Robert Shaw Poster


Jump to: Overview (4)  | Mini Bio (1)  | Family (4)  | Trade Mark (1)  | Trivia (53)  | Personal Quotes (9)  | Salary (4)

Overview (4)

Born in Westhoughton, Lancashire, England, UK
Died in Tourmakeady, County Mayo, Ireland  (heart attack)
Birth NameRobert Archibald Shaw
Height 5' 10" (1.78 m)

Mini Bio (1)

Robert Archibald Shaw was born on August 9, 1927, in Westhoughton, Lancashire, England, the eldest son of Doreen Nora (Avery), a nurse, and Thomas Archibald Shaw, a doctor. His paternal grandfather was Scottish, from Argyll. Shaw's mother, who was born in Piggs Peak, Swaziland, met his father while she was a nurse at a hospital in Truro, Cornwall. His father was an alcoholic and a manic depressive; he committed suicide when Robert was only 12. He had three sisters--Elisabeth, Joanna and Wendy--and one brother, Alexander.

As a boy, he attended school in Truro and was quite an athlete, competing in rugby, squash and track events but turned down an offer for a scholarship at 17 to go to London, with further education in Cambridge, as he did not want a career in medicine but, luckily for the rest of us, in acting. He was also inspired by one of the schoolmasters, Cyril Wilkes, who got him to read just about everything, including all of the classics. Wilkes would take three or four of the boys to London to see plays. The first play Robert would ever see was "Hamlet" in 1944 with Sir John Gielgud at the Haymarket. Robert went to the Royal Academy of Dramatic Arts with a £1,000 inheritance from his grandmother. He went on from the Academy, after two years (1946-1948) to Stratford-on-Avon, where he was directed by Gielgud, who said to Shaw, "I do admire you and think you've got a lot of ability, and I'd like to help you, but you make me so nervous." He then went on to make his professional stage debut in 1949 and tour Australia in the same year with the Old Vic.

He had joined the Old Vic at the invitation of Tyrone Guthrie, who had directed him as the Duke of Suffolk in "Henry VIII" at Stratford. He played nothing but lesser Shakespearean roles, Cassio in "Othello" and Lysander in "A Midsummer Night's Dream" and toured Europe and South Africa with the company. Shaw was sold on Shakespeare and thought that it would be his theatrical life at that stage. He was discovered while performing in "Much Ado About Nothing" in 1950 at Stratford by Sir Alec Guinness, who suggested he come to London to do Hamlet with him. He then went on to his first film role, a very small part in the classic The Lavender Hill Mob (1951) with Guinness but a start nonetheless. It was also at this time that he married his first wife, Jennifer Bourne, an actress he had met while working at the Old Vic, and married her in Sallsbury, South Rhodesia, on August 1, 1952. Together they would have four daughters: Deborah, Penny, Rachel and Katherine.

He would also appear briefly in The Dam Busters (1955) and did the London production of "Tiger at the Gates" in June 1955 as Topman. He would also make "Hill in Korea" around that time and then, after taking on several jobs as a struggling actor and to support his growing family, he would be cast as Dan Tempest in The Buccaneers (1956). Shaw did not take his role seriously but made £10,000 for eight months' work. It was around that time that he wrote his first novel, "The Hiding Place." It was a success, selling 12,000 copies in England and about the same in France and in the United States. He also wrote a dramatization of it that was produced on commercial television in England, and Playhouse 90 (1956) aired a different dramatization in America. Around 1959, he became involved with well-known actress Mary Ure, who was married to actor John Osborne at the time. He slipped her his telephone number one night at 3 a.m. while visiting the couple, and she called him the next day. It was around then, in 1960, that Robert Shaw became a reporter for England's Queen magazine and covered the Olympics in Rome. Shaw and Ure acted together in Middleton's The Changeling at the Royal Court Theatre in London in 1961. He was playing the part of an ugly servant in love with the mistress of the house, who persuades him to murder her fiance. Shaw and Ure had a child on August 31 even though they were still married to their other spouses. His wife, Jennifer, and Ure had children of his only weeks apart from each other. Ure divorced Osborne and married Shaw in April 1963. The couple was often quoted by the press as being "very much in love," and they would have four children together: Colin, Elizabeth, Hannah and Ian. That same year, after making the next two films, The Valiant (1962) and The Guest (1963), he made From Russia with Love (1963) and was unforgettable as blond assassin, Donald 'Red' Grant.

He also made Tomorrow at Ten (1963), as well as a TV version of Hamlet as Claudius. He would then film The Luck of Ginger Coffey (1964) with Ure and then star in Battle of the Bulge (1965) as German Panzer commander Hessler. He wrote "The Flag" on the set of the film. He was nominated for his next role, as Henry VIII in A Man for All Seasons (1966), an outstanding, unequal lead performance. He would write his fourth novel "The Man in the Glass Booth," which was later made into a play with Donald Pleasence and later into a film with Maximilian Schell. In 1967, he again starred with his wife in Custer of the West (1967) and went on to The Birthday Party (1969) and The Battle of Britain (1969). One of his best performances of this decade was also as Spanish conqueror Pizarro in The Royal Hunt of the Sun (1969). His last published novel, "A Card from Morocco," was also a big success and he went on to make Figures in a Landscape (1970) with Malcolm McDowell as two escaped convicts in a Latin American country. As the father of Churchill in Young Winston (1972), he was once again his brilliant self, stealing the scene from John Mills, Patrick Magee, Anthony Hopkins and Ian Holm. After his portrayal of Lord Randolph Churchill, he made A Reflection of Fear (1972), a horror movie with Ure, Sondra Locke and Sally Kellerman. As chauffeur Steven Ledbetter in The Hireling (1973), he falls in love with Sarah Miles, an aristocratic widow he helps recover from a nervous breakdown. The film took the prestigious Palme d'Or at the Cannes Film Festival and was quite a thought-provoking film.

It was his performances in the following two films--USA-produced The Sting (1973) and The Taking of Pelham One Two Three (1974)--that Shaw became familiar once again to American audiences, but it was his portrayal as a grizzled Irish shark hunter named Quint, in Jaws (1975), that everyone remembers--even to this day. Hard to believe that Shaw wasn't that impressed with the script and even confided to a friend, Hector Elizondo: "They want me to do a movie about this big fish. I don't know if I should do it or not." When Elizondo asked why Shaw had reservations, Shaw said he'd never heard of the director and didn't like the title, "JAWS." It's also incredible that as the biggest box office film at the time, which was the first to gross more than $100 million worldwide and that he had ever been part of, he didn't make a cent from it because of the taxes he had to pay from working in the United States, Canada and Ireland. It was also during that time that he became a depressed recluse following the death of his wife, who had taken an accidental overdose of barbiturates and alcohol. Some have speculated throughout the years that her death was suicidal, but there was no evidence of that, and so it is mere sensationalism. Following Diamonds (1975), he made End of the Game (1975) and then delivered another brilliant performance as the Sheriff of Nottingham in Robin and Marian (1976). During the same year, he also made Swashbuckler (1976) with Geneviève Bujold and James Earl Jones, a very lighthearted pirate adventure.

His next film, Black Sunday (1977), with Shaw playing an Israeli counterterrorist agent trying to stop a terrorist organization called Black September, which is plotting an attack at the Super Bowl, was a big success both with critics and at the box office. I wasn't surprised, considering the depth to which he was also involved in writing the script, although he didn't receive billing for it. Shaw was very happy with the success of his acting career but remained a depressed recluse in his personal life until he finished Black Sunday (1977), when he found himself in love with his secretary of 15 years, Virginia Dewitt Jansen (Jay). They were wed on July 29, 1976, in Hamilton, Bermuda. He adopted her son, Charles, and the couple also had one son, Thomas. During his stay in Bermuda, Shaw began work on his next movie, The Deep (1977), which teamed him and writer Peter Benchley once again, which may have been a mistake in that everyone expected another Jaws (1975). At one point, discussing how bad the film was going, Shaw could be quoted as saying to Nick Nolte, "It's a treasure picture Nick; it's a treasure picture." It did well at the box office but not with critics, although they did hail Shaw as the saving grace. He had done it for the money, as he was to do with his next film, for he had decided when Ure died that life was short and he needed to provide for his 10 children.

In 1977, Shaw traveled to Yugoslavia, where he starred in Force 10 from Navarone (1978), a sequel to The Guns of Navarone (1961). He revived the lead role of British MI6 agent Mallory, originally played by Gregory Peck. He was a big box office draw, and some producers were willing to pay top wages for his work, but he felt restricted by the parts he was being offered. "I have it in mind to stop making these big-budget extravaganzas, to change my pattern of life. I wanted to prove, I think, that I could be an international movie star. Now that I've done it, I see the valuelessness of it." In early 1978, Shaw appeared in Avalanche Express (1979) which was to become the last film in which he played General Marenkov, a senior Russian official who decides to defect to the West and reveals to a CIA agent, played by Lee Marvin, that the Russians are trying to develop biological weapons. An alcoholic most of his life, Shaw died--before the film was completed--of a heart attack at the age of 51 on August 28, 1978. In poor health due to alcoholism during most of the filming, he in fact completed over 90% of his scenes before the death of director Mark Robson two months earlier, in June 1978, brought production to a halt.

While living in Ireland and taking a hiatus from work, Shaw was driving from Castlebar to his home in Tourmakeady, Ireland, with wife, Virginia, and young son, Thomas, after spending the day playing golf with friends on a local course as well as shopping with Virginia in the town. As they approached their cottage, he felt chest pains which he claimed to Virginia had started earlier that day while he was playing golf but whose pains subsided. He pulled the car over a few hundred yards from his cottage and told her he would get out and walk the pains off. After taking four or five steps from the parked car, he collapsed by the side of the road, and his wife ran to the cottage to phone for help. An ambulance arrived 15 minutes later, and Shaw was taken to Mayo General Hospital in Castlebar, where he was pronounced dead on arrival.

- IMDb Mini Biography By: Anonymous and Suzy of A Robert Shaw For All Seasons

Family (4)

Spouse Virginia Jansen (29 July 1976 - 28 August 1978)  (his death)  (2 children)
Mary Ure (13 April 1963 - 3 April 1975)  (her death)  (4 children)
Jennifer Bourke (1952 - 1963)  (divorced)  (4 children)
Children Ian Shaw
Colin Shaw
Penelope Shaw
Parents Shaw (Avery), Doreen Nora
Shaw, Thomas Archibald
Relatives Shaw, Elisabeth (sibling)
Shaw, Joanna (sibling)
Shaw, Wendy (sibling)
Shaw, Alexander (sibling)
Ferdia Shaw (grandchild)

Trade Mark (1)

Deep, gruff voice and demeanor

Trivia (53)

Father of Ian Shaw and Colin Shaw.
Parents were Thomas and Doreen Shaw. He had three sisters and one brother.
Twice portrayed a villain opposite a hero played by Sean Connery. The first was that of SPECTRE killer Donald Grant in From Russia with Love (1963) opposite Connery as secret agent James Bond 007. The second was the Sheriff of Nottingham in Robin and Marian (1976) opposite Connery as aging forest archer Robin Hood.
Many of Captain Quint's ramblings in Jaws (1975) were actually Shaw's improvisations, and he is considered one of many authors of the famous USS Indianapolis scene.
In the town of Westhoughton in England, there is a pub called The Robert Shaw.
Uncle of author, actor and filmmaker Scott Shaw.
Allegedly didn't get along with Richard Dreyfuss while filming Jaws (1975).
Was nominated for Broadway's 1969 Tony Award as author of best play nominee The Man in the Glass Booth.
His performance as Captain Quint in Jaws (1975) is ranked #28 on "Premiere" Magazine's 100 Greatest Movie Characters of All Time.
One of three actors to have been Oscar-nominated for playing King Henry VIII of England. The other two are Charles Laughton and Richard Burton, but Laughton is the only one of the three to have won (in 1933).
A keen sportsman, he played rugby for London Wasps. In 1957 his school quarter-mile record still stood. He was an expert swordsman and a squash enthusiast.
After his TV role in The Buccaneers (1956), he changed track and joined the London Old Vic Company ,playing in many Shakespearean dramas which then took him to the Shakespeare Memorial Theatre at Stratford-on-Avon, England.
Appeared in two Best Picture Academy Award winners: A Man for All Seasons (1966) and The Sting (1973), and one other Best Picture nominee: Jaws (1975).
Father of film editor, Penelope Shaw.
In the novel "The Taking of Pelham 123", one of the characters liked to walk off nervous energy, and Shaw played the villain in The Taking of Pelham One Two Three (1974); he tried to walk off chest pains in 1978 and wound up dying of a heart attack.
Was made to wear lifts when filming From Russia with Love (1963) to appear physically threatening to Sean Connery. Connery was about four inches taller than Shaw. He also dyed his hair blonde.
Is one of 13 actors to have received an Academy Award nomination for his portrayal of a real-life king. The others in chronological order are Charles Laughton for The Private Life of Henry VIII (1933), Robert Morley for Marie Antoinette (1938), Basil Rathbone for If I Were King (1938), Laurence Olivier for Henry V (1944) and Richard III (1955), José Ferrer for Joan of Arc (1948), Yul Brynner for The King and I (1956), John Gielgud for Becket (1964), Peter O'Toole for Becket (1964) and The Lion in Winter (1968), Richard Burton for Anne of the Thousand Days (1969), Kenneth Branagh for Henry V (1989), Nigel Hawthorne for The Madness of King George (1994), and Colin Firth for The King's Speech (2010).
Wrote a draft of The Ipcress File (1965) that wasn't used.
Marvel Comics villain Sebastian Shaw was named and modeled after him.
Was considered for the role of Peter Janeway in Marathon Man (1976).
Although he had been paid $350,000 for his role in "Battle of the Bulge" (1965)--in those days, roughly £125,000 and more than he had made in his entire career up to that point--he was prepared to reduce his fee to £12,000 for his next film, "A Man For All Seasons", which he regarded as a film of much higher quality.
True to his acting roots, Robert Shaw continued working in the theatre throughout his life.
His film career began to falter during the latter half of the 1960s before it regained momentum.
One regular means of relaxation, was to play music loudly on his stereo at home. Robert Shaw enjoyed listening to the likes of the Beatles and Joe Cocker.
Once Robert Shaw began experiencing initial stardom, he quickly dismissed it as something to not take seriously.
Was reportedly unhappy with the film adaptation of his play, "The Man in the Glass Booth." So much so, the actor refused to have his name included on the film's credits.
He was originally offered the part of Richard Conway. in the musical version of Lost Horizon'.
He has appeared in two films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: The Sting (1973) and Jaws (1975).
In "The Golden Voyage of Sinbad" (1973), Orson Welles was due to play The Oracle but his agent asked for an extortionate fee for the expected 3 days of voice work. The film company turned to Robert Shaw who was holidaying in Spain where the unit was, and he did the work in a day.
After "The Buccaneers" show was canceled, acting jobs were scarce for a while. Robert Shaw worked in a food factory for about a year, as a result.
Some actors who worked with Shaw, found him to be rather competitive on the set and issuing challenges of different kinds.
Has been acknowledged as a big influence on fellow actor Richard Dreyfuss.
Throughout his life, the actor said that he experienced more satisfaction from writing than acting.
Until recently, very little footage of Robert Shaw being interviewed was thought to exist.
Played the title role in a stage musical of "Elmer Gantry" in 1970.
Wasn't very keen on driving cars or any other vehicle.
Disliked working with Maximilian Schell during filming of "End of the Game," when the latter was director.
Due to a back injury as a young man, Robert Shaw had a particular gait where his one shoulder was lower than the other.
Reportedly, the actor wasn't interested in playing the role of Quint. It took a lot of persuasion from his wife, Mary Ure, before changing his mind.
From the early 1960s, Robert Shaw viewed Sean Connery as his main rival in terms of succeeding as a big star.
Was in the original stage production of "The Long and the Short and the Tall" in 1959. Shaw played Sergeant Mitchem.
Was considered for a prominent role in the movie, "The Boston Strangler" in 1968.
Before deciding on an acting career, Robert Shaw briefly worked as a school teacher.
When director Sam Peckinpah was planning his war movie "Cross of Iron," he wanted Robert Shaw for the leading role of Sergeant Steiner.
Appeared in a theatre production of Harold Pinter's "The Caretaker" in 1961. Along with fellow cast members Alan Bates and Donald Pleasence, he reprised his role for the film version in 1963.
His play "The Man in the Glass Booth," made its debut on Broadway in 1967. Directed by Harold Pinter and starring Donald Pleasence in the lead, the play received positive reviews.
Both he and director Mark Robson, passed away before the release of "Avalanche Express," in which they were both working.
Moved to the Irish Republic in 1965, where he lived with his family for the rest of his life.
Received an on-screen credit, as screenplay writer for "Figures in a Landscape.".
Appeared in a theatre production of "Old Times" by Harold Pinter in 1971.
During his time as a RADA student in the late 1940s, Shaw's acting tended to be criticized for being raucous and bombastic.
At one time, the actor was considered for the leading role in the "Hammer" film, "The Beast Must Die.".
For two years during the 1940s, Shaw was directed in the theatre by John Gielgud.

Personal Quotes (9)

I drink too much. Will you tell me one great actor who doesn't drink?
[to Nick Nolte, when the two were discussing how badly their film, The Deep (1977), was going] It's a treasure picture, Nick, it's a treasure picture.
What I try to achieve in acting--flamboyance--would be self-indulgence if I tried it as a writer.
Writing is where the real center of my integrity lies. I never write for money. I only act for money, but not invariably, of course. I would never write certain sentences that I say in films, or even that I write in films, because I often fix up my lines.
[in March 1978] Being 50 years old and having ten children . . . the youngest is 13 months . . . creates the economic necessity that forces me into all those big-budget movies in which I often don't have a single realistic line.
Acting is instant enjoyment and childlike. As an actor, Lord God, I can take an audience in a theatre and throw them in any direction. I can't do that as a writer. Writing is painful, it's lonely and you suffer and there's no immediate feedback.
I still don't think of myself as a star. Success lasts only three seconds. After that you're the same as you were before you had it. I'm not a true artist anyway because I refuse to shrug off my family. To support them I must work in commercial films. My taxes alone keep eight lawyers busy, and when I finally get my money, it's only one-third of what I earn. With the kids in school and my other responsibilities, I get no change back from the first million dollars. The money flows out like water.
[in 1977] I'm the happiest I've been in a long time. I have my new marriage. I have my new baby, my tenth child. I don't have to work in third-rate movies anymore, and I'm in great physical shape.
[on working underground in the subway tunnels for The Taking of Pelham One Two Three (1974)] I found myself in "Dante's Inferno". It was the middle of winter and the freezing weather and dirty conditions took its toll on my mental and physical state.

Salary (4)

Battle of the Bulge (1965) $350,000
Jaws (1975) $500,000
The Deep (1977) $750,000
Force 10 from Navarone (1978) $750,000

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