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Mia Farrow is the daughter of the director John Farrow and the actress and Tarzan-girl Maureen O'Sullivan. She debuted at the movies in 1959 in very small roles. She was noticed for the first time in the film Rosemary's Baby (1968) by Roman Polanski. She showed her talent also on TV and at the theatre, but her final breakthrough was when she met Woody Allen and became his Muse after the film A Midsummer Night's Sex Comedy (1982). After that, Woody Allen wrote many other roles for her.- Actress
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An icy, elegant blonde with a knack for playing complex and strong-willed female leads, enormously popular actress Faye Dunaway starred in several films which defined what many would come to call Hollywood's "second Golden Age." During her tenure at the top of the box office, she was a more than capable match for some of the biggest macho stars of the 1970s. Then an overwrought turn in the disastrous biopic Mommie Dearest (1981) effectively derailed her career - but, at the same time, made her a bit of a camp favorite in the gay community - though she's been afforded infrequent opportunities worthy of her talent since that unfortunate halt.
Born prematurely on Jan. 14, 1941 in Bascom, FL, Dorothy Faye Dunaway was the daughter of MacDowell Dunaway, Jr., a career Army officer, and his wife, Grace April Smith. After a stint as a teenaged beauty queen in Florida, she intended to pursue education at the University of Florida, but switched to acting, earning her degree from Boston University in 1962. She was given the enviable task of choosing between a Fulbright Scholarship to the London Academy of Music and Dramatic Arts or a role in the Broadway production of "A Man For All Seasons" as a member of the American National Theatre and Academy. She picked the latter, enjoying a fruitful stage career for the next two years, which was capped by appearances in "After the Fall" and "Hogan's Goat." The latter - an off-Broadway production in 1967 - required Dunaway to tumble down a flight of steps in every performance, earning her a screen debut in the wan counterculture comedy The Happening (1967). Just five months after its release, however, she was wowing audiences across the country as Depression-era bank robber Bonnie Parker in Arthur Penn's controversial Bonnie and Clyde (1967). Her turn as the naïve but trigger-happy and sexually aggressive Parker earned her Academy Award and Golden Globe nominations, and provided a direct route to the front of the line for Hollywood leading ladies in an unbelievably short amount of time.
Dunaway followed this success with another hit, The Thomas Crown Affair (1968), in which her coolly sensual insurance investigator generated considerable sparks with playboy and jewel thief Steve McQueen. She then bounced between arthouse efforts like Puzzle of a Downfall Child (1970), directed by her ex-boyfriend, photographer Jerry Schatzberg, and the revisionist Western 'Doc' (1971), as well as big-budget efforts like Little Big Man (1970), which cast her as a predatory preacher's wife with designs on Dustin Hoffman's reluctant Native American hero. Dunaway also balanced these projects with several well-regarded theatrical productions, including a 1972-73 stint as Blanche Du Bois in "A Streetcar Named Desire," and notable TV-movies like The Woman I Love (1972), which cast her as the Duchess of Windsor, and TV broadcasts of Hogan's Goat (1971) and After the Fall (1974). But her turn as the duplicitous Lady De Winter in Richard Lester's splashy, slapstick take on The Three Musketeers (1973) and its sequel The Four Musketeers: Milady's Revenge (1974) preceded a long period of critical and box office hits, starting with her masterful performance in Chinatown (1974).
Dunaway's turn as Evelyn Mulwray, the mysterious woman who draws detective Jake Gittes (Jack Nicholson) into a dark and complicated web of murder, incest, and catastrophic business deals, seemed the epitome of every femme fatale to ever stride across a chiaroscuro-lit scene in classic noir. But Dunaway also found the horribly wounded core of her character as well, and turned Evelyn from a pastiche to a full-blown and emotionally resonant human being. Critics and award groups rushed to nominate Dunaway for the role, and she netted her second Academy Award nod, as well as Golden Globe and BAFTA nominations. Dunaway had fought hard for her performance - her battles with director Roman Polanski were no secret - but sadly, she lost the Oscar to Ellen Burstyn for Alice Doesn't Live Here Anymore (1974). However, it would be Dunaway's performance which stood the test of time.
High-gloss turns in The Towering Inferno (1974) and Sydney Pollack's political thriller Three Days of the Condor (1975) preceded one of her best television performances; that of Depression-era radio preacher Aimee Semple MacPherson in The Disappearance of Aimee (1976). Even more startling was her sterling role in Network (1976), Paddy Chayefsky's blistering take on the television industry. Dunaway pulled out all the stops as an executive on the rise who stops at nothing to advance her career - even bedding veteran producer William Holden. Critics again rose in unison to praise Dunaway, and she finally netted an Oscar for the role, as well as a Golden Globe.
Surprisingly, Dunaway's career began to falter after her Oscar win. She was effective as a fashion photographer who experiences disturbing visions in Eyes of Laura Mars (1978), but was wasted in thankless roles as the dissatisfied ex of washed-up boxer Jon Voight in The Champ (1979) and wife to Frank Sinatra's detective in The First Deadly Sin (1980). And then came Mommie Dearest (1981), director Frank Perry's biopic of actress Joan Crawford based on the tell-all book by her daughter Christina Crawford. Crawford herself had praised Dunaway in the early stages of her career, and while some critics gave positive reviews to her performance - in particular, the extent to which she physically transformed herself into Crawford - most fixated on the hysterical dialogue and garish scenes of child abuse. Clips of Dunaway as Crawford bellowing "No more wire hangers!" became immediate laugh-getters on late-night television, and a substantial gay following rose up in response to the film's high camp value. Dunaway, however, found none of the response amusing, and later admitted her regret in taking the role. Whether laughable or pure genius, no one could deny that Dunaway threw her everything into the role. The film's continued cult success proved she had succeeded in becoming Crawford.
The fallout from "Mommie Dearest" obscured Dunaway's follow-up projects, which included the title role in the TV-movie Evita Peron (1981) and a return to Broadway in 1982's "The Curse of an Aching Heart". Discouraged, she moved to London with her second husband, photographer Terry O'Neill, who had also served as a producer on "Mommie Dearest." For the next few years, Dunaway appeared sporadically in films, most of which underscored her newly minted status as a camp icon. The Wicked Lady (1983) was an absurd, near-softcore period drama by Michael Winner, with Dunaway as an 18th-century highway robber. Fans of her early dramatic work were similarly aghast by her turn as a shrieking witch battling Helen Slater's Girl of Steel in Supergirl (1984). Only a Golden Globe-winning appearance in the cumbersome miniseries Ellis Island (1984) offered any respite from the negative press which now continued to follow her.
Dunaway returned to the United States in 1987 following her divorce from O'Neill, and attempted to rebuild her career and reputation by appearing in several independent dramas. She was widely praised for her performance as a once-glamorous woman felled by alcohol in Barbet Schroeder's Barfly (1987), and served as executive producer and star of Cold Sassy Tree (1989), a TV adaptation of the popular novel by Olive Ann Burns about an independent-minded woman who romances a recently widowed store owner (Richard Widmark). Dunaway was exceptionally busy for the remainder of the decade in both major Hollywood features and independent fare, though her strong women now occasionally sported an unfortunate shrill side. She was Robert Duvall's frosty wife in the dystopian thriller The Handmaid's Tale (1990) and contributed a vocal cameo as Evelyn Mulwray in The Two Jakes (1990), the ill-fated sequel to "Chinatown". Other notable performances came as the unhappy wife of psychiatrist Marlon Brando in Don Juan DeMarco (1994), as the daughter of imprisoned Klansman Gene Hackman in The Chamber (1996), and as a bartender caught in the middle of a hostage standoff in Kevin Spacey's Albino Alligator (1996). She later received Screen Actors Guild and Golden Globe nominations as the matron of a wealthy Jewish family in turmoil in The Twilight of the Golds (1996). Perhaps her best turn of the decade was as a seductive murderess who attempts to sway the unflappable Lt. Columbo (Peter Falk) in It's All in the Game (1993), which earned her a 1994 Emmy. She won her third Golden Globe as modeling agency head Wilhelmina Cooper in the biopic Gia (1998), starring Angelina Jolie as doomed model Gia Carangi.
The 1990s were also not without incident for Dunaway. She was embroiled in an ugly lawsuit against Andrew Lloyd Webber after he closed a Los Angeles production of his musical version of "Sunset Blvd." with claims that she was unable to sing to his standards. The suit was later settled out of court for an undisclosed sum. A national tour of Terrence McNally's "Master Class", about the legendary opera diva Maria Callas, ended with her involvement in a suit over legal rights to the play. The project was expected to become her next great film role but remained uncompleted more than a decade after the 1996 tour. Her attempt at sitcom stardom in It Had to Be You (1993), co-starring Robert Urich, was met with universal disinterest, and the project was announced as being retooled without Dunaway prior to its cancellation.
Dunaway's schedule remained busy from 2000 onward, mostly in television and small independent features. She co-starred with Mark Wahlberg and Joaquin Phoenix as the wife of career criminal James Caan in The Yards (2000), then made her directorial debut with the short The Yellow Bird (2001), based on the play by Tennessee Williams. Younger audiences had their first taste of Dunaway's particular star power as Ian Somerhalder's mother in The Rules of Attraction (2002), Roger Avary's amped-up adaptation of the Bret Easton Ellis novel, before Dunaway turned up the heat as a merciless celebrity judge on the reality series The Starlet (2005).
Dunaway penned her memoirs, Looking For Gatsby, in 1995, one year before receiving her star on the Hollywood Walk of Fame. Attached throughout her professional career to intriguing men ranging from Lenny Bruce to Marcello Mastroianni, she was twice married; her first husband was singer Peter Wolf of the popular seventies rock group, The J. Geils Band. Liam O'Neill, her son by second husband Terry, followed in her footsteps with minor acting roles beginning in 2004. His father later dropped a bombshell in 2003 by revealing that Liam was not their biological son, but was adopted - a claim that Dunaway had previously denied.
A series of occasional roles in little-seen films followed, but Dunaway was unexpectedly thrust back into the public eye at the 2017 Academy Awards. Reunited with Warren Beatty on the occasion of the 50th anniversary of "Bonnie and Clyde," the pair were tapped to present the Best Picture award to close the night. Before proceeding onstage, Beatty was mistakenly handed a backup envelope for Best Actress in a Leading Role, which had already been won by Emma Stone for La La Land (2016). Unsure what to do when he opened the envelope and discovered the error, Beatty stalled for time and showed the card to Dunaway; misunderstanding his intent, the actress announced that the Best Picture Oscar went to "La La Land." During producer Jordan Horowitz's acceptance speech, he was informed that the actual Best Picture winner was Moonlight (2016). During the onstage chaos that ensued, Beatty delivered a heartfelt explanation and apology for the snafu while undergoing good-natured ribbing from host Jimmy Kimmel.
After her break from acting and the memorable Oscars moment, Dunaway is now back in the saddle as an actress working more frequently in her 70s. Over the past year, she has appeared in three films, starring in The Bye Bye Man (2017), The Case for Christ (2017), and Inconceivable (2017), with more projects expected to be on the way. The icon also fronts Gucci's summer 2018 ad campaign for their Sylvie handbag and has a Broadway show scheduled for 2019.- Actress
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Viola Davis is a critically revered actress of film, television, and theater and has won rave reviews for her multitude of substantial and intriguingly diverse roles. Audiences across the United States and internationally have admired her for her work- including her celebrated, Oscar-nominated performances in The Help (2011), Doubt (2008), and her Oscar winning performance in Fences (2016). In 2015, Davis won the Emmy Award for Outstanding Performance by a Female Actor in a Drama Series for her work in ABC's How To Get Away With Murder, making her the first black woman in history to take home the award. In addition to acting, Viola currently produces alongside her husband and producing partner, Julius Tennon, through their JuVee Productions banner. Together they have produced award-garnering productions across theater, television, and film.- Actress
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Dame Helen Mirren was born in Queen Charlotte's Hospital in West London. Her mother, Kathleen Alexandrina Eva Matilda (Rogers), was from a working-class English family, and her father, Vasiliy Petrovich Mironov, was a Russian-born civil servant, from Kuryanovo, whose own father was a diplomat. Mirren attended St. Bernards High School for girls, where she would act in school productions. After high school, she began her acting career in theatre working in many productions including in the West End and Broadway.- Actress
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Diane Lane was born on January 22, 1965, in New York. She is the daughter of acting coach Burton Eugene "Burt" Lane and nightclub singer/centerfold Colleen Farrington. Her parents' families were both from the state of Georgia. Diane was acting from a very young age and made her stage debut at the age of six. Her work in such acclaimed theater productions as "The Cherry Orchard" and "Medea" led to her being called to Hollywood. She was 13 when she was cast by director George Roy Hill in his wonderful 1979 film A Little Romance (1979), opposite Sir Laurence Olivier. The film only did so-so commercially, but Olivier praised his young co-star, calling her the new Grace Kelly. After her well-received debut, Diane found herself on magazine covers all over the world, including "Time", which declared her the "new young acting sensation". However, things quietened down a bit when she found herself in such critical and financial flops as Touched by Love (1980), Cattle Annie and Little Britches (1980), Movie Madness (1982), Ladies and Gentlemen, the Fabulous Stains (1982) and, most unmemorably, Six Pack (1982), all of which failed to set her career on fire.
She also made several TV movies during this period, but it was in 1983 that she finally began to fulfill the promise of stardom that had earlier been predicted for her. Acclaimed director Francis Ford Coppola took note of Diane's appeal and cast her in two "youth"-oriented films based on S.E. Hinton novels. Indeed, Rumble Fish (1983) and The Outsiders (1983) have become cult classics and resulted in her getting a loyal fan base. The industry was now taking notice of Diane Lane, and she soon secured lead roles in three big-budget studio epics. She turned down the first, Splash (1983) (which was a surprise hit for Daryl Hannah). Unfortunately, the other two were critical and box-office bombs: Walter Hill's glossy rock 'n' roll fable Streets of Fire (1984) was not the huge summer success that many had thought it would be, and the massively troubled Coppola epic The Cotton Club (1984) co-starring Richard Gere was also a high-profile flop. The back-to-back failure of both of these films could have ended her career there and then -- but thankfully it didn't. Possibly "burned out" by the lambasting these films received and unhappy with the direction her career was taking, she "retired" from the film business at age 19, saying that she had forgotten what she had started acting for. She stayed away from the screen for the next three years. Ironically, the two films that were the main causes of her "retirement" have since grown in popularity, and "Streets of Fire" especially seems to have found the kind of audience it couldn't get when it was first released.
The process of rebuilding her career was a slow and gradual one. First came the obscure and very sexy straight-to-video thriller Lady Beware (1987), followed by the critically acclaimed but little seen The Big Town (1987) with Matt Dillon and Tommy Lee Jones. In the former, Diane plays a very mysterious and sexy stripper and her memorable strip sequence is a highlight of the film. Despite her sexy new on-screen image, it wasn't until 1989's smash hit TV mini-series Lonesome Dove (1989) that Diane made another big impression on a sizable audience. Her performance in the hugely popular and critically acclaimed western epic as a vulnerable "whore with a heart" won her an Emmy nomination and much praise. Film producers were interested in her again. Another well-received TV production, Descending Angel (1990), was followed by smaller roles in major films like Richard Attenborough's Chaplin (1992) and Mike Binder's Indian Summer (1993), and larger parts in small independent films like My New Gun (1992), Vital Signs (1990) and Knight Moves (1992). Indeed, the latter two films co-starred her then-husband, Christopher Lambert, with whom she had a daughter named Eleanor.
Diane was now re-established in Hollywood and started to appear in higher-profile co-starring roles in some big-budget, major movies like Walter Hill's Wild Bill (1995), the Sylvester Stallone actioner Judge Dredd (1995), the Robin Williams's comedy Jack (1996) and Murder at 1600 (1997) co-starring Wesley Snipes. However, all of these still did not quite make Diane a "big-name star" and, by 1997, she found herself, possibly by choice, back in smaller, personal projects.
Her next role as a frustrated 1960s housewife in the independent hit A Walk on the Moon (1999) deservedly won her rave notices and, at last, gave her career the big lift it needed. The cute but tear-jerking comedy My Dog Skip (2000) also proved to be a small-scale success. However, it was the £330-million worldwide grossing blockbuster hit The Perfect Storm (2000) that finally made Diane Lane the household name that she always should have been.
After the worldwide success of "The Perfect Storm", she was more in demand than ever. She played Leelee Sobieski's sinister junkie guardian in the slick thriller The Glass House (2001), and co-starred with Keanu Reeves in the #1 smash hit Hardball (2001). However, her greatest career moment was still to come with her lead role in the enormous critical and commercial hit Unfaithful (2002), in which she superbly portrayed Richard Gere's adulterous wife. Her performance won the respect of critics and audiences alike, as well as many awards and nominations including Best Actress Oscar and Golden Globe nominations.
Her follow-up films including Under the Tuscan Sun (2003), Must Love Dogs (2005), Hollywoodland (2006), Secretariat (2010), and the blockbuster, Man of Steel (2013), were all received and her performances were highly praised. She won further Best Actress Golden Globe nominations for her roles in Under the Tuscan Sun (2003) and Cinema Verite (2011).
She is very well regarded within the industry, adored by film fans, and has a credibility and quality that is all too rare today. Her immense talent at playing human and real characters, her "drop dead gorgeous" beauty and down-to-earth grittiness guarantees that she will stay on top, and she guarantee has already shown the kind of resilience that will keep her working for a long, long time.superman- Actress
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Award-winning stage actress Frances Conroy was introduced and encouraged by her parents to explore the elements of theater. Born Frances Hardman Conroy in Monroe, Georgia, she attended high school in Long Island and experienced classes at the Neighborhood Playhouse as a teenager. The pale, blue-eyed redhead also studied drama at Dickinson College and the Juilliard School (BFA) where she was taught, at the latter college, by theater greats John Houseman and Marian Seldes.
Following potent dramatic roles in such classical productions as "Mother Courage...and Her Children," "King Lear," "All's Well That Ends Well," "Measure for Measure" and "Othello" (as Desdemona) in the late 70s, Frances made her Broadway debut with "The Lady from Dubuque" in 1980. She went on to earn a well-respected name for herself under the Broadway and off-Broadway lights throughout the 1980s in such esteemed plays as "Our Town" (as Mrs. Gibbs), "The Little Foxes (as Birdie) and "In the Summer House." She also appeared with Ms. Seldes in the well-received plays "Ring 'Round the Moon" and "A Bright Room Called Day."
A performer with the The Acting Company, Frances won a Drama Desk Award for "The Secret Rapture" and an Obie for "The Last Yankee." In 2000 she received the Outer Critics Circle Award and a Tony nomination for "The Ride Down Mt. Morgan." Her other Broadway credits include "Ring Round the Moon", "The Little Foxes", "The Rehearsal" (Drama Desk Nominee), "Broken Glass", "In the Summer House" (Drama Desk Nominee) and "The Secret Rapture" (Drama Desk Nominee). Conroy's numerous Off- Broadway plays include "The Dinner Party", "The Skin of Our Teeth", "The Last Yankee" and "Othello" (Drama Desk Nominee).
An actress of subtle power, great depth and astonishing versatility, she has both an aloof serenity and faintly sad/sensitive ambiance that makes her all the more mysterious and intriguing. She came out to California in 1985 at the invitation of director Houseman and appeared in more theater plays, including "Richard III," at San Diego's Globe Theater. She also earned a sprinkling of generally overlooked film and TV parts, including small parts in Woody Allen's Manhattan (1979) (debut), Another Woman (1988) and Crimes and Misdemeanors (1989). Showing a distinct flair for the offbeat and neurotic, nothing really pushed the envelope for her on screen quite like her series' turn as the dowdy, emotionally frail undertaker's widow Ruth Fisher in the cult hit TV series Six Feet Under (2001). During the five-season run she won both a Golden Globe and three Screen Actors Guild awards and was nominated four times for an Emmy.
Film roles have been growing more abundant over the years, offering a number of fascinating featured roles, often as eccentric, often disturbing mothers and matrons. Such movies include Billy Bathgate (1991), Scent of a Woman (1992), Sleepless in Seattle (1993), The Crucible (1996), Maid in Manhattan (2002), Die, Mommie, Die! (2003), Catwoman (2004), The Aviator (2004) (as Kate Hepburn's mother), Shopgirl (2005), The Wicker Man (2006), Humboldt County (2008), The Smell of Success (2009), Love Happens (2009), 6 Souls (2010), Waking Madison (2010), Chasing Ghosts (2014), Making the Rules (2014), Welcome to Happiness (2015), rare leading roles in No Pay, Nudity (2016) and Mountain Rest (2018), and as psychotic Joaquin Phoenix's needy mother in the Oscar-winning psychological drama Joker (2019).
Frances has also appeared to fine advantage in several other TV series of late, most notably American Horror Story (2011) in which she earned her fifth and sixth Emmy nomination. She also had stand-out roles in How I Met Your Mother (2005), Casual (2015), Arrested Development (2003) and Dead to Me (2019), in addition to episodic guest spots on "ER," "Desperate Housewives," "Nip/Tuck," "Grey's Anatomy," "Young Sheldon" and "Castle Rock."
In 1992, she married actor/husband Jan Munroe, an L.A. performance artist. After a few Broadway roles with "The Little Foxes" (as Birdie), "Ring Round the Moon" and "The Ride Down Mt. Morgan," Frances returned to the theatre after a six-year absence, in the 2006 production of "Pyrenees" by David Greig at the Kirk Douglas Theater in Los Angeles.