sussex seaside village of Rottingdean, where I had gone to school, to visit my friend Enid Bagnold, whose novel, National Velvet, had provided the 12-year-old Elizabeth with her first Hollywood starring role as a girl who rides her pony to victory in the Grand National.
But I had never glimpsed Burton in the flesh, and my first sight of him was to prove shockingly memorable. I was at Heathrow to watch some of the location shooting for a film, The VIPs, in which Taylor and Burton were co-starring, supported by a host of famous names including Maggie Smith, Margaret Rutherford, Louis Jourdan and Orson Welles.
Burton, wild-eyed and red in the face, was punching the air like a boxer who had lost co-ordination. My first impression was that he must be filming a drunk scene. But then several of his wild lunges landed on innocent passers-by, and I realised that he was paralytic. I discovered that he had consumed 14 Bloody Mary’s before lunch, then moved on to neat vodka in the afternoon.
Over the years, I was to meet the Burton’s – who married twice and divorced twice – on many occasions. The last time was backstage at the Lunt-Fontanne Theatre in New York in May 1983, when the world’s most famous ex-lovers, who’d by then been apart for seven years, following their second divorce, forged a disastrously ill-judged reunion in Noël Coward’s comedy Private Lives, the story of an ex-husband and wife who encounter each other on their second honeymoons, staying in adjoining rooms at a hotel in the South of France.
This grisly swan song in the tempestuous saga of Liz and Dick – it was to be the last time they would perform together – is brilliantly dramatized in Monday night’s BBC Four TV biopic, Burton and Taylor, in which the legendary couple are recreated with eerie authenticity by two award-winning actors, Helena Bonham Carter and Dominic West. Its writer, William Ivory, who fought a long and painful battle to conquer alcohol addiction, understands his two star protagonists very well, but says: “Burton and Taylor were addicted to more than alcohol. They were addicted to each other.”
Addiction was evident in their first encounter, a year before I witnessed Burton’s display at Heathrow, when he staggered onto the Rome set of Cleopatra, then the most costly screen epic produced, in which Taylor became the first star in Hollywood to command a salary of one million dollars. The film, now in its 50th anniversary year, has been digitally enhanced and was re-released this month in cinemas and on Blu-ray.
At his first meeting with Taylor, Burton turned up drunk. He could barely walk. His hands shook as he tried to sip hot coffee from a cup. Seeing his difficulty, Taylor helped by holding the cup to his lips. She later claimed that in that one simple gesture, a bond was forged between them, and that she found in Burton the same qualities she had loved in her third husband, millionaire producer Mike Todd, who was killed in a plane crash: power, strength, intellect, but also vulnerability.
In Cleopatra, in which Taylor had the title role, Burton played her lover, Mark Antony, a situation that was swiftly duplicated off-screen and developed into a scandal, for both were married – Burton to the former actress Sybil Williams, by whom he had two daughters, the younger of whom was autistic, and Taylor to the singer Eddie Fisher, whom she had annexed from one of America’s screen sweethearts, Debbie Reynolds, bringing widespread condemnation down on her head.
The Vatican denounced Taylor’s affair with Burton as “erotic vagrancy”, but after their marriage in 1964, they became the hottest properties in the movie world, reaching the peak of their careers with the film of Edward Albee’s Who’s Afraid of Virginia Woolf? in 1966.
As the bitter, erudite couple, George and Martha, who spend the evening trading vicious insults in front of their horrified and fascinated guests, their performances seemed uncomfortably close to their own lives. Both admitted that the film had taken its toll on their relationship, and Taylor confessed that she got “tired of playing Martha” in real life. Her performance won her a second Best Actress Oscar. Burton was nominated but did not win – one of seven nominations that failed to bring him an Oscar.
Burton’s lavish gifts of jewelry to Taylor – the Krupp Diamond, which she wore daily; the pear-shaped Taylor-Burton diamond; and the 50‑carat La Peregrina Pearl – kept the gilded couple in the headlines, but both began to drink more heavily, and to argue increasingly, and no one was very surprised when, after 10 years of marriage, they were divorced in 1974.
If they couldn’t live together, however, it seemed as if they couldn’t live apart. Less than 16 months later, they were remarried, but it lasted only a matter of months before they separated again and there was a second divorce.
In 1983, when Taylor and Burton announced their plan to co-star in a stage revival of Private Lives, both were involved with other people. Burton was with the television production assistant Sally Hay, and Taylor with a Mexican lawyer, Victor Luna – but neither was legally attached, which hugely increased media speculation that they might marry for the third time. The theme of Private Lives – the reunion of divorced partners – added to this impression.
Taylor appeared not even to have read Coward’s play when they began work on it, and came to rehearsals drunk and also clearly the worse for prescription drugs. A staggering $2 million of seats were sold in advance, but both Taylor and Burton, at 51 and 57 respectively, were years too old for the leading roles. The reviews were devastating. One critic compared Taylor’s acting to “the Hitler diaries – you don’t believe it, but you gotta look!”
On the night I saw the play in New York, the audience was dominated by camp contingents of Taylor’s movie fans, who screamed approval of everything she did, causing her frequently to ad-lib and step out of character.
Backstage, Burton seemed depressed and anxious. He told me the decision to work with Taylor again had been “a mistake… it’s been a bloody fiasco”.
Taylor began missing performances. During one of her many absences, Burton and Sally Hay took off for Las Vegas and got married there. Taylor responded by announcing her engagement to Victor Luna, whom she never married. She then collapsed with a respiratory infection and was absent from the production again.
One of Burton’s theatrical mentors, the Shakespearean actor and director Sir Anthony Quayle, was convinced that the strain imposed on Burton by the reunion with Taylor destroyed his failing health. He died from a brain hemorrhage eight months later. When Taylor was informed of his death, she fainted.
Elizabeth Taylor was created a Dame of the British Empire in 2000. After the dissolution of her eighth and final marriage to Larry Fortensky, whom she had met in rehab at the Betty Ford Centre, Taylor did not marry again, although she described her last partner, Jason Winters, as “one of the most wonderful men I’ve ever known”.
The last time I saw her, a year before her death, she was in a wheelchair, but still mentally alert, although she had become reclusive and an element of paranoia had crept into her outlook.
I mentioned her second husband, the English actor Michael Wilding, father of her two sons, who had been a friend of mine. She said sharply: “Please don’t talk about him. He is haunting me.”
“Well, I am sure he would be a friendly ghost,” I replied. “Michael was always a very kind man.”
“I was a fool to marry so often,” she said. “If I had my time over again, I would never do that. The truth is I now don’t give a damn about most of those men. Richard is the only one I truly loved and still care about. I shall miss him until the day I die.”
Richard Burton (Dominic West) says to ex-wife Dame Elizabeth Taylor (Helena Bonham Carter) in the film Burton and Taylor, “We’re addicts Elizabeth, you and I.” She coyly responds, “Love is not a drug.”
However you want to interpret this line, the two couldn’t stay away from each other, tackling 12 films together, diving head first into two consecutive marriages, resulting in two divorces and still drawn to each other after all of that, taking on one last project.
The made-for-TV film, premiering on BBC America on Wednesday, October 16 at 9/8c, puts a spotlight on the couples’ last performance together in the NYC stage presentation of Private Lives. Coincidentally, or not so coincidentally, the play portrays a divorced couple who have lingering feelings.
This snapshot of 24 photos walks you through their romantic entanglement:
JUNE 25, 2014 8:14 AM
Wallach’s movie and TV career continued for another six decades, rarely with lead roles, but often with colorful character parts, as in The Magnificent Seven(where he played bandit leader Calvera) and The Good, the Bad, and the Ugly.(He was scheming outlaw Tuco, “the Ugly,” though he didn’t realize he’d be designated as such until he saw the film.) On TV, in the mid-’60s, Wallach made a memorable Mr. Freeze on Batman (the role he said that earned him the most fan mail) and won an Emmy for his work in the anti-drug movie The Poppy Is Also a Flower. He’d earn another Emmy nomination 40 years later for his guest spot as a once-blacklisted TV writer onStudio 60 on the Sunset Strip. His last Emmy nod came for his 2009 guest role on Nurse Jackie as a dying patient. In his later decades, Wallach played countless wily, prickly oldtimers on film, from the psychologist in Barbra Streisand’s Nuts to a candy-loving Mafia don inThe Godfather Part III, to a wise rabbi in Keeping the Faith, to a liquor store owner in pal Eastwood’s Mystic River, to a veteran Hollywood screenwriter who charms decades-younger Kate Winslet in The Holiday. In 2010, the year he turned 95, he finally got an honorary Oscar, as well as taking roles in Roman Polanski’s Ghost Writer and Oliver Stone’s Wall Street: Money Never Sleeps. Despite a stroke that robbed him of the sight in his left eye, Wallach never seemed to want to slow down. While promoting his 2005 memoir, The Good, The Bad, and Me, he said, “I never lost my appetite for acting. I feel like a magician. Some people would ask, ‘How do you do a play every evening?’ One thing changes every evening: It’s the audience, and I’m working my magic. I’m always learning from it.”
Film actor. Born on July 14, 1926 in West Irvine, Kentucky, USA, indie film star Harry Dean Stanton served in the navy during World War II. He studied at the University of Kentucky and the Pasadena Playhouse.
A solid supporting actor, Stanton appeared in numerous feature films, many of them Westerns, before starring in 1984’s Paris, Texas and the cult classic Repo Man. Later films include The Last Temptation of Christ (1988), Hostages(1992), The Green Mile (1999), The Straight Story(1999), and The Pledge (2000).
Stanton also is credited with many television appearances over his long career fromGunsmoke during the late 1950s-60s, to the popular recent series Two and a Half Men. Since 2006, Harry Dean Stanton also has starred on the HBO series Big Love as Roman Grant, the manipulative leader of a polygamous sect.
Click link below for list
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6. The Night of the Hunter
Based on the novel of the same title, Night of the Hunter casts Robert Mitchum in the lead role as Harry Powell, an unethical preacher cum murderer. Alongside Shelley Winters, the film is loosely based on a true story, as he attempts to romance the unsuspecting widow and steal the hidden money. It was to be the last film directed by Charles Laughton.
Set in 1930’s West Virginia, Harry Powell is a self-labelled preacher who has been travelling the country attracting widows, then killing and robbing them, all the while convinced that this is what God wants him to do. Arrested for driving a stolen car and temporarily jailed, he meets prisoner Ben Harper, a convicted killer and bank robber facing execution. Despite not being able to convince Ben to disclose where the loot is hidden, Powell hatches a plan to target his next widow, Willa Harper (Shelley Winters). However, with the two Harper children being the only ones who know where the spoils are, Powell certainly won’t have things his own way.
With Mitchum giving such a skin crawling and menacing performance, Night of the Hunter is now known to be one of the most frightening movies around, for its time. Containing possibly the most notoriously twisted, on-screen villain in cinematic history, this is a film you will either LOVE or HATE.
5. The Innocents
Directed by Jack Clayton and starring Deborah Kerr, The Innocents is a gothic horror released in 1961. Without showing any gory or graphic images, this film relies simply on the setting, direction and the viewer’s own perception. Based on the novel, The Turn of the Screw, The Innocents is open ended, leaving several interpretations of which all are unsettling and thought provoking.
Miss Giddens (Kerr) agrees to become the new governess to two orphaned children, named Flora and Miles who are currently in the care of their wealthy but disinterested uncle. After arriving at their beautiful country estate, Miss Giddens immediately connects with Mrs Grose, the likeable housekeeper, and meets Flora, a bubbly, cheerful young girl with a pet tortoise. With Miss Giddens still settling in to her new headquarters, a letter is received from Miles’ boarding school, advising that he has been sent home early and subsequently expelled. Upon meeting Miles for the first time, the governess finds him extremely charming, almost flirtatious. However, coinciding with the boy’s arrival, sinister and peculiar events begin to arise. With Miss Gidens demanding to know more about the past residency, sickening secrets are revealed, secrets that lead to a horrifying and ghastly culmination of events.
Whatever rationale you may come up with, the result is a breathtakingly disturbing translation of a classic ghost story, written by Henry James.
4. Don’t Look Now
Based on Daphne Du Maurier’s short story, Don’t Look Now, is a frightening film that shows the psychological weight, the death of a loved one can bring. In this case Donald Sutherland and Julie Christie play husband and wife, John and Laura, who experience the heart-breaking tragedy of losing their young daughter, after she drowned in their pond. The film presents the different styles of grief we can suffer.
Fast forward to the future and John and Laura are currently in Venice after John decided to restore an old church. After meeting a blind psychic woman in a restaurant, Laura’s mood changes when told that their daughter is happy. However, John, being the absolute non-believer in clairvoyance, is not nearly as excited. But when they both start to witness strange sightings, particularly the same red-coated figure, (similar to how their daughter last appeared) desperation overcome grief, to haunting consequences
Director Nicolas Roeg creates an extremely chilling atmosphere with the tension building up to a ghastly, grotesque climax.
3. Rosemary’s Baby
The most acclaimed in ‘the apartment trilogy’, Rosemary’s Baby stars Mia Farrow and John Cassavetes as husband and wife who have just moved into an old fashioned New York City apartment.
Thrilled with their new surroundings, Rosemary (Farrow) and Guy (Cassavetes) decide that having a baby is the next step in their relationship. With her interfering, yet supportive neighbours (Minnie and Roman), she embarks on her journey through pregnancy and is somewhat shoved in the direction of Dr Sapirstein, who insists that Rosemary drink a concoction that her helpful neighbour will bring her daily.
However, after burrowing deeper into the bizarre behaviour of those all around her, including her husband Guy; she speculates that they all have very sinister intentions for the unborn child. Can Rosemary unravel the plot in time to save her baby AND her sanity? Or has this all been a cruel illusion of mind tricks?
Mia Farrow produces the performance of a lifetime in Polanski’s brilliant psychological horror. Released in 1968, this truly terrifying film effortlessly stands the test of time.
2. Les Diaboliques
Directed by Henri-George Clouzot, this 1955 black and white French-masterpiece, features on many top horror film lists.
The film revolves around a boarding school, owned by the vulnerable Christina, (Vera Clouzot) but controlled by her repressive husband Michel (Paul Meurisse) with his mistress, teacher Nicole (Simone Signoret) in tow.With both women possessing a closeness and confidentiality in each other, due to the abusive Michel, they formulate a plan to take care of this tyrant. However, between an intrusive private investigator, incorruptible schoolboys and a missing corpse, things take a mysterious turn for the worse.
Legend has it that Alfred Hitchcock was first approached to direct Les Diaboliques, however, when the deal came to nothing, Henri-Georges Clouzot was the inheritor.
1. Vertigo
Widely regarded as director Alfred Hitchcock’s best, Vertigo is a complex, psychological thriller starring James Stewart and Kim Novak. Proudly sitting atop of the much celebrated Sight and Sound Poll (in 2012), this masterpiece is a movie filled with suspense that unfolds in an extraordinarily haunting climax.
John ‘Scottie’ Ferguson (Stewart) is a retired San Francisco police detective. After being involved in a rooftop chase, resulting in the death of a policeman, Scottie has been battling vertigo. When approached by an old college friend to secretly pursue the man’s wife Madeline (Novak), he begrudgingly accepts. As Madeline proves exceedingly difficult to follow, he eventually tracks her down and rescues her as she attempts to leap into San Fran Bay. With both Madeline and Scottie spending more and more time together they ultimately confess their love for each other, whilst in the surroundings of an old Mission. Out of nowhere, Madeline runs into the church and climbs the bell tower. With Scottie powerless to run after her, we are left with a breathtakingly daring act of cinematic genius that only the master of suspense could compose.
With a fantastic backdrop of San Francisco, this fable of romance and obsession is a stunning piece of work that should be ranked as highly in another 50 years’ time, as it is today.
Author Bio: Andrew Lowry lives in Bangor, Northern Ireland. He is a government worker by day, and cinephile by night.
Read more at http://www.tasteofcinema.com/2014/25-great-psychological-thrillers-that-are-worth-your-time/4/#Cps8Has64pHiIi6p.99
The first line can make or break a movie.
And some of the best films also boast superb opening gambits that suck you in, make you think, have you laughing or just tease you. Some have over 100 words, some have only a few words, but they have the same effect.
We’ve rounded up some of our favorites – let us know yours in the comments…
22. Mallrats (1995)
The Line: “One time my cousin Walter got this cat stuck up his ass. True story. He bought it at our local mall, so the whole fiasco wound up on the news.
“It was embarrassing for my relatives and all, but next week, he did it again. Different cat, same results, complete with another trip to the emergency room.
“So, I run into him a week later in the mall and he’s buying another cat. And I says to him, ‘Jesus, Walt! What are you doing? You know you’re just gonna get this cat stuck up your ass too. Why don’t you knock it off?’
“And he said to me, ‘Brodie, how the hell else am I supposed to get the gerbil out?’ My cousin was a weird guy.
21. Fight Club (1999)
The Line: “People are always asking me if I know Tyler Durden…”
20. Four Weddings And A Funeral (1994)
The Line: “Oh, f**k! F**k!”
19. The Big Lebowski (1998)
The Line: ”Way out west there was this fella I wanna tell ya about. Goes by the name of Jeff Lebowski. At least that was the handle his loving parents gave him, but he never had much use for it himself. See, this Lebowski, he called himself ‘The Dude’”
18. The Jerk (1979)
The Line: “I am not a bum. I’m a jerk. I once had wealth, power, and the love of a beautiful woman. Now I only have two things: my friends and… uh… my thermos.
“Huh? My story? Okay. It was never easy for me. I was born a poor black child. I remember the days, sittin’ on the porch with my family, singin’ and dancin’ down in Mississippi.”
17. Fear And Loathing In Las Vegas (1998)
The Line: “We were somewhere around Barstow on the edge of the desert when the drugs began to take hold.”
16. LA Confidential (1997)
The Line: “’Come to Los Angeles! The sun shines bright, the beaches are wide and inviting, and the orange groves stretch as far as the eye can see. There are jobs aplenty, and land is cheap.
“Every working man can have his own house, and inside every house, a happy, all-American family. You can have all this, and who knows… you could even be discovered, become a movie star… or at least see one.
“Life is good in Los Angeles… it’s paradise on Earth.’ Ha ha ha ha. That’s what they tell you, anyway.”
15. Full Metal Jacket (1987)
Read more at http://www.tasteofcinema.com/2014/the-22-greatest-movie-opening-lines-of-all-time/#6dGQvwLK0xI6Fusb.99
http://www.ranker.com/list/top-50-movie-moments-of-all-time/lotterman?ref=lzyrltdlsts&pos=1
As the Oscars are coming down on us this Sunday and I prepare to watch with “laughing cow” cheese triangles smeared on crackers and tea, I Will not comment on the posing actresses in their borrowed floor length gowns and dripping diamonds. I will wait to see which movies got an award this year. Yes I like Captain Phillips and The Wolf of Wall street, Leonardo is spectacular and Tom Hanks is spectacular as always. I couldn’t stand the movie “Her” of “Gravity” and moldy enjoyed “Twelve Years a Slave”.” “Gravity” bored me to death-a lot of floating around in space caught on this and that I have yet to see Nebraska or American Hustle.
So the best picture goes to “The Wolf of Wall Street” and I guess the runner is “Captain Phillips” (Phillips can be spelled so many ways,I just picked one-sorry if I am wrong)
Here are the top 50 movie moments of all time, hope you enjoy!
Please check out my previous last three postings as you got no notifications about them-thanks hobo hippie
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Jessica Lange
JESICCA LANGE BIOGRAPHY
http://youtu.be/-fULrnFPrjE
Showing all 33 items
Jump to: Overview (3) | Mini Bio (1) | Spouse (1) | Trade Mark (3) | Trivia (21) | Personal Quotes (3) | Salary (1)
Overview (3)
Date of Birth 20 April 1949 , Cloquet, Minnesota, USA
Birth Name Jessica Phyllis Lange
Height 5′ 8″ (1.73 m)
Mini Bio (1)
On April 20, 1949, Jessica Lange was born in Cloquet, Minnesota, USA, where her father worked as a traveling salesman. She obtained a scholarship to study art at the University of Minnesota, but instead went to Paris to study drama. She moved to New York, working as a model for many years, until producer Dino De Laurentiis cast her as the female lead in King Kong (1976). The film attracted much unfavorable comment and, as a result, Lange was off the screen for three years. She was given a small but showy part in Bob Fosse’s All That Jazz (1979), before giving a memorable performance in Bob Rafelson’s The Postman Always Rings Twice (1981), as an adulterous waitress. The following year, she won rave reviews for her exceptional portrayal of actress Frances Farmer in Frances (1982) and a Best Supporting Actress Academy Award for her work in Sydney Pollack’s Tootsie (1982) (as a beautiful soap-opera actress). She was also outstanding as country singer Patsy Cline in Karel Reisz’s Sweet Dreams (1985) and as a lawyer who defends her father and discovers his past in Music Box (1989). Other important films include Martin Scorsese’s Cape Fear (1991) (as a frightened housewife) and Tony Richardson’s Blue Sky (1994), for which she won a Best Actress Academy Award as the mentally unbalanced wife of a military officer. She made her Broadway debut in 1992, playing “Blanche” in Tennessee Williams “A Streetcar Named Desire”.
In addition to acting, Lange is a photographer with two published works,and is a humanitarian, holding a position as a Goodwill Ambassador for UNICEF, specializing in the HIV/AIDS epidemic in the Congo and Russia.
Spouse (1)
Francisco Paco Grande (29 July 1970 – 1981) (divorced)
Trade Mark (3)
Platinum blonde hair
<
p>Voluptuous figure
Deep sultry voice
Trivia (21)
Born at 11:00am-CST
Had a long term relationship with actor Sam Shepard (1982-2009).
Lange has three children: Aleksandra “Shura” (1981) whose father is Mikhail Baryshnikov; Hanna Jane Shepard (January 13, 1986) and Samuel Walker Shepard (June 14, 1987) who goes by his middle name) whose father is Sam Shepard.
Chosen by Empire magazine as one of the 100 Sexiest Stars in film history (#64).
She is a big supporter for rights of the Monks of Nepal.
Lived in Minnesota with Sam and their children for a few years, but now living in New York (2004).
Between modeling jobs, she waitressed at the Lion’s Head in Greenwich Village.
In 1970s Manhattan, Lange was represented by Wilhelmina Models, the same agency that later discovered Gia Carangi.
Her interpretation of the pushed-to-the-limit Cora in the remake of The Postman Always Rings Twice (1981) was partially inspired by the downbeat life of B-movie actress Barbara Payton. In a Rolling Stone interview, Lange mentioned how she thought her character might have first drifted to Hollywood as an aspiring starlet, and co-star Jack Nicholson gave her Payton’s lurid, tell-all autobiography “I Am Not Ashamed” to look over on the set. Coincidentally, Lange and the blonde Payton were both born in Cloquet, Minnesota.
She is one of the elite ten thespians to have been nominated for both a Supporting and Lead Acting Academy Award in the same year for their achievements in two different movies. The other nine are Fay Bainter, Teresa Wright, Cate Blanchett, Barry Fitzgerald (he has been nominated in both categories for the same role in the same movie), Sigourney Weaver, Al Pacino, Emma Thompson, Holly Hunter, Julianne Moore and Jamie Foxx.
Beat Meryl Streep for the role of Patsy Cline in Sweet Dreams (1985), according to Streep. Streep said it was one of the few if not the only role she ever went after. Then later said that she couldn’t however, imagine the movie without her (Lange).
She was nominated for a Laurence Olivier Theatre Award in 2001 (2000 season) for Best Actress for her performance in “Long Day’s Journey into Night” at the Lyric Theatre.
Attended the Guthrie Theater Drama School at the prestigious Guthrie Theater in Minneapolis, Minnesota. Received the Anton Chekhov Fine Arts Award.
Daughter Shura (Alexandra) Baryshnikov, whose father is Mikhail Baryshnikov, graduated from Marlboro College in Vermont, the same college that Chris Noth attended in the 1970s.
Jessica’s grandparents were born in four different countries. Her paternal grandfather was German and her paternal grandmother was Dutch. Her maternal grandfather was Finnish and her maternal grandmother was born in Minnesota, to Finnish parents.
Her performance as Frances Farmer in Frances (1982) is ranked #85 on Premiere Magazine’s 100 Greatest Performances of All Time (2006).
Parents: Dorothy (1913-1968) and Al (1911-1988).
Has two older sisters named Ann Lange and Jane Lange and a younger brother named George Lange who is a pilot.
She was one of the favorite actresses of Benazir Bhutto.
Had a fall at her home in Minnesota on March 17, 2009, breaking her collarbone and dislocating her arm. After an overnight stay in the hospital, she was released the next day.
Her only husband, Paco Grande, was a photographer. They met in 1968 and married two years later. He began losing his sight from retinitis pigmentosa in the early 1970s. They did not divorce until 1982, following a long separation, and she paid him alimony afterwards.
Personal Quotes (3)
It took Sydney Pollack a long time to get me to do Tootsie (1982). I asked myself if I wanted to play some frothy, ditzy character after I had just done Frances (1982). Obviously, I’m thrilled that I did.
All through life, I’ve harbored anger rather than expressed it at the moment. Once I started on Frances (1982), I discovered it was literally a bottomless well. It devastated me to maintain that for eighteen weeks, to be immersed in this state of rage for twelve to eighteen hours a day. It spilled all over, into other areas of my life. I was really hell to be around.
[on what counts in her career] Box office success has never meant anything. I couldn’t get a film made if I paid for it myself. So I’m not ‘box office’ and never have been, and that’s never entered into my kind of mind set. It is the kind of acknowledgment by other actors, really. That’s really what is most meaningful.
Salary (1)
Losing Isaiah (1995) $1,500,000
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