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26157
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yago
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3
| 69
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https://www.myheritage.com/names/nicole_rothschild
|
en
|
[] |
[] |
[] |
[
""
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26157
|
yago
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2
| 33
|
https://levergallery.com/collections/shop/suzy-kendall
|
en
|
All works
|
http://levergallery.com/cdn/shop/products/Michael_Johnson__Man_-_Girl_33_c1962_3_casein_tempera_on_board_copyright_Lever_Gallery_Aw_1200x630.jpg?v=1517502910
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Lever Gallery is a commercial art gallery devoted to handmade lifestyle illustration of the mid to late 20th century. It will host solo & group shows & events.
|
en
|
//levergallery.com/cdn/shop/files/LeverGallery_favicon_32x32.jpg?v=1643392171
|
Lever Gallery
|
https://levergallery.com/collections/shop/suzy-kendall
|
c.1962/3, casein tempera on board, 33cm x 43cm
This illustration for a magazine story in Woman’s Realm, is an early surviving example of Johnson's work using casein tempera paint. Casein tempera paint was used by illustrators before the invention and availability of acrylic paint. This painting is an exceptional and rare example of Johnson's early work.
Johnson used the designer, model and actress Suzy Kendall to model the girl in the striped dress. Kendall’s films included such Sixties classics as Thunderball, To Sir With Love, Up the Junction and Fear is the Key. She was briefly married to Dudley Moore, remaining lifelong friends after the marriage ended.
|
||
26157
|
yago
|
3
| 90
|
https://www.independent.co.uk/arts-entertainment/in-anger-as-much-as-sorrow-1294373.html
|
en
|
IN ANGER AS MUCH AS SORROW
|
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[] |
[
"Eating Disorders",
"Healthcare",
"London Ambulance Service",
"Psychology",
"Internal"
] | null |
[
"Hester Lacey"
] |
1997-11-16T00:02:00+00:00
|
Many blamed Suzy Kendall for her part in the tragic deaths of her twin daughters from anorexia. Here, for the first time, she is able to tell the whole story
|
en
|
/img/shortcut-icons/favicon.ico
|
The Independent
|
https://www.independent.co.uk/arts-entertainment/in-anger-as-much-as-sorrow-1294373.html
|
The Morning of Suzy Kendall's daughter's funeral, there were reporters camped on her doorstep. Funerals normally command the utmost respect; but even on such a day, the phone didn't stop ringing. As she was leaving to go to the service, it shrilled out again; it was a television channel requesting an immediate interview.
Suzy's daughter was Samantha Kendall, the "celebrity anorexic" who died last month, aged 30, weighing less than five stone. The tabloids saluted their mascot anorectic: "brave Sam died peacefully" announced the Mirror. In fact the last few months of her life were anything but peaceful, and bravery had long since gone out of the window, along with dignity and sanity.
Samantha's ashes are now buried next to those of her twin sister Michaela, who succumbed to anorexia three years ago. The "anorexic twins" achieved international notoriety in May 1994, when Samantha appeared in newspapers and on television, looking like a concentration-camp inmate, little more than a skeleton covered in skin, her face striped with a mask of garish make-up meant to make her emaciated cheeks look even thinner.
Her twin sister had just died; Samantha herself did not have long to live, without urgent help. Her horrific appearance provoked worldwide shock and sympathy; an appeal for funds raised pounds 66,000 to send her to Canada to be treated at a pioneering anorexia clinic. And for a while she seemed to recover. She put on weight, and claimed to be "cured". But Samantha abandoned her treatment and came home to Birmingham before her course was completed; it then took her three years to starve herself slowly to death.
NOW THE reporters have abandoned Suzy Kendall's front lawn, and inside the house, too, it is probably more peaceful than it has been for years - only the radio is murmuring in the background. The house is one of a long row on a curving tree-lined street with deep grass verges, that snakes through a neat and well-kept Birmingham council estate. It's a quiet place, but the neighbours have become used to ambulances sweeping up at all hours of the day and night to the Kendall house. Suzy has spent the last few years on an endless round of ferrying her daughters back and forth from hospital, visiting them, chasing doctors and social workers and psychiatrists, answering hysterical early-hours calls for help, calling paramedics and washing linen and mopping up - an anorexic death is a messy, prolonged and ugly one.
Now all that is over, and Suzy Kendall is taking stock of the last three decades. It has been a hard time and a confusing one for her, and now for the first time she is able to look back and see it as a whole. Over the course of an afternoon, her story pours out. She is very aware that, in the eyes of the world, she is considered to be at fault for the deaths of her daughters. To have one anorexic daughter, it has been implied, is bad luck; have two, and there is something more sinister afoot. Initial sympathy for her in the press gave way to criticism, and she has been accused of manipulating the twins and enjoying the media limelight.
And that makes her both angry and defensive. If, she says, you have not experienced the horror of watching your children starve, it is hard to imagine just what it is like. Her voice rises almost to a shout. "When I've read things before about me not caring and saying I'm after notoriety - it's not true. It's been dreadful. I've lost my two daughters, I've lost them both, they're gone forever. I hope those out there, when they read this, I hope they don't judge anyone who tries to save their own children. If this happened to their children, what would they do? What would they do, tell me that? People ask me, 'What did you do for them?' People ask if I feel guilty that I didn't do enough. If I'd done any more I'd be dead myself."
Suzy appeared on television and radio here and in the US to publicise the twins' plight; forthright and salty, she made a good interviewee. On the day of Michaela's death, 20 April 1994, she was on the Maury Povich Show, an American chat-show, appealing for help. Samantha herself, in an interview two years before she died, was quoted as saying, "Mum likes the glory, that's what people have been saying. Sometimes I wonder whether she wants me here not out of love but to do a few shows and go to New York."
But for every hour spent under the lights of a glamorous television studio, there have been many nights like the one on which Samantha rang, begging for help - Michaela had slit her wrists and locked herself in the bathroom. Suzy hurried round to her own mother's house, where the twins were living, and threatened to break down the bathroom door; Michaela emerged, dripping blood, pushed her way out and ran shrieking into the night, leaving behind a bathtub "half-full of vomit".
SUZY IS now 50. She is small and blonde, with a deep Birmingham accent and a streetwise air. She looks battered by life; there are deep circles under her eyes, and her nails are bitten to the quick. But she loves to talk and is a natural mimic, taking off her formidable mother, her suffering daughters, the snooty doctors, the gushing chat-show hosts. Her home is small, cosy and crowded. She lives with her second husband, Bob, a salesman whom she married 20 years ago. Her Akita puppy, Rupert, who at five months old probably weighs more than either of her daughters at their deaths, pads furrily about. The walls are covered with her own paintings; there is a knick-knack on every surface, many of them salvaged from Samantha's now-empty council flat.
"This was Samantha's, and this, and this," she says, pointing out a vase of pink silk flowers, a ceramic candle-holder and a statuette of two roly- poly children in the snow - a souvenir of Samantha's stay in Canada. As well as painting, Suzy also moulds decorative plaques and fridge magnets from salt-dough; her kitchen is hung with representations of food, her fridge covered with magnetic miniature burgers, the walls hung with varnished fruits. Some of these she gave to Samantha, as if to encourage her to eat; now she has them all back again, filling every surface of her house to overflowing.
WHAT CAN have led the Kendall twins to take their own lives in such an ugly way? Their mother has no idea. She readily admits they did not have an ideal start in life. "I got married against everyone's wishes, when I was 19," she says. "The family didn't like him, but I thought he was the bee's knees, I thought he was wonderful. I was besotted with him." Suzy worked in a petrol station to support her husband, who had no job; they lived in a succession of small rented flats in Birmingham. Then she missed a pill and by the time she went to the doctor, thinking she had a stomach bug, she was already four and a half months pregnant. By this time she and her husband were already arguing; he would disappear for the day, while she worked selling petrol and valeting cars.
"When the doctor told me I was pregnant, I was inconsolable," she recalls. "We hadn't planned a child. He wasn't working, and I thought I couldn't keep working if I had a baby." There were rows and reconciliations; Suzy got as far as filing for divorce at one stage. "My mother was furious and wanted to wash her hands of me. She said she would help to bring up the baby, I didn't need to be with him," she says. Then her husband went to prison for nine months for burglary; it was her mother who was by her side when she gave birth to not one but two daughters: Samantha first, then 10 minutes later Michaela, on 12 May 1967.
Everyone, including Suzy herself, was stunned by the surprise double- birth. Her own mother was not impressed. "Mum didn't blame me as such - it was something beyond my control - but she did say, 'Why on earth did you have to have twins? How are we going to manage?' " Suzy recalls. "On the third of June, my husband came out of prison. We tried to live together in Mum's house, but it didn't work out."
More rows, more reconciliations. He thumped her; cash was tight. Two babies were hard work. "I was inexperienced, I'd never had anything to do with children - I was scared of them. I'd never even babysat before. He left me for another woman when the twins were two and a half. I hadn't any money, I hadn't any prospects. I was hysterical. I thought my whole world had fallen apart, I couldn't bear it. I was still in love with him, I just didn't know what to do."
She gathered up the twins the morning he left and went round to her mother's house. "I was in bits, and she started clapping her hands and saying, 'Good, good! You're better off without him.' Then she came up with this idea. She said, 'You've got no money, you have got to go out to work.' She said she would give up her job and bring up the twins and I would pay her. I moved in just round the corner from Mum and Dad so I could see them - there just wasn't room in the house for me to move in there permanently." Her mother, she says, was an authoritative figure. "Mum was a matriarch. What she said to do, you did. In retrospect, if I'd insisted and said I was going to bring them up myself, who knows what would have happened?"
So Suzy went out and found a job driving Transit vans. A number of children in the twins' class at school were being brought up by their grandparents, she says. "People assume the mother was up to no good when that happens, but there were a few kids in their class who were in the same position, due to different circumstances. I believed my mother knew best. When we had disputes about the twins, she would say, 'What do you know?' And I believed her - she'd brought up three daughters already, after all."
Suzy's mother, the twins' grandmother, had cooked for a living; she worked in the canteen at the GPO. "Mum was always cooking, so the twins did pile on the weight," recalls Suzy. "If the girls were ever sick or ill when they were young, she'd make sure they got a good meal inside them. They'd comfort-eat as well, back then. I remember when my sister came from London and my mother met her off the train with the twins. And they always remembered this: my sister got off the train and said, 'Oh my god, Mum, they're enormous' - and they heard. They said to me they were so upset that on the way home they got a half-pound bar of chocolate each and ate the lot."
By the age of 14, Suzy estimates the twins weighed around 14 stone each - she refers to them as "well-covered". At the time, she was working as a singer; despite their weight, the twins had the confidence to get up on stage with her in clubs and pubs round Birmingham, and both hoped for a musical career. Neither shone academically. "They hated school because of all the taunts," says their mother. "They said they weren't accepted because they were fat. One boy called Michaela a fat blob and she hit him - they both got detention for that."
And then they decided to do something about their weight. Michaela and Samantha started dieting over the school summer holidays, the year they were 14. "Every time I went round there, they'd be sitting there with just an apple. My Mum said they were driving her mad." Back in the early Eighties, awareness of anorexia was nowhere near as widespread as it is now - particularly not on a Birmingham council estate. Suzy had no idea what she was dealing with, as the twins each lost several stone over the summer break. At first she was concerned, but not unduly so. "Then I realised this was not just dieting, this was starvation. They'd go to the chemist and get a bar called 'Crunch and Slim' and they'd ration themselves to one of those a day. They'd have a bit of yoghurt, or an apple between them, or a bag of crisps, but only eat two crisps and throw the rest in the bin."
The twins' grandmother couldn't cope; Suzy tried to do what she could. "We'd sit and talk about it for hours and hours and hours. They'd say they realised they were being extreme, and promise they wouldn't do it any more. They promised and promised, tomorrow we'll have a proper meal. But they never did."
By the end of the summer, Suzy was sufficiently worried to take the girls to the family GP, who, she says, was baffled. "He just didn't know what to do." And so began a long round of doctors, professors, psychiatrists. At first, she believed that one of them would be able to help, but gradually her faith in the medical profession was eroded. "I was brought up to believe these people were my superiors, and to treat them with respect. But nobody seemed to know what to do. There was one professor who thought he knew it all - he was about as useful as a chocolate teapot. When Michaela was sectioned, he treated her for eight months in hospital. When she got the section lifted, she came home and died within two months. It was the same with Samantha. I went with her to his office. Sam said, 'Oh, but I'm eating now, professor,' and he said, 'Oh good, well that's all right then. Make sure you keep it up'. But she was lying between her teeth. She wasn't eating. I knew."
In their late teens, the twins were still managing to cling to some semblance of normality in their daily lives. After leaving school, they managed to get jobs and each started a steady relationship and lived with her boyfriend. But they were growing sicker, and both were in and out of hospital. In the first interview published with the twins, in the Sunday Mirror in 1993, Michaela said they both became pregnant when they were 22. If they had continued with their pregnancies, perhaps their lives would have been different. But, said Michaela, "We looked in the mirror at the same time in our separate homes and thought, 'We're going to get fat.' So we decided to have abortions."
"They couldn't stick to any jobs," says Suzy. "They were Bluecoats and Redcoats in holiday camps, but they were told to leave because of the way they looked. In the end, the manager of the camp where they were working then, told them they were popular and everything, but the guests were appalled by having to sit with them over breakfast - they were putting people off their food. They were thrown out of cafes too."
In 1992, after a five-year relationship, Michaela's boyfriend gave her an ultimatum: the anorexia or the relationship. "I told him it had to be the anorexia," she said. She went back to her grandmother's house, and Samantha packed up, left her own boyfriend, and went to join her. It was a fatal move. The two encouraged each other - before Michaela was eventually sectioned, Samantha was telling another tabloid interviewer that their daily diet was a couple of extra-strong mints at midday, a couple of crisps mid- afternoon, and an evening meal of a quarter of a slice of Slimcea bread and a sliver of black pudding. Samantha was able to see how thin her sister was, even if she couldn't relate it to her own body. She said: "The competition makes it twice as bad. If Michaela says she doesn't want a cup of tea, then I won't have one, even if I'm desperate. When I say to her, 'Please, Michaela, eat a bit more, you look like a skeleton,' she snaps back at me, 'You're only jealous'."
After eight months in hospital, during which time she fought against forced-feeding, Michaela appealed against her sectioning and was allowed home; she died next to Samantha a few weeks later in the double bed they shared, weighing four and a half stone.
At this point, in desperation, with one daughter already dead, and the other dying, Suzy wrote to Chat, a women's magazine that pays readers for their true-life stories. "I wrote to Chat, because no one was listening to me. Doctors were failing me, psychiatrists were failing me - the twins' own doctor didn't know how to handle it. It was a maze I couldn't get out of. I had to do something, there was nobody else. My mother was too old and she was ill herself - she's had two strokes. And that's how it all began."
She was taken aback but initially hopeful when the story was picked up internationally. "The Chat article opened up a whole storyline all over the world. But I didn't mean all this publicity to happen, I wouldn't have wanted it. What I was hoping for was someone who could come forward and cure Samantha. People are cruel, they say, 'She's doing this for publicity,' but that's nothing to do with it. The people out there haven't got a clue. It's no good judging me. I don't need judging."
SUZY KENDALL might have made some wrong decisions, but if that is the case, she has paid for them many times over. Anorexia changes people both physically and mentally, and anorectics are not easy to get on with. As well as becoming thin and weak, chronic anorectics often grow a coat of downy hair on their skins; their teeth are ruined by vomiting. Constant, large doses of laxatives, self-administered to purge food from their bodies, can stop them controlling their bowels. Starving can also wreck the personality. Samantha, says Suzy, used to be a joker, "a bit of a Lily Savage". She was also generous. "If you admired something of hers, she'd give it to you - her earrings, her jacket. She was very giving and kind."
But her condition changed her. "Anorectics become devious, like a junkie, not to be trusted. They are not the girls you knew. I went with Samantha to New York; we were on Maury Povich. Sam wanted to look round the shops, so we found ourselves in this store that sold paste jewellery. Sam loved jewellery, and we decided we'd buy little gifts for the people back home. So I'd got some things in my little wire basket and Sam had some in hers. Then all of a sudden, a great big diamante necklace dropped out of her sleeve."
The owner of the shop came raging over as more jewellery fell out of Samantha's sleeves. "I just didn't understand, because she had the money on her to pay for everything. The owner took us to the cash desk and made us pay for everything, or he'd call the police - half the stuff she didn't even want or like. To make matters worse, she was on big doses of laxatives. When we got out she was shaking like a leaf ... she'd had an accident. She said, 'Oh Mum, I've bobbied myself' - that was the word we always used - 'I've got to go back to the hotel'. I was so angry with her, I said, 'You can go back by yourself, I've got to go and walk about and calm down.' "
After her appearance on American TV, Samantha went to the Montreux Counselling Clinic in Canada, in the summer of 1994. Her mother was hopeful; she still believes the Canadian method, which involves initial 24-hour one-to-one care and intensive counselling, is a model that should be adopted here. Samantha put on weight, and gave a series of interviews in which she talked about her "cure". She even spoke of becoming a counsellor herself, and helping other anorectics. "Mum, you will be so proud of me when you see me," she wrote in a letter home. "I'm still determined to never starve myself again. It killed my darling Michaela, it's not killing me."
Then Suzy went over to visit her for two weeks. "I could see the problem was still there, and then out of the blue, she said, 'Mum, I'm coming home with you.' I said, 'No,' but she said, 'If you leave me here I'll die.' She was isolated, her twin was dead, she didn't know anyone. Everyone was thinking: 'She's had all that money spent on her, she should be getting well.' But there was one thing missing - her twin. Nobody could do anything about that."
Samantha came home, against Suzy's wishes, and announced in another interview that she was tired of being "wheeled out like a circus freak" to publicise the Canadian clinic's success. She admitted that she had continued to take laxatives while being treated. "Because I was a high-profile patient, I knew that it would reflect on the clinic if I didn't appear to be responding," she said. "I knew I was good for attracting other fee-paying patients. Everybody wants to be able to say, 'I got Samantha Kendall better'."
Sadly, she was far from better. "But she was 27 years old and I couldn't dictate to her," says Suzy. "She insisted that she needed to come home. She said, 'I can't wait to see the Yew Tree shopping centre' - it's our local shopping centre. I said, 'You're surrounded by mountains and blue sea and you want to see the bloody Yew Tree!' But she came home, and she lived here with me and Bob for 12 months. I tried to persuade her to go back, but once a Taurean's mind is made up, they don't budge." Bob's sales job took him out on the road a lot, and when he was away Samantha slept in her mother's bed. "She insisted on sleeping with me, she said she felt safe. But I knew she was back on laxatives because of the sheet the next morning - Bob used to go mad."
Suzy's second husband Bob, a patient and kindly man who has been, she says, more of a father to the girls than their natural one, was by now reaching the end of his tether. Their son, born when the twins were just starting their illness, also suffered, becoming hyperactive and difficult as a child. He has since left home.
Samantha went back into hospital towards the end of 1995, a year after leaving Canada. "She was there for four months, in a medical ward - one for physically ill people, no place for someone with her condition," says her mother bitterly. "I went on and on about it to them, but they said, 'Oh, we have to get the body right first.' They were doing everything arse-about-face, I knew that it's the mind you have to sort out. They said I didn't know enough to give them orders. I wasn't giving orders, but I knew they were wrong."
Samantha had other problems as well. "She was allowed out of the building and out of the grounds - she just went back there to sleep," says Suzy. "And by now she was drinking too. They called me at 4am one morning and said get over here, Sam's dying. When I went over I knew she'd been drinking - she was going out and buying it. The hospital's attitude was just, 'Leave Samantha alone, she'll get better.' I went to see her every single day. Our marriage was in jeopardy - I spent more time with her than with Bob."
This, she says, was one reason that Samantha elected to move back not to the family home but into a nearby council flat, alone. "She made me promise I'd say she was homeless," says Suzy in a small voice. Up to now, she has kept her composure; anger has carried her through, but now she is close to tears. "She said she wanted her own independence, a flat of her own. She said, 'I know what I'm doing to you and Bob. If I come back and live with you it will all start all over again.' I told her to come back to us, but she said she wouldn't live far away, so I agreed. The council offered her a wonderful flat." Suzy helped Samantha decorate, painting a seascape and fluffy pink clouds on the walls.
Samantha then started to refuse all help. Suzy visited every day and tried to persuade her to come back home. "Some days she wanted to live. But other days she'd say, 'I don't want to be here. Why don't you all leave me to die. If you leave me here I'll be able to drift away into oblivion.' " The medical health officer assigned to her case tried to persuade her to at least go and stay with her mother for a while, where she would be looked after, but she refused. It became clear that her condition was worsening dramatically, and eventually, this summer at the beginning of July, she was sectioned by her medical health worker, and put first into a medical ward. When Suzy next saw her daughter, she was semi-conscious. "She had two drips in each arm and a feeding tube in her nose, and she was slurring her speech as if she was drunk. She went into convulsions, her eyes were rolling back in their sockets ... "
Samantha was then moved to a psychiatric unit. "It's a posh name for a nut house. They sent her there against my wishes and they didn't even tell me they had moved her - when I rang the first hospital she'd been in, they said, 'Sam's not here any more,' and I thought she'd died. When I went to see her, she was in tears, she was out of it, she was clinging to me. She thought they were going to kill her, and that they were making blue films about her. She said I was an actress, and Bob was an actor, and we were all out to destroy her. She was in with schizophrenics, drug addicts, raving alcoholics throwing the furniture about. She was terrified. One night there was fighting and screaming, the police were called and all the staff were running around with blood on their clothes - she didn't know why."
Suzy and Bob consulted a solicitor, to try and obtain Samantha's release, and the sectioning was lifted on 25 September. Samantha died on 20 October . "When she came out she was completely mental," says Suzy. "I couldn't have the radio or TV on, because she said they were planning her death. I had tried to cope with the anorexia, but I couldn't stand the mental disorder. I couldn't cope with it. It was the same with Michaela - all the same mistakes." And she weeps.
Samantha went into her final coma at Suzy's house, where she spent the last week of her life. She said that Michaela had appeared to her and she was ready to die. Suzy says they later discovered bottles and wrappings that suggested she had taken an overdose of paracetamol, to which she was allergic. The night before she died, Samantha ate half a kebab and gave the other half to Rupert, Suzy and Bob's Akita puppy. Rupert and Samantha were both violently sick in the night but Suzy put it down to food poisoning rather than anything more serious. "I felt terrible. The paramedic told me off - he said, 'Why the bloody hell have you left it this long to call, she's in a coma.' I didn't realise. She was always so lethargic and tired. They put her on a life-support machine but I think she was already gone."
Suzy Kendall believes that, with hindsight, Samantha was doomed when Michaela died. "She had to suffer for three years and six months before she joined her. She missed her twin so much she didn't want to live without her. Twins have a real uncanny bond, and it's so strong. They aren't like ordinary siblings. You can call me a loony, but Michaela came for Samantha. They are together now. No one ever split them up."
Her life, and the lives of her husband and son, have been poisoned by anorexia for the past 15 years. And although she denies any guilt, she does say, sadly, "I can't do anything right. I'm a real Calamity Jane." What will she do now? She intends to campaign for further recognition of anorexia. But it's difficult to see exactly what she would like to achieve. "The government should do something," she says vehemently. But what?
And she is tired. This is the end of a long effort. "I deserve some sort of solace and peace now. I won't get away unscathed from this, I won't make old bones. But I don't care any more. There is nothing as bad as this that can happen."
Suzy Kendall's role in her daughters' lives and deaths is one that fascinates people. "Why didn't their mother make them eat?" is a question that comes up over and over again. "Why didn't she make the doctors do something?" But making someone eat is not easy. At one point, Suzy was physically holding Samantha's jaws together to try to stop her bringing up the food that would have saved her; how was she to make her daughter eat - physically hold her down and force food down her throat? I am the same age to within a few weeks as the Kendall twins would have been, had they lived. Among my close friends are two recovered bulimics, one recovered anorexic (she now sweats it out at the gym every week) and half a dozen others who have been on a diet of one kind or another since their teens. I am very glad that none of us ever strayed so far down that slippery road that we could not or would not come back; because, whatever one may think of Suzy Kendall and the others responsible for the twins' care, if a young woman decides categorically that she is going to starve, there seems to be very little that anyone can do. The twins in happier times: by their early teens, Samantha and Michaela were being teased for being too fat
Michaela and Samantha started to diet when they were 14. By her death, Michaela weighed less than five stone
The twins in 1993, shortly before Michaela's death: 'The government should do something,' says Suzi. But what?
|
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|
en
|
Little Dudley Happy at Last
|
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1983-03-31T12:00:00+00:00
|
The worst Six Weeks – and the worst years – of Dudley Moore's life are now over
|
en
|
Rolling Stone
|
https://www.rollingstone.com/tv-movies/tv-movie-news/little-dudley-happy-at-last-72091/
|
The sketch takes on a certain metaphoric resonance when one learns of Dudley’s early foot troubles and realizes that in a sense –– with whimsical little Dud being hailed as a Hollywood sex symbol –– the one-legged man has, by God, become Tarzan.
5 Getting Better
DUDLEY FRANKLY ADMITS HE IS A HETEROSEXUAL. He’s been married and divorced twice: to Suzy Kendall, the British actress (1966 to 1968) and to Tuesday Weld (1975 to 1980). He has a son, Patrick, who’s seven and lives in New York with Tuesday Weld. Dudley keeps a room set aside for him in the Marina del Rey house, which he and Weld bought about five years ago, after they’d washed ashore in L.A. at the terminus of the U.S. tour of Good Evening. (It was at that point, following a year of sunny torpor, that Dudley decided to take a serious shot at Hollywood.)
In the pre-Anton era, Dudley was a forceful advocate of promiscuity, pioneering the concept he calls “the meaningful one-night stand.” He met the singer-actress three years ago at an obscure awards ceremony; they’ve been virtual roommates since, though in their two separate houses. They accompany each other to work engagements, sometimes as far off as Japan. They seem genuinely affectionate. They have stocked a large repertoire of height jokes with which to respond to the seemingly endless public fascination with their height disparity of approximately eight inches.
Driving to Fox studios for a meeting on his next movie (Unfaithfully Yours, a remake of a 1948 Preston Sturges comedy starring Rex Harrison and Linda Darnell), Dudley is found at the wheel of his white ’63 Bentley, with Susan seated to his left. Brilliantly, if lazily, the Dudleywatcher hits on the device of asking her to interview him about them. As a typical reporter might.
SUSAN: “How do you feel about dating a taller woman?”
DUDLEY: [Adopting American accent] “Oh, it’s great, really great. You know, like Susan and I really, like, confronted this height thing with a degree of maturity unknown on the western seaboard….”
SUSAN: [Cutting him off] “Aha. Well, that’s all I wanted to ask you. Basically, you’re a pretty boring guy.”
DUDLEY: [Still orating] “…that is the linchpin on which everything else….”
SUSAN: “What is it you like best about me [laughs wickedly]?”
DUDLEY: “That’s a tough one, Susan.”
SUSAN: “I know – there’s so much to choose from!”
DUDLEY: [Serious now] “Well, I was saying before, I love your passion….”
SUSAN: “Ahh, that’s sweet.”
DUDLEY: “Your enthusiasm and your sense of humor.”
SUSAN: “And I do make good coffee in the morning, right?”
DUDLEY: “Good coffee. You haven’t read much Proust, but then….”
REPORTER: “But then, who has?”
SUSAN: “Let me ask you, Dudley. What do you find most attractive about yourself?”
DUDLEY: [Lapsing back into American accent] “Well, my whole karma, man.”
SUSAN: “I’m serious.”
DUDLEY: “What do I…? This is an unanswerable question. In the sense that I’m too embarrassed.”
SUSAN: “I can answer it.”
DUDLEY: [Reluctantly] “I find my desire to be loved the most attractive part of myself.”
SUSAN: “I have to agree with that. It’s very frustrating and not altogether what I like best about him, because everybody does, in turn, love him. Men, women, everybody. But I think that is because he’s so tangible. He really is very … touchable, aren’t you, dear?”
Another car veers dangerously close to Dudley’s. He verbalizes unrepressed anger.
REPORTER: “Right there, someone wants to touch you.”
SUSAN: “And if they can’t touch him, they just kind of run the car into him.”
DUDLEY: [Mock angry] “Well, this bitch is trying to pretend that nobody wants to touch her!”
SUSAN: “Oh, but I’ve realized it.”
DUDLEY: [Sneering] “Yeahhh. Realized it. For the last month.”
SUSAN: “No, it’s funny, but the best thing Dudley’s introduced me to in my life is….”
DUDLEY: “Promiscuity.”
SUSAN: “Not promiscuity so much, but the fact that promiscuity is not a dirty word. That it doesn’t make you bad or evil.”
DUDLEY: “There are no dirty words. Except not enough salt.”
SUSAN: “You use a few. I haven’t had enough chocolate today’ – that’s Dudley. There’s no chocolate in the house and he wants it, that’s trouble. Let’s see. We were talking about interviewing the other day….I was talking to you about it, wasn’t I?”
DUDLEY: “Either me or Burt Reynolds, I don’t know.”
SUSAN: “Oh, was it Burt? No, it was you. Because we all have a lot of pain in our lives; I know where a lot of your pain comes from. But what do you feel is the biggest source of pain in your life? Not something in the past, but like a continual well you go to that’s painful.”
REPORTER: “Interviews.”
SUSAN: “He loves interviews.”
DUDLEY: “Uhh, well, you see this is the old philosophical paradox. You can say you’re not always doing what you want to do, but actually you are every moment. That is a great source of pain to me. The fear of doing what I want to do and the potential of being rejected and abandoned. That’s life.”
SUSAN: “How do you feel about smog?”
DUDLEY: “I feel smog abandons me from time to time, and I feel very upset about that.”
|
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https://www.facebook.com/abrasivocultural/videos/the-dudley-moore-trio-ruperts-romp-1968-from-the-movie-30-is-a-dangerous-age-cyn/1478656315818535/
|
en
|
1968 from the movie '30 Is A Dangerous Age, Cynthia' directed by Joseph McGrath Dudley Stuart John Moore CBE (19...
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[
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THE DUDLEY MOORE TRIO | Rupert’s Romp | 1968
from the movie '30 Is A Dangerous Age, Cynthia'
directed by Joseph McGrath
Dudley Stuart John Moore CBE (19...
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de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/abrasivocultural/videos/the-dudley-moore-trio-ruperts-romp-1968-from-the-movie-30-is-a-dangerous-age-cyn/1478656315818535/
| ||||||
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https://rachelparris.com/dudley-moore-net-worth/
|
en
|
Dudley Moore Net Worth: A Look into the Star Legacy
|
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2024-06-21T03:18:45+00:00
|
Dive into Dudley Moore legacy with an exclusive peek at his net worth, career highlights, and enduring impact. Click to uncover now!
|
en
|
Rachel Parris
|
https://rachelparris.com/dudley-moore-net-worth/
|
Ever wondered about the financial legacy of Dudley Moore, the multi-talented British icon known for his comedic brilliance and musical prowess? You’re in the right place!
From his rise to fame to his unforgettable roles, we’re diving deep into Dudley Moore net worth, shedding light on how this remarkable entertainer’s career shaped his fortune.
Join us as we explore the numbers behind the legend.
Quick Facts
FACTDETAILReal NameDudley Stuart John MoorePopular NameDudley MooreGenderMaleBirth DateApril 19, 1935Age at Death66 (Died March 27, 2002)ParentsAda Francis (née Hughes), John MooreSiblingsBarbara StevensBirthplaceCharing Cross, London, EnglandNationalityBritishEthnicityWhiteEducationMagdalen College (1958), University of Oxford, Guildhall School of Music & Drama, Sydney Russell SchoolMarital StatusDivorced (Married four times)Sexual OrientationStraightWife/SpouseSuzy Kendall (m. 1968; div. 1972), Tuesday Weld (m. 1975; div. 1980), Brogan Lane (m. 1988; div. 1991), Nicole Rothschild (m. 1994; div. 1998)ChildrenPatrick (with Tuesday Weld), Nicholas (with Nicole Rothschild)DatingN/ANet Worth$25 million (at the time of death, adjusted for inflation)Source of WealthActing, Comedy, Music, CompositionHeight5 ft 3 in (1.59 m)
What is the Net Worth Of Dudley Moore 2024?
Dudley Moore, an iconic figure in the realms of comedy, music, and acting, left behind a legacy and a net worth of $25 million at the time of his death in 2002, a figure that’s been adjusted for inflation to reflect its value in today’s terms.
When juxtaposed with contemporaries in the comedy sector, Moore’s financial achievements stand out.
For instance, Peter Cook, Moore’s long-time collaborator, and another comedy legend, had a net worth of $20 million.
Another comparison could be made with Robin Williams, whose comedic brilliance and acting prowess amassed a net worth at $50 million, highlighting the varied financial trajectories in the entertainment industry.
Moore’s financial standing is a testament to his multifaceted career, spanning across comedy, music, and acting, establishing him as a beloved figure whose financial success mirrored his artistic versatility.
What is the Income of Dudley Moore 2024?
His income during his lifetime came from a blend of his acting roles in film and television, his comedy performances, and his musical compositions and performances.
While specific annual income data for Moore is not readily available, it’s clear that his diverse talents provided him with multiple streams of revenue.
His starring roles in hit films like Arthur and 10 undoubtedly contributed significantly to his wealth, alongside his work in television and his performances as a musician and composer.
Moore’s ability to excel in various entertainment domains ensured a steady flow of income, contributing to his impressive net worth at the time of his passing.
Dudley Moore Full Overview and Wiki
A Journey Through Stardom
His career journey is a fascinating tale of talent, versatility, and success.
Born in London in 1935, Moore’s early life was marked by his exceptional musical talent, leading him to win a scholarship to the prestigious Guildhall School of Music and later to Magdalen College, Oxford.
Dubley is one of the most successful comedians from Oxford University.
The Satire Boom Era
He first gained significant attention as part of the Beyond the Fringe comedy revue, alongside Peter Cook, Alan Bennett, and Jonathan Miller.
This show was at the forefront of the 1960s British satire boom and laid the foundation for Moore’s future success.
His partnership with Peter Cook, in particular, became legendary, giving birth to the beloved double act that produced timeless comedic content, including the Not Only… But Also series.
Let’s explore the greatest British comedians to bring laughter and joy into our lives.
Hollywood Success
His transition to Hollywood marked the next phase of his career, where he achieved international stardom. His roles in Foul Play, 10, and especially Arthur, showcased his comedic genius and acting skills, earning him critical acclaim and a Golden Globe award.
These films not only increased his popularity but significantly boosted his net worth, making him one of the most beloved comedians of his time.
Musical Prowess
Despite his comedic and acting success, the comedy musician never abandoned his first love—music. An accomplished pianist and composer, he continued to perform and compose throughout his career.
His musical talents added another dimension to his career, contributing to his overall success and financial stability.
Personal Life
His love life was as eventful as his career, with four marriages, including to Suzy Kendall and Tuesday Weld, with whom he had his sons, Patrick and Nicholas.
Despite the ups and downs, Moore maintained amicable relationships with his exes, except for Nicole Rothschild, highlighting his complex but warm personal connections.
Illness and Death
His final years were overshadowed by progressive supranuclear palsy (PSP), leading to his death in 2002.
His last words, I can hear the music all around me, poignantly echoed his life’s passion, leaving a lasting memory of his resilience and love for music.
Honours and Awards
In 1981, Moore clinched the Golden Globe for Best Actor for his performance in Arthur, a role that also earned him an Oscar nomination. In November 2001, Moore was honored as a Commander of the Order of The British Empire (CBE).
Despite his declining health, he made a poignant appearance at Buckingham Palace on 16 November to receive his honor in a wheelchair, marking his final public outing.
Social Media Accounts
Instagram: N/a
Twitter: N/a
FAQs about Dudley Moore
Who inherited Dudley Moore’s money?
He left an estimated £5 million fortune, with the bulk of it going to his two sons, Patrick and Nicholas.
What was Dudley Moore best known for in his career?
He was a renowned British actor, comedian, and musician who gained fame as a comedic actor in Hollywood movies such as 10 with Bo Derek and Arthur in the late 1970s and early 1980s.
He was also recognized for his work as one of the four writer-performers in Beyond the Fringe in the early 1960s and for forming a popular television double-act with Peter Cook.
Did Dudley Moore have Parkinson’s disease?
No, he did not have Parkinson’s disease; he battled progressive supranuclear palsy, a rare and incurable brain disorder similar to Parkinson’s. In the last years of his life, this condition caused him great pain and loss of control over his body.
Was he a smoker or involved with drugs?
Moore’s fourth wife, Nicole Rothschild, claimed that he smoked and consumed a considerable amount of crystal methamphetamine during their marriage.
How did his musical talent manifest in his education and career?
He was a classically trained pianist and organ scholar who won a music scholarship to Magdalen College, Oxford. He studied composition and became known for his jazz performances, even composing scores for films and giving piano concerts.
What awards did Dudley Moore receive throughout his career?
He won a Grammy Award in 1974, a Golden Globe Award in 1985 for Best Actor in a Motion Picture – Musical or Comedy, and was Oscar-nominated for his role in Arthur. In November 2001, he was appointed a Commander of the Order of The British Empire (CBE).
What was Dudley Moore’s cause of death?
He died on March 27, 2002, from pneumonia, which was secondary to immobility caused by progressive supranuclear palsy.
Does Dudley Moore have children?
He was married four times and had two sons, one with actress Tuesday Weld and another with Nicole Rothschild.
Which Dudley Moore movies are considered his best?
Some of his most popular films include Arthur, 10, and Foul Play, as ranked by fans and critics.
Where is Dudley Moore buried?
He is buried at Hillside Cemetery in Scotch Plains, New Jersey.
Don’t miss:
David Huddleston
Christian Fitzpatrick
Liza Minnelli
Conclusion
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1968 from the movie '30 Is A Dangerous Age, Cynthia' directed by Joseph McGrath Dudley Stuart John Moore CBE (19...
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THE DUDLEY MOORE TRIO | Rupert’s Romp | 1968
from the movie '30 Is A Dangerous Age, Cynthia'
directed by Joseph McGrath
Dudley Stuart John Moore CBE (19...
|
de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/abrasivocultural/videos/the-dudley-moore-trio-ruperts-romp-1968-from-the-movie-30-is-a-dangerous-age-cyn/1478656315818535/
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https://www.alamy.com/stock-photo-dudley-moore-and-suzy-kendall-separate-106848440.html
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|
Dudley Moore and Suzy Kendall separate Stock Photo
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Download this stock image: Dudley Moore and Suzy Kendall separate - G5RA7M from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
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https://www.alamy.com/stock-photo-dudley-moore-and-suzy-kendall-separate-106848440.html
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This image could have imperfections as it’s either historical or reportage.
British comedian Dudley Moore, 36, and his actress wife Suzy Kendall. On arrival in Sydney, Moore revealed he and Suzy have separated. The couple wed in June 1968, at a secret ceremony in the London suburb of Hampstead. Morre arrived here with partner, Peter Cook, 32, to stage a new revue called "Behind the French". 827/03/02 British comedian Dudley Moore, 36, and his actress wife Suzy Kendall. On arrival in Sydney. British actor Dudley Moore died today, Wednesday 27th March 2002, at his home in New Jersey, aged 66. Moore, who became an unlikely Hollywood heart-throb portraying a cuddly pipsqueak whose charm melted hearts in "10 and Arthur", died of pneumonia as a complication of progressive supranuclear palsy.
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Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.
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https://www.sixtiescity.net/Mbeat/mbfilms62.htm
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articles from the creator of iconic 60s music paper Mersey Beat
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Actress Suzy Kendall was born Frieda Harrison in Belper, Derbyshire on 1st January 1944. After attending Belper Convent School she was next educated at Derby and District College of Art where she began studying design and painting. She became a fabric designer and also enjoyed a successful career as a photographic model (it was a model agency that changed her name to Suzy Kendall) before becoming involved in acting.
Suzy was surprised when she was offered film roles, due mainly for her looks rather than any particular acting ability, and initially appeared in small parts in The Liquidator, Thunderball and Up Jumped a Swagman in 1965. She next appeared in The Sandwich Man and Circus of Fear in 1966. Stronger roles appeared in The Penthouse and To Sir, With Love in 1967 and Up The Junction and 30 Is A Dangerous Age, Cynthia in 1968.
1967/8 was probably her most successful period with three of her best parts. In The Penthouse she featured as Barbara Willason, an adulterous woman, terrorised in a penthouse when three thugs break in. In Up The Junction she portrayed Polly, a Chelsea girl who decides to slum it up by moving to a working class area in Battersea and taking a job in a factory, and in the highly popular To Sir With love she played Gillian, one of the teachers in an East End school.
In September 1968 she married comedian/actor Dudley Moore, her co-star in 30 Is A Dangerous Age, Cynthia at Hampstead Register Office. Dudley persuaded her to appear in the Continental film Fraulein Doktor' in 1969 as a Mata Hari type character. The same year she featured in The Gamblers and Colour Me Dead. She next featured in Darker Than Amber and Assault (aka The Creepers - in the US it was called In The Devils Garden) prior to starring in the Italian suspense movie The Bird With The Crystal Plumage, directed by Dario Agento.
Around this time Suzy wanted a child and decided to cut down her acting parts as she wanted to concentrate on being a mother. However, Dudleys career was on the up and up and he didnt want children at the time, so the marriage eventually broke up in 1972, although they remained good friends, and Suzy married City coffee trader Sandy Harper shortly after and gave birth to a girl, Elodie. Suzy idolised her daughter and devoted herself to her care.
She only appeared in a few rather unforgettable films in the Seventies, before retiring from the screen. They included: Tales That Witness Madness, Fear Is The Key, Story of A Cloistered Nun, Carnal Violence and Torso in 1973, Craze and Spasmo in 1974, Bis Zur Bitteren Neigeo' in 1975 and Adventures of a Private Eye in 1977. Bill Harryattended the Liverpool College of Art with Stuart Sutcliffe and John Lennon and made the arrangements for Brian Epstein to visit The Cavern, where he saw The Beatles for the first time. Bill was a member of 'The Dissenters' and the founder and editor of 'Mersey Beat', the iconic weekly music newspaper that documented the early Sixties music scene in the Liverpool area and is possibly best known for being the first periodical to feature a local band called 'The Beatles'. He has worked as a high powered publicist, doing PR for acts such as Suzi Quatro, Free, The Arrows and Hot Chocolate and has managed press campaigns for record labels such as CBS, EMI, Polydor. Bill is the critically acclaimed author of a large number of books about The Beatles and the 60s era including 'The Beatles Who's Who', 'The Best Years of the Beatles' and the Fab Four's 'Encyclopedia' series. He has appeared on 'Good Morning America' and has received a Gold Award from the British Academy of Songwriters, Composers and Authors.
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https://www.hagerty.co.uk/articles/automotive-history/sleep-well-tel-dennis-watermans-most-famous-motors/
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en
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Sleep well, Tel: Dennis Waterman’s most famous motors
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2022-05-10T10:22:03+00:00
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The Sweeney and Minder star Dennis Waterman passed away on Sunday, aged 74, having left behind a fine legacy of classic cars on screen.
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en
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https://hagerty.co.uk/wp-content/uploads/2020/04/favicon.ico
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Hagerty UK
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https://www.hagerty.co.uk/articles/automotive-history/sleep-well-tel-dennis-watermans-most-famous-motors/
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The Sweeney and Minder star Dennis Waterman passed away on Sunday, aged 74, having left behind a fine legacy of classics on screen.
He became a household name after The Sweeney, Euston Films’ police procedural following the Flying Squad, playing Detective Sergeant George Carter, alongside the late John Thaw (Detective Inspector Jack Reagan). Thames Television’s film wing had a tight budget; many of the stunts, while planned and co-ordinated, took place without the prior approval of local councils.
As The Sweeney ended in late 1978, so began Minder, the programme which brought Waterman to the forefront of British television. A ratings smash, he appeared for seven series as Terry McCann, a mostly reformed ex-boxer who acted as bodyguard for the never-entirely-scrupulous Arthur (Arfur) Daley (George Cole). While comedic at heart, the plotlines varied considerably; the underworld was not always kind.
On-screen motorsport and glamorous cars characterised many of Waterman’s early appearances. He was bound for adult roles almost as soon as Jan Darnley-Smith’s Go Kart Go was in the can; four years after playing the prize-winning Jimpy on track, he was taking Suzy Kendall’s Polly to the seaside in a stolen flat-floor Jaguar E-type, swapping Rye House Kart Raceway for Worthing’s sea front in Up The Junction. Its director, Peter Collinson, would direct The Italian Job in 1969. Waterman’s co-star, Suzy Kendall, would later appear alongside Vanishing Point star, Barry Newman, in the criminally underrated Fear Is The Key, an overlooked car chase standard.
While neither Go Kart Go’s karts nor Up The Junction’s E-type are thought to have survived, Waterman’s other three cars have fared somewhat better.
1973 Ford Consul GT – The Sweeney
“Who taught you to how to drive, Evel Knievel?!”
Waterman’s George Carter took a literal back seat to whomever was driving the Flying Squad in each episode of The Sweeney – and while the Copper Bronze Ford Consul GT of ‘Stoppo Driver’ was later supplanted by a Granada Mk1, it was the earlier the Consul GT that became as much of an icon as Waterman and Thaw. It even appeared in the first three series’ title sequences.
Although fitted with power steering and extra bracing on the shell, the car was basically standard – but well up to the job of apprehending thieves in Jaguar S-types. ‘Stoppo Driver’ was the Consul GT’s crowning episode – Waterman utters the line about Evel Knievel at the beginning of the episode when the Squad trail thieves across Hammersmith and Wandsworth; the boys collar their mark after Brian Cooney (Billy Murray) corners the stoppo driver.
The Consul GT used during filming survives to this day. Having being acquired by its current owner in 1988, it underwent an extensive restoration in time to appear for the 2019 Classic Motor Show.
1977 Ford Capri 2.0S – Minder
Played by an entire fleet of Capri MkI and Capri IIs, Waterman’s Terry McCann was seen buying ‘SLE 71R’, a white Capri II 2.0S, from Arthur Daley at the beginning of each episode between 1979 and 1989.
The car was Terry’s transport; a far cry from the Ford-heavy second unit action of The Sweeney, it nevertheless anchored the programme and became one of Britain’s best known registration marks – though it appeared at least once on a Rolls-Royce Silver Shadow associated with The Professionals, according to research conducted by fan site, minder.org.
After Waterman left Minder, ‘his’ Capri passed from owner to owner, eventually ending up in the hands of Capri Club International founder, Jon Hill by 1991. Realising its significance, a full renovation followed, and by 2016, in the hands of another custodian, it sold for £56,250 during H&H’s Imperial War Museum Duxford sale.
Disaster struck in 2020, when, upon returning from an MoT, an under bonnet fire gutted the front half of the car. The anonymous owner, after having the remains appraised, sent the car to Classic Car Restorations in Kent, where, for a rumoured £12,000, the Capri was brought back to its former glory.
1977 Triumph Stag – New Tricks
Last but not least, Gerry Standing’s Triumph Stag, a genteel GT that was the antithesis to the Fords of the The Sweeney and Minder.
New Tricks was another must-watch goldmine from 2003 to 2015, featuring an established ensemble cast as the officers behind the Unsolved Crime and Open Case Squad inside London’s Metropolitan Police. Like Minder (for which he also wrote the opening theme song) Waterman sang in the opening credits, and was later parodied in Little Britain.
Waterman’s former detective sergeant drove three Stags across much of the first and second series, identical in appearance but in fact three separate cars, the latter of which, VTU 501R, went to auction in 2015 with Historics. It had been owned by a car production firm since 2005, and appeared on screen with Waterman in 2009.
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https://www.whosdatedwho.com/dating/suzy-kendall
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Who is Suzy Kendall dating? Suzy Kendall boyfriend, husband
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21 August 2024... Suzy Kendall news, gossip, photos of Suzy Kendall, biography, Suzy Kendall boyfriend list 2024. Relationship history. Suzy Kendall relationship list. Suzy Kendall dating history, 2024, 2023, list of Suzy Kendall relationships.
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//pts1.whosdatedwho.com/img/wdw/favicon.ico
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Who's Dated Who?
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https://www.whosdatedwho.com/dating/suzy-kendall
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Suzy Kendall dating history
Who is she dating right now?
According to our records, Suzy Kendall is possibly single.
Relationships
Suzy Kendall was previously married to Alexander James Christopher (sandy) Harper and Dudley Moore (1968 - 1972).
About
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26157
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https://en.wikipedia.org/wiki/Dudley_Moore
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en
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Dudley Moore
|
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2002-03-27T12:01:16+00:00
|
en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Dudley_Moore
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English actor, comedian and musician (1935–2002)
Dudley Stuart John Moore CBE (19 April 1935 – 27 March 2002) was an English actor, comedian, musician and composer. Moore first came to prominence in the UK as a leading figure in the British satire boom of the 1960s. He was one of the four writer-performers in the comedy revue Beyond the Fringe from 1960 that created a boom in satiric comedy. With a member of that team, Peter Cook, Moore collaborated on the BBC television series Not Only... But Also. As a popular double act, Moore's buffoonery contrasted with Cook's deadpan monologues.[2] They jointly received the 1966 British Academy Television Award for Best Entertainment Performance and worked together on other projects until the mid-1970s, by which time Moore had settled in Los Angeles to concentrate on his film acting.
Moore's career as a comedy film actor was marked by hit films, particularly Bedazzled (1967), set in Swinging Sixties London (in which he co-starred with Cook) and Hollywood productions Foul Play (1978), 10 (1979) and Arthur (1981). For Arthur, Moore was nominated for the Academy Award for Best Actor and won a Golden Globe Award. He received a second Golden Globe for his performance in Micki & Maude (1984). Moore was awarded a star on the Hollywood Walk of Fame in 1987 and was made a CBE by Queen Elizabeth II at Buckingham Palace on 16 November 2001 in what was his last public appearance.[3][4]
Early life
[edit]
Moore was born at the original Charing Cross Hospital in central London, the son of Ada Francis (née Hughes), a secretary, and John Moore, a railway electrician from Glasgow.[5] He had an older sister, Barbara.[6] Moore was brought up in the Becontree estate in Dagenham, Essex. He was short at 5 ft 2 in (1.57 m) and had club feet that required extensive hospital treatment. This made him the butt of jokes from other children. His right foot responded well to corrective treatment by the time he was six, but his left foot was permanently twisted and his left leg below the knee was withered. He remained self-conscious about this throughout his life.
Moore became a chorister at the age of six. At age 11 he earned a scholarship to the Guildhall School of Music, where he took up harpsichord, organ, violin, musical theory and composition.[7] He rapidly developed into a highly talented pianist and organist and was playing the organ at local church weddings by the age of 14. He attended Dagenham County High School where he received dedicated musical tuition from Peter Cork (1926–2012), who helped him towards his Oxford music scholarship. (Norma Winstone was another student of Cork's at Dagenham).[8] Cork was also a composer. Moore kept in touch until the mid-1990s and his letters to Cork were published in 2006.[9]
Moore won an organ scholarship to Magdalen College, Oxford, where he was tutored by the composer Bernard Rose.[7][10] While studying music and composition there, he also performed with Alan Bennett in The Oxford Revue. During his university years, Moore developed a love of jazz music and became an accomplished jazz pianist and composer. He began working with musicians such as John Dankworth and Cleo Laine. In 1960 he left Dankworth's band to work on Beyond the Fringe.
Career
[edit]
Beyond the Fringe
[edit]
John Bassett, a graduate of Wadham College, Oxford recommended Moore, his jazz bandmate and a rising cabaret talent, to producer Robert Ponsonby, who was putting together a comedy revue entitled Beyond the Fringe. Bassett also chose Jonathan Miller. Moore then recommended Alan Bennett, who in turn suggested Peter Cook.
Beyond the Fringe was at the forefront of the 1960s UK satire boom, although the show's original runs in Edinburgh and the provinces in 1960 had had a lukewarm response. When the revue transferred to the Fortune Theatre in London, in a revised production by Donald Albery and William Donaldson, it became a sensation, thanks in some part to a favourable review by Kenneth Tynan.[12] There were also a number of musical items in the show, using Dudley Moore's music, most famously an arrangement of the Colonel Bogey March in the style of Beethoven, which Moore appears unable to bring to an end.
In 1962 the show transferred to the John Golden Theatre in New York, with its original cast. President John F. Kennedy attended a performance on 10 February 1963. The show continued in New York until 1964.
Partnership with Peter Cook
[edit]
When Moore returned to the UK he was offered his own series on the BBC, Not Only... But Also (1965, 1966, 1970). It was commissioned specifically as a vehicle for Moore, but when he invited Peter Cook on as a guest, their comedy partnership was so notable that it became a permanent fixture of the series. Cook and Moore are most remembered for their sketches as two working-class men, Pete and Dud, in macs and cloth caps, commenting on politics and the arts, but they also fashioned a series of one-off characters, usually with Moore in the role of interviewer to one of Cook's upper-class eccentrics.
The pair developed an unorthodox method for scripting the material, using a tape recorder to tape an ad-libbed routine that they would then have transcribed and edited. This would not leave enough time to fully rehearse the script, so they often had a set of cue cards. Moore was famous for "corpsing" so, as the programmes often went out live, Cook would deliberately make him laugh in order to get an even bigger reaction from the studio audience. The BBC wiped much of the series, though some of the soundtracks (which were issued on LP record) have survived. In 1968 Cook and Moore briefly switched to ATV for four one-hour programmes entitled Goodbye Again; however, they were not as critically well-received as the BBC shows.
On film, Moore and Cook appeared in the 1966 British comedy film The Wrong Box, before co-writing and co-starring in Bedazzled (1967) with Eleanor Bron.[13] Set in Swinging London of the 1960s, Bedazzled was directed by Stanley Donen. The pair closed the decade with appearances in the ensemble caper film Monte Carlo or Bust and Richard Lester's The Bed Sitting Room, based on the play by Spike Milligan and John Antrobus. In 1968 and 1969 Moore embarked on two solo comedy ventures, firstly in the film 30 is a Dangerous Age, Cynthia and secondly, on stage, for an Anglicised adaptation of Woody Allen's Play It Again, Sam at the Globe Theatre in London's West End.
In the 1970s, the relationship between Moore and Cook became increasingly strained as the latter's alcoholism began affecting his work. In 1971, however, Cook and Moore took sketches from Not Only....But Also and Goodbye Again, together with new material, to create the stage revue Behind the Fridge. This show toured Australia and New Zealand in 1971 and ran in London's west end between 1972 and 1973 before transferring to New York City in 1973, re-titled Good Evening.[14] Cook frequently appeared inebriated, on and off stage. Nonetheless, the show proved very popular and it won Tony and Grammy Awards.
When the Broadway run of Good Evening ended, Moore stayed on in the U.S. to pursue his film acting ambitions in Hollywood, but the pair reunited to host Saturday Night Live on 24 January 1976 during SNL's first season. They performed a number of their classic stage routines, including "One Leg Too Few" and "Frog and Peach", among others, in addition to participating in some skits with the show's ensemble.
It was during the Broadway run of Good Evening that Cook persuaded Moore to take the humour of Pete and Dud further on long-playing records as Derek and Clive. Chris Blackwell circulated bootleg copies to friends in the music business and the popularity of the recording convinced Cook to release it commercially as Derek and Clive (Live) (1976). Two further "Derek and Clive" albums, Derek and Clive Come Again (1977) and Derek and Clive Ad Nauseam (1978), were later released. The latter was also filmed for a documentary, Derek and Clive Get the Horn. In the film it is clear tensions between the two men were at a breaking point, with Moore at one point walking out of the recording room singing, 'Breaking up is so easy to do.' In 2009, it came to light that, at the time, three separate British police forces had wanted them to be prosecuted under obscenity laws for their "Derek and Clive" comedy recordings.[citation needed]
The last significant appearance for the partnership was in 1978's The Hound of the Baskervilles, where Moore played Dr. Watson to Cook's Sherlock Holmes, as well as three other roles: in drag; as a one-legged man; and at the start and end of the film as a flamboyant and mischievous pianist. He also wrote the film's score. Co-star Terry-Thomas described it as "the most outrageous film I ever appeared in ... there was no magic ... it was bad!".[15] The film was not a success, either critically or financially.
Moore and Cook eventually reunited for the annual American benefit for the homeless, Comic Relief, in 1987, and again in 1989 for a British audience at the Amnesty International benefit The Secret Policeman's Biggest Ball.
Moore was deeply affected by the death of Cook in 1995, and for weeks would regularly telephone Cook's home in London, just to hear his friend's voice on the telephone answering machine. Moore attended Cook's memorial service in London and, at the time, many people who knew him noted that Moore was behaving strangely and attributed it to grief or drinking. In November 1995, Moore teamed up with friend and humorist Martin Lewis in organising a two-day salute to Cook in Los Angeles that Moore co-hosted with Lewis.[citation needed]
In December 2004 the Channel 4 television station in the United Kingdom broadcast Not Only But Always, a TV film dramatising the relationship between Moore and Cook, although most of the attention of the production was directed towards Cook. Around the same time, the relationship between the two was also the subject of a stage play called Pete and Dud: Come Again by Chris Bartlett and Nick Awde. For this production Moore is the main subject. Set in a chat-show studio in the 1980s, it concerns Moore's comic and personal relationship with Cook and the directions their careers took after the split of the partnership.
Music
[edit]
During the 1960s Mooré formed the Dudley Moore Trio, with drummer Chris Karan and bassist Pete McGurk. Following McGurk's suicide in June 1968, Peter Morgan joined the group as his replacement.[16]
Moore's admitted principal musical influences were Oscar Peterson and Erroll Garner. In an interview he recalled the day he finally mastered Garner's unique left-hand strum and was so excited that he walked around for several days with his left hand constantly playing that cadence. His early recordings included "My Blue Heaven", "Lysie Does It", "Poova Nova", "Take Your Time", "Indiana", "Sooz Blooz", "Baubles, Bangles & Beads", "Sad One for George" and "Autumn Leaves". The trio performed regularly on British television, made numerous recordings and had a long-running residency at Peter Cook's London nightclub, the Establishment. Amongst other albums, they recorded The Dudley Moore Trio, Dudley Moore plays The Theme from Beyond the Fringe and All That Jazz, The World of Dudley Moore, The Other Side Of Dudley Moore and Genuine Dud.
Moore was a close friend of record producer Chris Gunning and played piano (uncredited) on the 1969 single "Broken Hearted Pirates" which Gunning produced for Simon Dupree and the Big Sound.[17] In 1976 he played piano on Larry Norman's album In Another Land, in particular on the song The Sun Began to Rain. In 1981 he recorded Smilin' Through with Cleo Laine.
He composed the soundtracks for the films Bedazzled (1967), 30 is a Dangerous Age, Cynthia (1968), Inadmissible Evidence (1968), Staircase (1969), The Hound of the Baskervilles (1978) and Six Weeks (1982), among others.
Later career in film, television and music
[edit]
In the late 1970s Moore moved to Hollywood, where he had a supporting role in the hit film Foul Play (1978) with Goldie Hawn and Chevy Chase. The following year saw his breakout role in Blake Edwards's 10, which became one of the biggest box-office hits of 1979 and gave him an unprecedented status as a romantic leading man. Moore followed up with the comedy film Wholly Moses!, which was not a major success.
In 1981 Moore appeared in the title role of the comedy Arthur, an even bigger hit than 10. Co-starring Liza Minnelli and Sir John Gielgud, it was both commercially and critically successful, Moore receiving an Oscar nomination for Best Actor, while Gielgud won the Best Supporting Actor Oscar for his role as Arthur's stern but compassionate manservant. Moore lost to Henry Fonda (for On Golden Pond). He did, however, win a Golden Globe award for Best Actor in a Musical/Comedy. In the same year, on British television, Moore was the featured guest subject on An Audience With....
His subsequent films, Six Weeks (1982), Lovesick (1983), Romantic Comedy (1983) and Unfaithfully Yours (1984) were only moderate successes. He won another Golden Globe for Best Actor in a Musical/Comedy in 1984, starring in the Blake Edwards directed Micki & Maude, co-starring Amy Irving.
Later films, including Best Defense (1984), Santa Claus: The Movie (1985), Like Father Like Son (1987), Arthur 2: On the Rocks (1988), a sequel to the original, Crazy People (1990), Blame It on the Bellboy (1992) and an animated adaptation of King Kong, were inconsistent in terms of both critical and commercial reception. Moore eventually disowned the Arthur sequel, but, in later years, Cook would tease him by claiming he preferred Arthur 2: On the Rocks to Arthur.
In 1986 he once again hosted Saturday Night Live, albeit without Peter Cook this time.
Moore was the subject of the British This Is Your Life, for a second time, in March 1987 when he was surprised by Eamonn Andrews at his Venice Beach restaurant;[18] he had previously been honoured by the programme in December 1972.
In addition to acting, Moore continued to work as a composer and pianist, writing scores for a number of films and giving piano concerts, among the highlights of which were his popular parodies of classical favourites. He appeared as Ko-Ko in Jonathan Miller's production of The Mikado in Los Angeles in March 1988. He appeared on Kenny G's music video "Against Doctor's Orders" from the album Silhouette.[19]
In 1991 he released the album Songs Without Words and in 1992 Live From an Aircraft Hangar, recorded at London's Royal Albert Hall.
He collaborated with the conductor Sir Georg Solti in 1991 to create a Channel 4 television series, Orchestra!, which was designed to introduce audiences to the symphony orchestra. He later worked with the American conductor Michael Tilson Thomas on a similar television series, Concerto! (1993), likewise designed to introduce audiences to classical music concertos.
Moore appeared in two series for CBS, Dudley (1993) and Daddy's Girls (1994); however, both were cancelled before the end of their run.
Moore had been interviewed for the New York Times in 1987 by the music critic Rena Fruchter, herself an accomplished pianist, and the two became close friends. By 1995 Moore's film career was on the wane and he was having trouble remembering his lines, a problem he had never previously encountered. It was for this reason he was sacked from Barbra Streisand's film The Mirror Has Two Faces.[20] However, his difficulties were, in fact, due to the onset of the medical condition that eventually led to his death. Opting to concentrate on the piano, he enlisted Fruchter as an artistic partner. They performed as a duo in the US and Australia. However, his disease soon started to make itself apparent there as well, as his fingers would not always do what he wanted them to do. Further symptoms such as slurred speech and loss of balance were misinterpreted by the public and the media as a sign of drunkenness. Moore himself was at a loss to explain this. He moved into Fruchter's family home in New Jersey and stayed there for five years; however, this placed a great strain both on her marriage and her friendship with Moore, and she later set him up in the house next door.
Restaurant
[edit]
Tony Bill and Dudley Moore founded a restaurant in 1983 (closed in November 2000), 72 Market Street Oyster Bar and Grill, in Venice, California.[21][22]
Personal life
[edit]
Moore was married and divorced four times: to actresses Suzy Kendall (15 June 1968 – 15 September 1972); Tuesday Weld (20 September 1975 – 18 July 1980), with whom he had a son, Patrick, on 26 February 1976; Brogan Lane (21 February 1988 – 1991);[23] and Nicole Rothschild (16 April 1994 – 1998), with whom he had a son, Nicholas, on 28 June 1995.[24][25][26][27]
Moore dated Susan Anton in the early 1980s, with their height difference being widely remarked upon: Moore was 5 feet 2+1⁄2 inches (1.588 m) and Anton was 5 feet 11 inches (1.80 m).
In 1994, Moore was arrested and charged with domestic assault after allegedly assaulting his then-girlfriend and soon-to-be wife, Nicole Rothschild.[28]
He maintained good relationships with Kendall, Weld, and Lane. However, he expressly prohibited Rothschild from attending his funeral since, at the time his illness became apparent, he was going through a difficult divorce with her while at the same time sharing a Los Angeles house with her and her previous husband.[25]
Illness and death
[edit]
In April 1997, after spending five days in a New York hospital, Moore was informed that he had calcium deposits in the basal ganglia of his brain and irreversible frontal lobe damage. He underwent quadruple coronary artery bypass surgery in London and also suffered four strokes.[29]
On 30 September 1999, Moore announced that he was suffering from the terminal degenerative brain disorder progressive supranuclear palsy (PSP), a Parkinson-plus syndrome,[29] some of the early symptoms being so similar to intoxication that he had been reported as being drunk,[30][31][32][33][34] and that the illness had been diagnosed earlier in the year.[29] In November 1999, Moore made his first public appearance since disclosing his illness, reading poetry, alongside Julie Andrews, at a benefit concert in Philadelphia for the charity Music for All Seasons. At first Moore struggled, but soon he settled in and began to joke and ad-lib. He then received a standing ovation, for what was to be his last performance.[35] His disease would quickly progress, eventually requiring him to use a wheelchair.
Moore died on the morning of 27 March 2002[13] as a result of pneumonia, secondary to immobility caused by his PSP, in Plainfield, New Jersey, at the age of 66. Rena Fruchter was holding his hand when he died; she reported his final words were "I can hear the music all around me."[36][37] Moore was interred at Hillside Cemetery in Scotch Plains, New Jersey. Fruchter later wrote a memoir of their relationship titled Dudley Moore (Ebury Press, 2004).
Honours and awards
[edit]
In 1981, Moore won the Golden Globe for Best Actor for his role in Arthur, for which he was also Oscar-nominated. In November 2001, Moore was appointed a Commander of the Order of The British Empire (CBE). Despite his deteriorating condition, he attended the ceremony at Buckingham Palace on 16 November to collect his honour in a wheelchair.[20] It was his last public appearance.[4]
Filmography
[edit]
Film performances Year Title Role Notes 1961 The Third Alibi Piano Accompanist Uncredited 1965 Flatland A. Square Voice role 1966 The Wrong Box John Finsbury 1967 Bedazzled Stanley Moon 1968 30 is a Dangerous Age, Cynthia Rupert Street 1969 Monte Carlo or Bust! Lt. Barrington (aka Those Daring Young Men in Their Jaunty Jalopies) The Bed Sitting Room Police Sergeant 1972 Alice's Adventures in Wonderland Dormouse 1975 Saturday Night at the Baths Himself – in theater audience uncredited role 1978 Foul Play Stanley Tibbets The Hound of the Baskervilles Doctor Watson / Mrs. Ada Holmes / Mr. Spiggot / Piano Player 1979 10 George Webber Derek and Clive Get the Horn Derek 1980 Wholly Moses! Harvey Orchid / Herschel 1981 Arthur Arthur Bach 1982 Six Weeks Patrick Dalton 1983 Lovesick Saul Benjamin Romantic Comedy Jason Carmichael 1984 Unfaithfully Yours Claude Eastman Best Defense Wylie Cooper Micki & Maude Rob Salinger 1985 Santa Claus: The Movie Patch 1986 The Adventures of Milo and Otis Narrator English version, voice 1987 Like Father Like Son Dr. Jack Hammond / Chris Hammond 1988 Arthur 2: On the Rocks Arthur Bach 1990 Crazy People Emory Leeson 1992 Blame It on the Bellboy Melvyn Orton 1993 The Pickle Planet Cleveland Man (uncredited) 1995 The Disappearance of Kevin Johnson Dudley Moore 1998 The Mighty Kong Carl Denham / King Kong (voice) (final film role)
Television shows Year Title Role Notes 1964 Chronicle Piano Accompanist Episode: "A Trip to the Moon" 1964 Love Story Kuba Episode: "The Girl Opposite" 1965–1970 Not Only... But Also Various characters 22 episodes 1966 Five More Maserati Driver Episode: "Exit 19" 1968 Film Reviews Rupert Street Episode: "Backs British Films" 1968 Goodbye Again various characters 4 episodes 1969 World in Ferment Guest Store Detective Episode: "1.1" 1971 Not Only But Also. Peter Cook and Dudley Moore in Australia Various characters Mini series An Apple a Day Dr. Clive Elwood TV movie Behind the Fridge Various characters TV movie 1975 When Things Were Rotten Sheik Achmed Episode: "Those Wedding Bell Blues" 1976 Pleasure at Her Majesty's Narrator TV movie documentary 1992 Noel's House Party Special Guest Episode: "1.15" 1993 Dudley Dudley Bristol 6 episodes 1993–1996 Really Wild Animals Spin 13 episodes 1994 Parallel Lives Imaginary Friend / President Andrews TV movie Daddy's Girls Dudley Walker 3 episodes 1995 Oscar's Orchestra Oscar (voice) 38 episodes 1996 A Weekend in the Country Simon Farrell TV movie
Discography
[edit]
UK chart singles
[edit]
"Goodbye-ee", 1965, Peter Cook and Dudley Moore
"The Ballad of Spotty Muldoon", 1965, Peter Cook and Dudley Moore[38]
Jazz discography
[edit]
"Strictly for the Birds" b/w "Duddly Dell", 1961 (Parlophone R 4772) – The Dudley Moore Trio (Derek Hogg, drums; Hugo Boyd, double bass)
The Other Side of Dudley Moore, 1965 (Decca LK 4732 Mono) The Dudley Moore Trio (Pete McGurk – double bass, Chris Karan – drums)
Genuine Dud, 1966 (Decca LK 4788 Mono) The Dudley Moore Trio (Pete McGurk – double bass, Chris Karan – drums) [reissued as The World of Dudley Moore, vol 2, 1973]
From Beyond The Fringe, 1966 (Atlantic RecordsStandard 2 017)
The Dudley Moore Trio, 1969 (Decca Records (UK) / London Records (US) PS558)
Dudley Moore plays the Theme from Beyond the Fringe and All That Jazz, 1962 (Atlantic 1403)
The World of Dudley Moore, (Decca SPA 106)
The Music of Dudley Moore, (EMI Australia (Cube Records) TOOFA.14-1/2)
Dudley Down Under, (Cube ICS 13)
Dudley Moore at the Wavendon Festival, (Black Lion Records BLP 12151)
Smilin' Through – Cleo Laine and Dudley Moore, (Finesse Records FW 38091)
"Strictly for the Birds" – Cleo Laine and Dudley Moore, (CBS A 2947)
The Theme from Beyond The Fringe and All That Jazz, (Collectibles COL 6625)
Live from an Aircraft Hangar (Martine Avenue Productions MAPI 8486)
Songs Without Words, 1991 (GRP/BMG LC 6713)
The First Orchestrations – Dudley Moore and Richard Rodney Bennett, played by John Bassett and his Band, (Harkit Records HRKCD 8054)
Jazz Jubilee, (Martine Avenue Productions MAPI 1521)
The Dudley Moore Trio at Sydney Town Hall, 2 May 1978 (with Peter Morgan on bass and Chris Karan on drums). Produced by Peter Wall.
Today, The Dudley Moore Trio – again with Morgan and Karan (see above) recorded at United Sound, Sydney, in 1971, with some mono tracks added from a 1961 London session. No details.
Comedy discography
[edit]
Beyond The Fringe (West End recording) (1961)
Beyond The Fringe (Broadway recording) (1962)
Not Only Peter Cook But Also Dudley Moore (1965)
Once Moore with Cook (1966)
Peter Cook and Dudley Moore Cordially Invite You to Go to Hell! (1967)[39]
Goodbye Again (1968)
Not Only But Also (1971)
Behind the Fridge (1971) AUS No. 35[40]
The World of Pete & Dud (1974)
Good Evening (1974)
Derek and Clive (Live) (1976)
Derek and Clive Come Again (1977)
Derek and Clive Ad Nauseam (1978)
Bibliography
[edit]
Dudley Moore (1966). Originals. Arranged as Piano Solos Transcribed from the Decca L.P. 'The Other Side of Dudley Moore'. Essex Music.
References
[edit]
Further reading
[edit]
Roger Wilmut, From Fringe to Flying Circus: Celebrating a Unique Generation of Comedy 1960–1980, Eyre Methuen Ltd, 1980
Alexander Games (1999). Pete & Dud: An Illustrated Biography. Andre Deutsch. ISBN 0-233-99642-7.
Peter Cook and Dudley Moore (2003). Dud and Pete The Dagenham Dialogues. Methuen. ISBN 978-0-413-77347-0.
Chris Bartlett and Nick Awde (2006). Pete and Dud: Come Again. Methuen Drama. ISBN 0-413-77602-6.
Dudley Moore: An Intimate Portrait, Rena Fruchter, Ebury Press, 2004, ISBN 978-0-0918-9757-4.
Julian Upton, Fallen Stars, Headpress, 2004.
William Cook (2014). One Leg Too Few: The Adventures of Peter Cook and Dudley Moore. Arrow. ISBN 978-0099559924.
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English actor, comedian and musician (1935–2002)
Dudley Stuart John Moore CBE (19 April 1935 – 27 March 2002) was an English actor, comedian, musician and composer. Moore first came to prominence in the UK as a leading figure in the British satire boom of the 1960s. He was one of the four writer-performers in the comedy revue Beyond the Fringe from 1960 that created a boom in satiric comedy. With a member of that team, Peter Cook, Moore collaborated on the BBC television series Not Only... But Also. As a popular double act, Moore's buffoonery contrasted with Cook's deadpan monologues.[2] They jointly received the 1966 British Academy Television Award for Best Entertainment Performance and worked together on other projects until the mid-1970s, by which time Moore had settled in Los Angeles to concentrate on his film acting.
Moore's career as a comedy film actor was marked by hit films, particularly Bedazzled (1967), set in Swinging Sixties London (in which he co-starred with Cook) and Hollywood productions Foul Play (1978), 10 (1979) and Arthur (1981). For Arthur, Moore was nominated for the Academy Award for Best Actor and won a Golden Globe Award. He received a second Golden Globe for his performance in Micki & Maude (1984). Moore was awarded a star on the Hollywood Walk of Fame in 1987 and was made a CBE by Queen Elizabeth II at Buckingham Palace on 16 November 2001 in what was his last public appearance.[3][4]
Early life
[edit]
Moore was born at the original Charing Cross Hospital in central London, the son of Ada Francis (née Hughes), a secretary, and John Moore, a railway electrician from Glasgow.[5] He had an older sister, Barbara.[6] Moore was brought up in the Becontree estate in Dagenham, Essex. He was short at 5 ft 2 in (1.57 m) and had club feet that required extensive hospital treatment. This made him the butt of jokes from other children. His right foot responded well to corrective treatment by the time he was six, but his left foot was permanently twisted and his left leg below the knee was withered. He remained self-conscious about this throughout his life.
Moore became a chorister at the age of six. At age 11 he earned a scholarship to the Guildhall School of Music, where he took up harpsichord, organ, violin, musical theory and composition.[7] He rapidly developed into a highly talented pianist and organist and was playing the organ at local church weddings by the age of 14. He attended Dagenham County High School where he received dedicated musical tuition from Peter Cork (1926–2012), who helped him towards his Oxford music scholarship. (Norma Winstone was another student of Cork's at Dagenham).[8] Cork was also a composer. Moore kept in touch until the mid-1990s and his letters to Cork were published in 2006.[9]
Moore won an organ scholarship to Magdalen College, Oxford, where he was tutored by the composer Bernard Rose.[7][10] While studying music and composition there, he also performed with Alan Bennett in The Oxford Revue. During his university years, Moore developed a love of jazz music and became an accomplished jazz pianist and composer. He began working with musicians such as John Dankworth and Cleo Laine. In 1960 he left Dankworth's band to work on Beyond the Fringe.
Career
[edit]
Beyond the Fringe
[edit]
John Bassett, a graduate of Wadham College, Oxford recommended Moore, his jazz bandmate and a rising cabaret talent, to producer Robert Ponsonby, who was putting together a comedy revue entitled Beyond the Fringe. Bassett also chose Jonathan Miller. Moore then recommended Alan Bennett, who in turn suggested Peter Cook.
Beyond the Fringe was at the forefront of the 1960s UK satire boom, although the show's original runs in Edinburgh and the provinces in 1960 had had a lukewarm response. When the revue transferred to the Fortune Theatre in London, in a revised production by Donald Albery and William Donaldson, it became a sensation, thanks in some part to a favourable review by Kenneth Tynan.[12] There were also a number of musical items in the show, using Dudley Moore's music, most famously an arrangement of the Colonel Bogey March in the style of Beethoven, which Moore appears unable to bring to an end.
In 1962 the show transferred to the John Golden Theatre in New York, with its original cast. President John F. Kennedy attended a performance on 10 February 1963. The show continued in New York until 1964.
Partnership with Peter Cook
[edit]
When Moore returned to the UK he was offered his own series on the BBC, Not Only... But Also (1965, 1966, 1970). It was commissioned specifically as a vehicle for Moore, but when he invited Peter Cook on as a guest, their comedy partnership was so notable that it became a permanent fixture of the series. Cook and Moore are most remembered for their sketches as two working-class men, Pete and Dud, in macs and cloth caps, commenting on politics and the arts, but they also fashioned a series of one-off characters, usually with Moore in the role of interviewer to one of Cook's upper-class eccentrics.
The pair developed an unorthodox method for scripting the material, using a tape recorder to tape an ad-libbed routine that they would then have transcribed and edited. This would not leave enough time to fully rehearse the script, so they often had a set of cue cards. Moore was famous for "corpsing" so, as the programmes often went out live, Cook would deliberately make him laugh in order to get an even bigger reaction from the studio audience. The BBC wiped much of the series, though some of the soundtracks (which were issued on LP record) have survived. In 1968 Cook and Moore briefly switched to ATV for four one-hour programmes entitled Goodbye Again; however, they were not as critically well-received as the BBC shows.
On film, Moore and Cook appeared in the 1966 British comedy film The Wrong Box, before co-writing and co-starring in Bedazzled (1967) with Eleanor Bron.[13] Set in Swinging London of the 1960s, Bedazzled was directed by Stanley Donen. The pair closed the decade with appearances in the ensemble caper film Monte Carlo or Bust and Richard Lester's The Bed Sitting Room, based on the play by Spike Milligan and John Antrobus. In 1968 and 1969 Moore embarked on two solo comedy ventures, firstly in the film 30 is a Dangerous Age, Cynthia and secondly, on stage, for an Anglicised adaptation of Woody Allen's Play It Again, Sam at the Globe Theatre in London's West End.
In the 1970s, the relationship between Moore and Cook became increasingly strained as the latter's alcoholism began affecting his work. In 1971, however, Cook and Moore took sketches from Not Only....But Also and Goodbye Again, together with new material, to create the stage revue Behind the Fridge. This show toured Australia and New Zealand in 1971 and ran in London's west end between 1972 and 1973 before transferring to New York City in 1973, re-titled Good Evening.[14] Cook frequently appeared inebriated, on and off stage. Nonetheless, the show proved very popular and it won Tony and Grammy Awards.
When the Broadway run of Good Evening ended, Moore stayed on in the U.S. to pursue his film acting ambitions in Hollywood, but the pair reunited to host Saturday Night Live on 24 January 1976 during SNL's first season. They performed a number of their classic stage routines, including "One Leg Too Few" and "Frog and Peach", among others, in addition to participating in some skits with the show's ensemble.
It was during the Broadway run of Good Evening that Cook persuaded Moore to take the humour of Pete and Dud further on long-playing records as Derek and Clive. Chris Blackwell circulated bootleg copies to friends in the music business and the popularity of the recording convinced Cook to release it commercially as Derek and Clive (Live) (1976). Two further "Derek and Clive" albums, Derek and Clive Come Again (1977) and Derek and Clive Ad Nauseam (1978), were later released. The latter was also filmed for a documentary, Derek and Clive Get the Horn. In the film it is clear tensions between the two men were at a breaking point, with Moore at one point walking out of the recording room singing, 'Breaking up is so easy to do.' In 2009, it came to light that, at the time, three separate British police forces had wanted them to be prosecuted under obscenity laws for their "Derek and Clive" comedy recordings.[citation needed]
The last significant appearance for the partnership was in 1978's The Hound of the Baskervilles, where Moore played Dr. Watson to Cook's Sherlock Holmes, as well as three other roles: in drag; as a one-legged man; and at the start and end of the film as a flamboyant and mischievous pianist. He also wrote the film's score. Co-star Terry-Thomas described it as "the most outrageous film I ever appeared in ... there was no magic ... it was bad!".[15] The film was not a success, either critically or financially.
Moore and Cook eventually reunited for the annual American benefit for the homeless, Comic Relief, in 1987, and again in 1989 for a British audience at the Amnesty International benefit The Secret Policeman's Biggest Ball.
Moore was deeply affected by the death of Cook in 1995, and for weeks would regularly telephone Cook's home in London, just to hear his friend's voice on the telephone answering machine. Moore attended Cook's memorial service in London and, at the time, many people who knew him noted that Moore was behaving strangely and attributed it to grief or drinking. In November 1995, Moore teamed up with friend and humorist Martin Lewis in organising a two-day salute to Cook in Los Angeles that Moore co-hosted with Lewis.[citation needed]
In December 2004 the Channel 4 television station in the United Kingdom broadcast Not Only But Always, a TV film dramatising the relationship between Moore and Cook, although most of the attention of the production was directed towards Cook. Around the same time, the relationship between the two was also the subject of a stage play called Pete and Dud: Come Again by Chris Bartlett and Nick Awde. For this production Moore is the main subject. Set in a chat-show studio in the 1980s, it concerns Moore's comic and personal relationship with Cook and the directions their careers took after the split of the partnership.
Music
[edit]
During the 1960s Mooré formed the Dudley Moore Trio, with drummer Chris Karan and bassist Pete McGurk. Following McGurk's suicide in June 1968, Peter Morgan joined the group as his replacement.[16]
Moore's admitted principal musical influences were Oscar Peterson and Erroll Garner. In an interview he recalled the day he finally mastered Garner's unique left-hand strum and was so excited that he walked around for several days with his left hand constantly playing that cadence. His early recordings included "My Blue Heaven", "Lysie Does It", "Poova Nova", "Take Your Time", "Indiana", "Sooz Blooz", "Baubles, Bangles & Beads", "Sad One for George" and "Autumn Leaves". The trio performed regularly on British television, made numerous recordings and had a long-running residency at Peter Cook's London nightclub, the Establishment. Amongst other albums, they recorded The Dudley Moore Trio, Dudley Moore plays The Theme from Beyond the Fringe and All That Jazz, The World of Dudley Moore, The Other Side Of Dudley Moore and Genuine Dud.
Moore was a close friend of record producer Chris Gunning and played piano (uncredited) on the 1969 single "Broken Hearted Pirates" which Gunning produced for Simon Dupree and the Big Sound.[17] In 1976 he played piano on Larry Norman's album In Another Land, in particular on the song The Sun Began to Rain. In 1981 he recorded Smilin' Through with Cleo Laine.
He composed the soundtracks for the films Bedazzled (1967), 30 is a Dangerous Age, Cynthia (1968), Inadmissible Evidence (1968), Staircase (1969), The Hound of the Baskervilles (1978) and Six Weeks (1982), among others.
Later career in film, television and music
[edit]
In the late 1970s Moore moved to Hollywood, where he had a supporting role in the hit film Foul Play (1978) with Goldie Hawn and Chevy Chase. The following year saw his breakout role in Blake Edwards's 10, which became one of the biggest box-office hits of 1979 and gave him an unprecedented status as a romantic leading man. Moore followed up with the comedy film Wholly Moses!, which was not a major success.
In 1981 Moore appeared in the title role of the comedy Arthur, an even bigger hit than 10. Co-starring Liza Minnelli and Sir John Gielgud, it was both commercially and critically successful, Moore receiving an Oscar nomination for Best Actor, while Gielgud won the Best Supporting Actor Oscar for his role as Arthur's stern but compassionate manservant. Moore lost to Henry Fonda (for On Golden Pond). He did, however, win a Golden Globe award for Best Actor in a Musical/Comedy. In the same year, on British television, Moore was the featured guest subject on An Audience With....
His subsequent films, Six Weeks (1982), Lovesick (1983), Romantic Comedy (1983) and Unfaithfully Yours (1984) were only moderate successes. He won another Golden Globe for Best Actor in a Musical/Comedy in 1984, starring in the Blake Edwards directed Micki & Maude, co-starring Amy Irving.
Later films, including Best Defense (1984), Santa Claus: The Movie (1985), Like Father Like Son (1987), Arthur 2: On the Rocks (1988), a sequel to the original, Crazy People (1990), Blame It on the Bellboy (1992) and an animated adaptation of King Kong, were inconsistent in terms of both critical and commercial reception. Moore eventually disowned the Arthur sequel, but, in later years, Cook would tease him by claiming he preferred Arthur 2: On the Rocks to Arthur.
In 1986 he once again hosted Saturday Night Live, albeit without Peter Cook this time.
Moore was the subject of the British This Is Your Life, for a second time, in March 1987 when he was surprised by Eamonn Andrews at his Venice Beach restaurant;[18] he had previously been honoured by the programme in December 1972.
In addition to acting, Moore continued to work as a composer and pianist, writing scores for a number of films and giving piano concerts, among the highlights of which were his popular parodies of classical favourites. He appeared as Ko-Ko in Jonathan Miller's production of The Mikado in Los Angeles in March 1988. He appeared on Kenny G's music video "Against Doctor's Orders" from the album Silhouette.[19]
In 1991 he released the album Songs Without Words and in 1992 Live From an Aircraft Hangar, recorded at London's Royal Albert Hall.
He collaborated with the conductor Sir Georg Solti in 1991 to create a Channel 4 television series, Orchestra!, which was designed to introduce audiences to the symphony orchestra. He later worked with the American conductor Michael Tilson Thomas on a similar television series, Concerto! (1993), likewise designed to introduce audiences to classical music concertos.
Moore appeared in two series for CBS, Dudley (1993) and Daddy's Girls (1994); however, both were cancelled before the end of their run.
Moore had been interviewed for the New York Times in 1987 by the music critic Rena Fruchter, herself an accomplished pianist, and the two became close friends. By 1995 Moore's film career was on the wane and he was having trouble remembering his lines, a problem he had never previously encountered. It was for this reason he was sacked from Barbra Streisand's film The Mirror Has Two Faces.[20] However, his difficulties were, in fact, due to the onset of the medical condition that eventually led to his death. Opting to concentrate on the piano, he enlisted Fruchter as an artistic partner. They performed as a duo in the US and Australia. However, his disease soon started to make itself apparent there as well, as his fingers would not always do what he wanted them to do. Further symptoms such as slurred speech and loss of balance were misinterpreted by the public and the media as a sign of drunkenness. Moore himself was at a loss to explain this. He moved into Fruchter's family home in New Jersey and stayed there for five years; however, this placed a great strain both on her marriage and her friendship with Moore, and she later set him up in the house next door.
Restaurant
[edit]
Tony Bill and Dudley Moore founded a restaurant in 1983 (closed in November 2000), 72 Market Street Oyster Bar and Grill, in Venice, California.[21][22]
Personal life
[edit]
Moore was married and divorced four times: to actresses Suzy Kendall (15 June 1968 – 15 September 1972); Tuesday Weld (20 September 1975 – 18 July 1980), with whom he had a son, Patrick, on 26 February 1976; Brogan Lane (21 February 1988 – 1991);[23] and Nicole Rothschild (16 April 1994 – 1998), with whom he had a son, Nicholas, on 28 June 1995.[24][25][26][27]
Moore dated Susan Anton in the early 1980s, with their height difference being widely remarked upon: Moore was 5 feet 2+1⁄2 inches (1.588 m) and Anton was 5 feet 11 inches (1.80 m).
In 1994, Moore was arrested and charged with domestic assault after allegedly assaulting his then-girlfriend and soon-to-be wife, Nicole Rothschild.[28]
He maintained good relationships with Kendall, Weld, and Lane. However, he expressly prohibited Rothschild from attending his funeral since, at the time his illness became apparent, he was going through a difficult divorce with her while at the same time sharing a Los Angeles house with her and her previous husband.[25]
Illness and death
[edit]
In April 1997, after spending five days in a New York hospital, Moore was informed that he had calcium deposits in the basal ganglia of his brain and irreversible frontal lobe damage. He underwent quadruple coronary artery bypass surgery in London and also suffered four strokes.[29]
On 30 September 1999, Moore announced that he was suffering from the terminal degenerative brain disorder progressive supranuclear palsy (PSP), a Parkinson-plus syndrome,[29] some of the early symptoms being so similar to intoxication that he had been reported as being drunk,[30][31][32][33][34] and that the illness had been diagnosed earlier in the year.[29] In November 1999, Moore made his first public appearance since disclosing his illness, reading poetry, alongside Julie Andrews, at a benefit concert in Philadelphia for the charity Music for All Seasons. At first Moore struggled, but soon he settled in and began to joke and ad-lib. He then received a standing ovation, for what was to be his last performance.[35] His disease would quickly progress, eventually requiring him to use a wheelchair.
Moore died on the morning of 27 March 2002[13] as a result of pneumonia, secondary to immobility caused by his PSP, in Plainfield, New Jersey, at the age of 66. Rena Fruchter was holding his hand when he died; she reported his final words were "I can hear the music all around me."[36][37] Moore was interred at Hillside Cemetery in Scotch Plains, New Jersey. Fruchter later wrote a memoir of their relationship titled Dudley Moore (Ebury Press, 2004).
Honours and awards
[edit]
In 1981, Moore won the Golden Globe for Best Actor for his role in Arthur, for which he was also Oscar-nominated. In November 2001, Moore was appointed a Commander of the Order of The British Empire (CBE). Despite his deteriorating condition, he attended the ceremony at Buckingham Palace on 16 November to collect his honour in a wheelchair.[20] It was his last public appearance.[4]
Filmography
[edit]
Film performances Year Title Role Notes 1961 The Third Alibi Piano Accompanist Uncredited 1965 Flatland A. Square Voice role 1966 The Wrong Box John Finsbury 1967 Bedazzled Stanley Moon 1968 30 is a Dangerous Age, Cynthia Rupert Street 1969 Monte Carlo or Bust! Lt. Barrington (aka Those Daring Young Men in Their Jaunty Jalopies) The Bed Sitting Room Police Sergeant 1972 Alice's Adventures in Wonderland Dormouse 1975 Saturday Night at the Baths Himself – in theater audience uncredited role 1978 Foul Play Stanley Tibbets The Hound of the Baskervilles Doctor Watson / Mrs. Ada Holmes / Mr. Spiggot / Piano Player 1979 10 George Webber Derek and Clive Get the Horn Derek 1980 Wholly Moses! Harvey Orchid / Herschel 1981 Arthur Arthur Bach 1982 Six Weeks Patrick Dalton 1983 Lovesick Saul Benjamin Romantic Comedy Jason Carmichael 1984 Unfaithfully Yours Claude Eastman Best Defense Wylie Cooper Micki & Maude Rob Salinger 1985 Santa Claus: The Movie Patch 1986 The Adventures of Milo and Otis Narrator English version, voice 1987 Like Father Like Son Dr. Jack Hammond / Chris Hammond 1988 Arthur 2: On the Rocks Arthur Bach 1990 Crazy People Emory Leeson 1992 Blame It on the Bellboy Melvyn Orton 1993 The Pickle Planet Cleveland Man (uncredited) 1995 The Disappearance of Kevin Johnson Dudley Moore 1998 The Mighty Kong Carl Denham / King Kong (voice) (final film role)
Television shows Year Title Role Notes 1964 Chronicle Piano Accompanist Episode: "A Trip to the Moon" 1964 Love Story Kuba Episode: "The Girl Opposite" 1965–1970 Not Only... But Also Various characters 22 episodes 1966 Five More Maserati Driver Episode: "Exit 19" 1968 Film Reviews Rupert Street Episode: "Backs British Films" 1968 Goodbye Again various characters 4 episodes 1969 World in Ferment Guest Store Detective Episode: "1.1" 1971 Not Only But Also. Peter Cook and Dudley Moore in Australia Various characters Mini series An Apple a Day Dr. Clive Elwood TV movie Behind the Fridge Various characters TV movie 1975 When Things Were Rotten Sheik Achmed Episode: "Those Wedding Bell Blues" 1976 Pleasure at Her Majesty's Narrator TV movie documentary 1992 Noel's House Party Special Guest Episode: "1.15" 1993 Dudley Dudley Bristol 6 episodes 1993–1996 Really Wild Animals Spin 13 episodes 1994 Parallel Lives Imaginary Friend / President Andrews TV movie Daddy's Girls Dudley Walker 3 episodes 1995 Oscar's Orchestra Oscar (voice) 38 episodes 1996 A Weekend in the Country Simon Farrell TV movie
Discography
[edit]
UK chart singles
[edit]
"Goodbye-ee", 1965, Peter Cook and Dudley Moore
"The Ballad of Spotty Muldoon", 1965, Peter Cook and Dudley Moore[38]
Jazz discography
[edit]
"Strictly for the Birds" b/w "Duddly Dell", 1961 (Parlophone R 4772) – The Dudley Moore Trio (Derek Hogg, drums; Hugo Boyd, double bass)
The Other Side of Dudley Moore, 1965 (Decca LK 4732 Mono) The Dudley Moore Trio (Pete McGurk – double bass, Chris Karan – drums)
Genuine Dud, 1966 (Decca LK 4788 Mono) The Dudley Moore Trio (Pete McGurk – double bass, Chris Karan – drums) [reissued as The World of Dudley Moore, vol 2, 1973]
From Beyond The Fringe, 1966 (Atlantic RecordsStandard 2 017)
The Dudley Moore Trio, 1969 (Decca Records (UK) / London Records (US) PS558)
Dudley Moore plays the Theme from Beyond the Fringe and All That Jazz, 1962 (Atlantic 1403)
The World of Dudley Moore, (Decca SPA 106)
The Music of Dudley Moore, (EMI Australia (Cube Records) TOOFA.14-1/2)
Dudley Down Under, (Cube ICS 13)
Dudley Moore at the Wavendon Festival, (Black Lion Records BLP 12151)
Smilin' Through – Cleo Laine and Dudley Moore, (Finesse Records FW 38091)
"Strictly for the Birds" – Cleo Laine and Dudley Moore, (CBS A 2947)
The Theme from Beyond The Fringe and All That Jazz, (Collectibles COL 6625)
Live from an Aircraft Hangar (Martine Avenue Productions MAPI 8486)
Songs Without Words, 1991 (GRP/BMG LC 6713)
The First Orchestrations – Dudley Moore and Richard Rodney Bennett, played by John Bassett and his Band, (Harkit Records HRKCD 8054)
Jazz Jubilee, (Martine Avenue Productions MAPI 1521)
The Dudley Moore Trio at Sydney Town Hall, 2 May 1978 (with Peter Morgan on bass and Chris Karan on drums). Produced by Peter Wall.
Today, The Dudley Moore Trio – again with Morgan and Karan (see above) recorded at United Sound, Sydney, in 1971, with some mono tracks added from a 1961 London session. No details.
Comedy discography
[edit]
Beyond The Fringe (West End recording) (1961)
Beyond The Fringe (Broadway recording) (1962)
Not Only Peter Cook But Also Dudley Moore (1965)
Once Moore with Cook (1966)
Peter Cook and Dudley Moore Cordially Invite You to Go to Hell! (1967)[39]
Goodbye Again (1968)
Not Only But Also (1971)
Behind the Fridge (1971) AUS No. 35[40]
The World of Pete & Dud (1974)
Good Evening (1974)
Derek and Clive (Live) (1976)
Derek and Clive Come Again (1977)
Derek and Clive Ad Nauseam (1978)
Bibliography
[edit]
Dudley Moore (1966). Originals. Arranged as Piano Solos Transcribed from the Decca L.P. 'The Other Side of Dudley Moore'. Essex Music.
References
[edit]
Further reading
[edit]
Roger Wilmut, From Fringe to Flying Circus: Celebrating a Unique Generation of Comedy 1960–1980, Eyre Methuen Ltd, 1980
Alexander Games (1999). Pete & Dud: An Illustrated Biography. Andre Deutsch. ISBN 0-233-99642-7.
Peter Cook and Dudley Moore (2003). Dud and Pete The Dagenham Dialogues. Methuen. ISBN 978-0-413-77347-0.
Chris Bartlett and Nick Awde (2006). Pete and Dud: Come Again. Methuen Drama. ISBN 0-413-77602-6.
Dudley Moore: An Intimate Portrait, Rena Fruchter, Ebury Press, 2004, ISBN 978-0-0918-9757-4.
Julian Upton, Fallen Stars, Headpress, 2004.
William Cook (2014). One Leg Too Few: The Adventures of Peter Cook and Dudley Moore. Arrow. ISBN 978-0099559924.
Biography portal
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From humble beginnings to Hollywood
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2002-03-27T20:20:19
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Actor, comedian and musician Dudley Moore has died aged 66. BBC News Online looks how he went from a tough childhood in Essex to global fame.
Dudley Moore was born in Charing Cross Hospital, London, on Good Friday, 1935. He was at a disadvantage from the start, both physically and economically.
According to his official biographer, Barbra Paskin, when his mother, Ada, found she had given birth to a boy with a club foot and a withered leg she said: "This isn't my baby."
Ada had to be persuaded to take her son home to the Dagenham council house where she lived with her husband Jock, a railway worker, and his five-year-old sister, Barbara.
Throughout his boyhood, Moore had to endure several painful operations on his left leg that was half an inch shorter than the other, and his relationship with his mother haunted him all his life.
She found it difficult to show her son the affection he craved, but at the same time she was also extremely ambitious for him.
A strong-willed woman, Ada fought for him to attend grammar school, Dagenham County High, despite the headmaster's belief that he would be better off in an establishment that could deal with his physical disability.
At school, he had to wear shorts that exposed his deformity and was constantly bullied about his leg. He eventually discovered a defence mechanism by making his peers laugh.
Scholarship
Playing the clown turned him from a victim into one of the most popular boys at the school.
Moore's musical talent won him a scholarship to the Guildhall School of Music where he played the piano. He taught himself the organ at his local church and had to adapt one of his mother's shoes for his deformed left leg in order to play it.
To the immense pride of his mother, the boy from Essex won an organ scholarship to Oxford University.
However, his humble origins and Dagenham twang made him feel inadequate among the upper class students at Magdalen College and he felt especially out of place in the magnificent college chapel.
"There I was, sitting on the organ seat playing this beautiful organ in this stunning chapel. I felt I didn't deserve to be there," he told his biographer, Ms Paskin.
Satire
Later, Moore was to spend years in psychotherapy dealing with this lack of self-esteem which never quite left him even after he had reached the height of fame.
While at university he teamed up with Peter Cook, Jonathan Miller and Alan Bennett to write and present Beyond the Fringe, a satirical revue.
This sparked the beginning of his career in showbusiness, which saw him take roles in television and film, and he also moved to the US to continue his life there.
But by the late 1980s and 1990s his off-screen love life took the limelight, often gaining more column inches than his career.
Moore was married four times.
His wed his first wife, British actress and model Suzy Kendall in 1968, and although they divorced in 1972 they remained lifelong friends.
Three years later the actor, now living in Los Angeles, married wife number two - Tuesday Weld, also an actress.
They split up 20 times during their marriage, had a son - Patrick - in 1977 and finally got divorced in 1980.
Moore later expressed deep regret that he had missed out on his son's childhood.
His two-year marriage to Brogan Lane, aspiring actress and 25 years younger than him, ended in 1990. Moore had already had several affairs with, among others, long-time lover Nicole Rothschild.
Ms Rothschild, who was almost 30 years his junior, became his fourth and last wife in 1994.
They first met at the peak of his career when she flung herself across the bonnet of his car and demanded an autograph.
Their relationship was often troubled - and their rows became regular features in gossip columns on both sides of the Atlantic.
Divorce
Their living arrangements were also complex - Ms Rothschild's ex-husband, Charles Cleveland lived with the couple and was even present at the birth of their son, Nicholas, in 1995.
In December 1996, the couple were pictured again at the balcony of their home, reunited after another heated row.
But by June 1997, Ms Rothschild sued her husband for millions, claiming he had terrorised her during their relationship.
After a stream of lurid claims about sex, drugs and violence, she halted her divorce action in June 1998 after learning of his illness.
Gifts
As well as having a stormy love life, Moore was also known for his extravagance, which was revealed in documents produced by Ms Rothschild's lawyers, in April 1998.
He allegedly spent more than £34,000 on a separate house for her not far from his mansion in Marina del Rey, as well as thousands more on gifts and cosmetic surgery for his wife, clothes for her friends, houses and holidays for her ex-husband and his family.
But by the time he died, he was surrounded peacefully by friends.
He leaves behind two sons - Patrick, 21, by his second wife, and Nicholas, six, by Ms Rothschild.
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Suzy Kendall
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Explore the filmography of Suzy Kendall on Rotten Tomatoes! Discover ratings, reviews, and more. Click for details!
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https://www.rottentomatoes.com/celebrity/suzy_kendall
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Highest Rated: 90% To Sir, With Love (1967)
Lowest Rated: 56% Torso (1973)
Birthday: Jan 1, 1944
Birthplace: Belper, Derbyshire, England, UK
Highest rated movies
90% To Sir, With Love
85% The Bird With the Crystal Plumage
56% Torso
Photos
View All Suzy Kendall photos
Suzy Kendall
Suzy Kendall FRAULEIN DOKTOR, (aka BETRAYAL), Suzy Kendall, 1969 FRAULEIN DOKTOR, (aka BETRAYAL), Suzy Kendall, Capucine, 1969 FRAULEIN DOKTOR, (aka BETRAYAL), Suzy Kendall, Capucine, 1969 TO SIR WITH LOVE, Suzy Kendall, Sidney Poitier, 1967 THE GAMBLERS, Suzy Kendall, Don Gordon, 1969 THE BIRD WITH THE CRYSTAL PLUMAGE, Suzy Kendall, 1970 DARKER THAN AMBER, Suzy Kendall, 1970 FEAR IS THE KEY, Suzy Kendall, 1972 FEAR IS THE KEY, Barry Newman, Suzy Kendall, 1972 View more photos
Filmography
Movies
Credit No Score Yet No Score Yet Aenigma Unknown (Character) - 1987 No Score Yet 14% Adventures of a Private Eye Laura Sutton (Character) - 1977 No Score Yet No Score Yet To the Bitter End Joan Jordan (Character) - 1975 No Score Yet 25% Craze Sally (Character) - 1974 56% 55% Torso Jane (Character) - 1973 No Score Yet 29% Tales That Witness Madness Ann Beatrice (Character) - 1973 No Score Yet 65% Fear Is the Key Sarah Ruthven (Character) - 1972 No Score Yet 23% In the Devil's Garden Julie West (Character) - 1971 85% 80% The Bird With the Crystal Plumage Julia (Character) - 1970 No Score Yet 50% Darker Than Amber Vangie/Merrimay (Character) - 1970 No Score Yet No Score Yet The Gamblers Candace (Character) - 1969 No Score Yet No Score Yet Fraulein Doktor Fraülein Doktor (Character) - 1969 No Score Yet 81% Up the Junction Polly (Character) - 1968 No Score Yet 0% 30 Is a Dangerous Age, Cynthia Louise Hammond (Character) - 1968 90% 88% To Sir, With Love Gillian Blanchard (Character) - 1967 No Score Yet No Score Yet The Penthouse Barbara Willason (Character) - 1967 No Score Yet No Score Yet The Sandwich Man Sue (Character) - 1966 No Score Yet No Score Yet Up Jumped a Swagman Melissa Smythe-Fury (Character) - 1965
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Actor Dudley Moore Dies
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2002-03-27T13:59:09-05:00
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Star Of '10' And 'Arthur' Dead At 66
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https://www.cbsnews.com/news/actor-dudley-moore-dies/
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British-born actor and comedian Dudley Moore, who starred in "10" and "Arthur," has died at age 66 after a long battle against a rare brain disorder.
Moore died at the Plainfield, N.J., home of his caregiver surrounded by family. A private funeral service is planned.
A jazz pianist as well as an actor and comic, Moore became one of Hollywood's most improbable sex symbols in the 1980s thanks to his starring role opposite sultry Bo Derek in "10".
The son of a typist and a railway electrician, the diminutive Moore won a music scholarship to Oxford University where he joined Alan Bennett, Jonathan Miller and Peter Cook in the satirical "Beyond the Fringe" revue which brought great acclaim from both sides of the Atlantic.
Moore died at 11 a.m. EST, said publicist Michelle Bega in Los Angeles. He died of pneumonia as a complication of progressive supranuclear palsy, she said.
There was more than a touch of autobiography in "10," in which Moore played a musician determined to marry a perfect woman, but the happy ending eluded him in real life. Four marriages ended in divorce.
He confessed to being driven by feelings of inferiority about his working-class origins in Dagenham, east London, and because of his height of five feet, 2 1/2 inches. In later life he also spoke of the pain of being rejected by his mother because he was born with a deformed left foot.
Comedians, he said in an interview with Newsday in 1980, are often driven by such feelings. "I certainly did feel inferior. Because of class. Because of strength. Because of height.... I guess if I'd been able to hit somebody in the nose, I wouldn't have been a comic."
Moore also radiated a sense of emotional neediness, which was probably rooted in his childhood. His mother, Ada, once told him that she had wanted to kill him at birth because of his club foot.
"She said I would suffer unbearably, but obviously it was the pain she was going to suffer, feeling as she did that she was on trial for producing a hunchback," Moore told his biographer, Barbara Paskin.
Music was Moore's entree into public performance, first as a chorister and organist in his parish church in Dagenham, near London, and then in 1960 with "Beyond the Fringe."
"Fringe," which played two years in London and then moved to Broadway, was perhaps the greatest assembly of young comic talent in Britain in this century. Moore was teamed with Alan Bennett, later a successful playwright; Jonathan Miller, the cerebral opera producer and medical doctor, and Peter Cook, a surreal comic talent and a famously dissipated talent.
Moore's whimsical sense of humor fitted oddly with the more savage satirical style of his partners. "Apart from his musical contributions to the show," Cook wrote in Esquire in 1974, "Dudley's suggestions were treated with benign contempt by the rest of us."
One of Moore's celebrated contributions to the show was his impersonation of the pianist Dame Myra Hess, playing a bombastic version of "Colonel Bogey's March" which he couldn't seem to end.
Moore and Cook formed a fast friendship and later teamed on television as Dud and Pete on "Not Only ... but Also," a sketch comedy series. They also plumbed the depths of taste and decency in a series of recordings as “Derek and Clive.”
Cook and Moore made their screen debuts in "The Wrong Box" in 1966, and followed up the next year with another success, "Bedazzled."
Moore wrote, starred and composed the score for his next film, "30 is a Dangerous Age," in 1968.
Moore and Cook teamed again in 1971 for a comedy review titled "Beyond the Fridge," which was a success in London and a smash on Broadway in the 1973-74 season, with the pair winning a special Tony award for their "unique contribution to the theater of comedy."
Cook returned to England but Moore settled in Southern California, where he met the director Blake Edwards in a therapy group. When George Segal walked out of Edwards' production of "10," the director turned to Moore.
The 1979 film, co-starring Bo Derek, established Moore as a Hollywood star. Two years later, he had another: "Arthur," playing a rich drunk who falls for Liza Minnelli.
That marked the peak of Moore's film career, though he made several more films including a sequel to "Arthur" in 1988.
Derek said Wednesday, "I'm so sad he suffered for so long and suffered so with this disease ... I spoke with him last April.... He was definitely suffering but his spirits were so high and he was happy to have his friends around him."
She said despite his short stature and plain looks, Moore was sexy and attractive to women. "It was just something so unique to Dudley that you just wanted to be next to him, you wanted to hold him, you wanted to be held by him. He had an amazing quality that obviously came from his eyes and his heart."
Actor Rod Steiger said, "I knew him from London and over the years and I always had the feeling he was very valiant about everything. ... He was courageous and set an example. ...the disease he suffered from takes your life away bit by bit instead of being the instant death we all crave. He set an example by the way he handled pain."
Music remained part of Moore's life, both as a jazz pianist and as a parodist.
"I can't imagine not having music in my life, playing for myself or for other people. If I was asked, 'Which would you give up,' I'd have to say acting," he said in 1988.
Moore married Suzy Kendall in 1958, Tuesday Weld in 1975, Brogan Lane in 1988 and Nicole Rothschild in 1994. He had a son, Patrick, by his second marriage and a son, Nicholas, by his fourth.
His Childhood
The two overriding traumas of Moore's childhood were his club foot (which required many operations) and his height - or lack of it. He spent nearly 20 years in therapy, attempting to come to terms with his difficult childhood.
"Psychologically, [the club foot] was made harrowing by the fact that my parents felt guilty about it," Moore told Time magazine in 1983. "That made me feel as if I had done something wrong. Years later, my mother quite honestly said to me, 'I wanted to kill you when you were born, because I felt so angry at myself and so terrible about the pain I knew you were going to have'."
He also said he remembered "kids sniggering and smirking. They called me 'Hopalong'."
Moore also felt humiliated by his height. "I felt unworthy of anything, a little runt with a twisted foot," he told Time.
His Career
Moore rose to fame on the stage and on British television with his friend, Peter Cook. He later moved to the United States and became a star opposite Julie Andrews and Bo Derek in the 1979 comedy "10."
For his role in the 1981 film, "Arthur," Moore was nominated for an Academy Award. In 1988, he made the sequel, "Arthur 2: On the Rocks," of which he was also executive producer.
One of his co-stars in the "Arthur" movies was Sir John Gielgud. "I wouldn't say it was fun working with him," Moore told Parade magazine in 1991. "He's delightful, though you and he have to be very aware of his position in the English thee-ay-ter."
"Six Weeks" (1982), in which he co-starred with Mary Tyler Moore, was Moore's first serious role. The film bombed.
He next appeared with Elizabeth McGovern in "Lovesick" (1983) and then with Mary Steenburgen in "Romantic Comedy" (1983). His next movie, "Unfaithfully Yours" (1984), was a remake of the Preston Sturges comedy about a famous conductor with a young, nubile wife who is having an affair behind her husband's back.
He made "Micki and Maude" (1984) and starred with Eddie Murphy in "Best Defense" (1984). His other films include "A Weekend in the Country" (1996), "Parallel Lives" (1994), "Blame It On the Bellboy" (1992), "Crazy People" (1990), and "Santa Claus: The Movie" (1985).
"The things I love most of all in comedy are desperation, madness, and everything concerned with fear and non-comprehension," Moore once said. "It's such great fun for me to play a man caught in a silly situation or to have an excuse to go nuts."
His Music
Moore frequently said he cared more about his music than being a movie star. He was an accomplished pianist who also played the violin. He also wrote several of the scores for his films, including "Six Weeks" and "Unfaithfully Yours."
"Having a piano nearby," he told Time in 1983, "is an ever-present box of delights in which I can always dip my hand."
In 1983, Moore was guest soloist with the St. Paul Chamber Orchestra at Carnegie Hall. "I was terrified," he told People magazine shortly after the event. "I had the same anxiety attacks when I was a kid at the prospect of exams."
Moore appeared at the Hollywood Bowl in 1987, performing his own film scores and songs, as well as Beethoven.
In 1989, he was executive producer and performer in a series of shows called "Orchestra!" that aired on Showtime and PBS. With conductor Sir Georg Solti, Moore explained and demonstrated how an orchestra works.
Moore In Love
Moore readily admitted that he was always girl crazy, that he loved sex, and, given the chance, he would talk about it endlessly, as in a 1983 interview with Time magazine.
"I have been talking about these things for years," he said. "It's just that nobody likes to print them, usually."
But he had ample opportunity to express his views on sex during a free-wheeling interview with Playboy magazine in 1983.
Among his comments:
"I think sex is the most important part of anybody's life."
"What else is there to live for? Chinese food and women. There is nothing else."
"My passion and romance are buried in the deep past of my youth, longing to be loved. That's the inspiration of my music. The other is sheer jest and joy."
Moore usually seemed to wind up with women who were far younger (and far taller) than he.
In 1983, he was living with statuesque starlet Susan Anton when he told Time magazine: "I am relatively monogamous, but I don't believe in monogamy unless it happens to fall on one like a Russian satellite out of the sky. I don't want to be married again. It makes me feel that I have joined a club I don't want to be in."
|
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26157
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yago
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1
| 88
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https://www.rottentomatoes.com/m/30_is_a_dangerous_age_cynthia
|
en
|
30 Is a Dangerous Age, Cynthia
|
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A nightclub pianist (Dudley Moore) tries to write a hit musical and marry his new neighbor (Suzy Kendall) before he turns 30.
|
en
|
https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
|
Rotten Tomatoes
|
https://www.rottentomatoes.com/m/30_is_a_dangerous_age_cynthia
|
Let's keep in touch!
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Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
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||||
26157
|
yago
|
2
| 32
|
https://shop.memorylane.co.uk/mirror/0100to0199-00141/dudley-moore-actor-model-wife-actress-suzy-21496063.html
|
en
|
Dudley Moore Actor with model of wife Actress Suzy Kendall
|
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Prints of Dudley Moore Actor with model of wife Actress Suzy Kendall. Our beautiful Wall Art and Photo Gifts include Framed Prints, Photo Prints
|
en
|
Memory Lane Prints Photo Prints
|
https://shop.memorylane.co.uk/mirror/0100to0199-00141/dudley-moore-actor-model-wife-actress-suzy-21496063.html
|
favorite
Memory Lane Photo Prints and Wall Art
Dudley Moore Actor with model of wife Actress Suzy Kendall
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26157
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yago
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3
| 87
|
https://heidiangelac.wordpress.com/2012/02/22/samantha-and-michaela-kendall-the-anorexic-twins/
|
en
|
Samantha and Michaela Kendall – The Anorexic Twins
|
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2012-02-22T00:00:00
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Just as I was researching I came across the story of Samantha and Michaela Kendall, who were twins both suffering from anorexia. I felt I wanted to share this story with you all. Unfortunately they both died some years ago, Michaela first in 1994 and just 3 years later Samantha passed away too in 1997. After…
|
en
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https://s1.wp.com/i/favicon.ico
|
Heidi Angela Photography
|
https://heidiangelac.wordpress.com/2012/02/22/samantha-and-michaela-kendall-the-anorexic-twins/
|
Just as I was researching I came across the story of Samantha and Michaela Kendall, who were twins both suffering from anorexia. I felt I wanted to share this story with you all. Unfortunately they both died some years ago, Michaela first in 1994 and just 3 years later Samantha passed away too in 1997.
After reading an article published in The Independent (London) in 1997, I found it to be a devastating story. The twins weren’t from a planned pregnancy, and it was a total surprise when two babies came out instead of one. Their mother, Suzy Kendall, wasn’t in a good place, her husband had been put into prison for 9 months, when she was already months into her pregnancy, they hadn’t any money and so Suzy’s mother became one of the main people helping look after the twins. Suzy’s mother, the twins Grandmother, was the one who in the end bought them up from young, whilst Suzy spilt from the twins father after he dumped her for another woman, and moved into a house round the corner from the twins, and got herself a job. Suzy explained how her mother cooked for a living, so the twins were never left hungry, and they did put on weight. By the age of 14 the twins were said to be estimated at 14 stone each. When the girls went to school, they would get picked on because they were fat, and one day a boy called Michaela a fat blob. They then decided that through the summer holidays they would both start dieting together. Their Grandmother was getting annoyed with them not eating properly and Suzy says every time she went round, all she would see them with was an apple.
Suzy begun to get more and more concerned until she realised that it wasn’t dieting any more, but it was starvation. They would go to the chemist to by a bar called ‘Crunch and Slim’ and try to make that last them as their daily food intake. Or have a bit of a yoghurt, an apple between them, or open a bag of crisps, eat 2 and throw them away. Even though they were clearly battling with a dangerous illness and were always in and out of hospital, the twins tried to lead normal daily lives. They both got jobs and started relationships, and living with their boyfriends. Something I found shocking was that they both fell pregnant at the age of 22. Brilliant news! But with the twins insecurities, they both looked in the mirror at (what most expecting mothers would describe as their joyous belly bump) their stomachs and decided on the decision to both get an abortion because having a baby was going to make them ‘fat’.
They both eventually lost their jobs due to the way they looked. They had been working at a holiday camp, but was said to be putting people off their breakfasts when having to sit near them due to their size. Also they would get kicked out of cafe’s because of the way they looked. In the end Michaela’s boyfriend couldn’t handle it, and gave her the option of either anorexia, or their relationship. She chose anorexia, and moved back with her Grandmother. Samantha then dropped everything, split with her boyfriend and joined her sister at their Grandmothers house. Michaela was always the worst effected by anorexia and Samantha knew this. She would tell her to eat more because she looked like a skeleton, but Michaela would merely reply ‘You’re just jealous”. Michaela got to the stage where she spent 8 months in hospital, appealed, and then went home. It was a few weeks after being out of hospital that she died next to Samantha in the double bed they shared together.
It was an extremely hard time for their mother, Suzy. It was horrific that one daughter had died and she wanted to do anything possible not to let her other daughter go. None of the doctors or psychiatrists knew what to do, she felt like nobody had a clue, and felt like nobody knew how to help her. So she decided to write into a womans magazine, Chat, so that she could make the story internationally known to make more awareness and see if anybody would know how to help her or what to do. Eventually they found that there was a clinic in Canada which offered 24hr intense help for anorexia. Something which would change Samantha’s life for the better. Samantha agreed to this, and went over to Canada. It worked, she became much healthier and although in the beginning she never wanted to go back home, because of it reminding her of anorexia, toward the end of her treatment she wanted to be back with her parents and finish battling the illness with her mother by her side, being her back bone. She carried on doing well, until one day she looked in the mirror and said to her mother ‘Look what this food is doing to me’ she felt fat again. She went back to eating less and less, and realised she missed her sister so much, that she wanted to be where she was. She wanted to be with her twin. After 3 years since Michaela died, Samantha committed suicide, because she missed her sister and wanted to be with her, and even though it meant dying, it also meant she could be back with her soul mate, her other half.
|
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26157
|
yago
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3
| 68
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https://www.thecut.com/2013/09/50-most-fabulous-famous-cat-ladies-of-all-time.html
|
en
|
The 50 Most Fabulous (and Famous) Cat Ladies of All Time
|
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] |
[] |
[] |
[
""
] | null |
[
"Julie Ma",
"Emily Shornick"
] |
2013-09-25T08:30:00-04:00
|
Posing elegantly with their furry feline friends.
|
en
|
The Cut
|
https://www.thecut.com/2013/09/50-most-fabulous-famous-cat-ladies-of-all-time.html
|
The special kinship between cats and their lady owners goes deep into the annals of history — back to the days when oil paintings documented life, or even deeper, to the ancient days when sacred felines prowled about Egypt. The Metropolitan Museum of Art unveiled a new exhibition today titled “Balthus: Cats and Girls — Paintings and Provocations,” which further explores the theme, focusing specifically on the French artist’s fixation on the blurry period of life in which a girl blossoms from childhood to adolescence, and on his use of cats in many portraits.
To join in on the fun, we decided to compile a list of 50 fabulous ladies in entertainment — from animal activists to cat owners — who’ve fallen prey to felines over the decades. Click through the slideshow to see vintage photos of everyone from a young Grace Kelly to an ecstatic Mia Farrow to a big-haired Dolly Parton, all looking blissful while petting (or posing with) kittens. Also included: a shot of a blonde Zooey Deschanel, before she fulfilled her role as queen of “adorkable,” cradling a tiny kitten, and that one time Demi Moore befriended a stray kitten when she had a few too many Red Bulls.
|
|||||
26157
|
yago
|
2
| 24
|
https://famouspeople.astro-seek.com/marriage/dudley-moore/suzy-kendall
|
en
|
Dudley Moore and Suzy Kendall - Husband and Wife, Spouses, Marriage
|
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"Spouses",
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[] | null |
Dudley Moore and Suzy Kendall - Husband and Wife, Spouses, Marriage, Family, Marriage, Kids, Children, Compatibility, Relationship, Partnership, Horoscope matching
|
en
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https://www.astro-seek.com/favicon.ico
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Astro-Seek.com
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https://famouspeople.astro-seek.com/marriage/dudley-moore/suzy-kendall
|
Carrie-Anne Moss (*1967) actress, model
Serj Tankian (*1967) singer of the band System of a Down, poet
Sergey Brin (*1973) computer scientist, businessman, co-founder of Google Inc.
Alizée (*1984) singer
Usain Bolt (*1986) sprinter
GZA - The Genius (*1966) rapper, founder of the Wu-Tang Clan
John Lee Hooker (*1917) singer
Ray Bradbury (*1920) novelist
Tori Amos (*1963) singer
Layne Staley (*1967) musician, singer and guitarist of the band Alice in Chains
|
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https://www.facebook.com/abrasivocultural/videos/the-dudley-moore-trio-ruperts-romp-1968-from-the-movie-30-is-a-dangerous-age-cyn/1478656315818535/
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1968 from the movie '30 Is A Dangerous Age, Cynthia' directed by Joseph McGrath Dudley Stuart John Moore CBE (19...
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[
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THE DUDLEY MOORE TRIO | Rupert’s Romp | 1968
from the movie '30 Is A Dangerous Age, Cynthia'
directed by Joseph McGrath
Dudley Stuart John Moore CBE (19...
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de
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/abrasivocultural/videos/the-dudley-moore-trio-ruperts-romp-1968-from-the-movie-30-is-a-dangerous-age-cyn/1478656315818535/
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https://www.tiktok.com/%40wiserbeautynurse/video/7258484450215349550%3Flang%3Den
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Make Your Day
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https://www.mediastorehouse.com/mary-evans-prints-online/who-people-dating-suzy-kendall-dudley-moore-14241837.html
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en
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Who People Are Dating Suzy Kendall and Dudley Moore
|
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Prints of The English actor, comedian, jazz pianist and composer, Dudley Stuart John Moore (19 April 1935 27 March 2002)
|
en
|
Media Storehouse Photo Prints
|
https://www.mediastorehouse.com/mary-evans-prints-online/who-people-dating-suzy-kendall-dudley-moore-14241837.html
|
The English actor, comedian, jazz pianist and composer, Dudley Stuart John Moore (19 April 1935 27 March 2002) with model-turned-actress Suzy Kendall (born Frieda Harrison 1 January 1944). The couple got married in 1968 and though they divorced in 1972, they remained friends until Moores death. Date: 1966. Mary Evans Picture Library makes available wonderful images created for people to enjoy over the centuries. © Illustrated London News Ltd/Mary Evans
Media ID 14241837
1966 Comedian Composer Divorce Dudley Kendall Moore Musician Pianist Romance Suzy Swinging
Framed Prints
Step back in time with our vintage framed print featuring Suzy Kendall and Dudley Moore. This charming image captures the essence of a bygone era, with English actor and comedian Dudley Moore and model-turned-actress Suzy Kendall radiating charisma and charm. Originally sourced from Mary Evans Prints Online, this rights managed print is a must-have for any vintage photography or celebrity memorabilia collection. Add a touch of nostalgia to your home decor and relive the magic of this iconic moment in entertainment history.
Photo Prints
Introducing the captivating "Who People Are Dating: Suzy Kendall and Dudley Moore" photograph from the Media Storehouse collection, brought to you by Rights Managed from Mary Evans Prints Online. This iconic image immortalizes the magical chemistry between English actor, comedian, jazz pianist, and composer, Dudley Stuart John Moore (1935-2002), and model-turned-actress Suzy Kendall (born Frieda Harrison, 1944). A must-have for fans and collectors of classic Hollywood, this photograph is a testament to the enchanting moments in the history of entertainment. Add this timeless treasure to your collection and let the story of their romance unfold, one glance at a time.
Poster Prints
Introducing the captivating "Who People Are Dating - Suzy Kendall and Dudley Moore" poster print from Media Storehouse's exclusive collection. This charming vintage photograph, sourced from Mary Evans Prints Online, features the English acting and comedy duo, Suzy Kendall and Dudley Moore. Taken during their romantic relationship in the 1960s, this image showcases the undeniable chemistry between the model-turned-actress and the renowned actor, comedian, jazz pianist, and composer. Add this elegant poster print to your collection and reminisce about the golden age of Hollywood romance.
Jigsaw Puzzles
Introducing the captivating "Who People Are Dating - Suzy Kendall and Dudley Moore" jigsaw puzzle from Media Storehouse. This exquisite puzzle features a charming photograph of English actors Suzy Kendall and Dudley Moore, captured in a lovely moment during their romantic relationship. Dudley Moore, an accomplished actor, comedian, jazz pianist, and composer, and Suzy Kendall, a model-turned-actress, are depicted in this image with an undeniable connection. Relive the magic of this iconic couple's history as you piece together this intricately designed puzzle. With every completed edge and fitting piece, you'll bring back memories of their memorable moments on and off the screen. Suitable for all ages and skill levels, this puzzle promises hours of enjoyable entertainment for you and your loved ones. Bring a touch of nostalgia and romance to your home with the "Who People Are Dating - Suzy Kendall and Dudley Moore" jigsaw puzzle from Media Storehouse. Available now.
|
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https://www.tcm.com/video/383928/30-is-a-dangerous-age-cynthia-movie-clip-theres-no-bell
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Not Available
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Turner Classic Movies presents the greatest classic films of all time from one of the largest film libraries in the world. Find extensive video, photos, articles, forums, and archival content from some of the best movies ever made only at TCM.com.
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/themes/custom/bogart/favicon.ico
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Watch TCM
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http://prod.tcm.com/unavailable/
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Welcome, DISH customer! Please note that we cannot save your viewing history due to an arrangement with DISH.
Watchlist and resume progress features have been disabled.
ACCEPT
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https://hammerhouseofhorror.fandom.com/wiki/Suzy_Kendall
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en
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Suzy Kendall
|
https://static.wikia.nocookie.net/hammerhouseofhorror/images/c/cd/Suzy_Kendall_-_autographed_photo.webp/revision/latest?cb=20221110205659
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[
"Contributors to Hammer horror Wiki"
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2024-07-29T22:27:06+00:00
|
Suzy Kendall (born Freda Harriet Harrison; January 1, 1937) is a British retired actress best known for her film roles in the late 1960s and early 1970s. Born in Belper, Derbyshire, Kendall attended Derby & District College of Art where she studied painting and design. She was a fabric designer...
|
en
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https://static.wikia.nocookie.net/hammerhouseofhorror/images/4/4a/Site-favicon.ico/revision/latest?cb=20221011235301
|
Hammer horror Wiki
|
https://hammerhouseofhorror.fandom.com/wiki/Suzy_Kendall
|
Suzy Kendall (born Freda Harriet Harrison; January 1, 1937) is a British retired actress best known for her film roles in the late 1960s and early 1970s.
Personal Life[]
Born in Belper, Derbyshire, Kendall attended Derby & District College of Art where she studied painting and design. She was a fabric designer at British Celanese and then became a photographic model before becoming an actress. She initially appeared in supporting roles before progressing to female leads in a number of British films in the late 1960s. In the early 1970s, she appeared in several Italian giallo thrillers before returning to Britain and played supporting roles in a few more films until her retirement from screen acting in 1977.
In 1968, Kendall married pianist, comedian and actor Dudley Moore, and though they divorced in 1972, they remained friends until Moore's death in 2002.
Following the divorce she remarried shortly afterwards to Sandy Harper, whom Moore also befriended. Moore was godfather to her daughter Elodie. In 2002 she hosted a memorial service for Moore attended by her second husband and daughter.
Kendall now lives in London with her second husband Sandy Harper. Their daughter Elodie Harper is a journalist (at ITV Anglia) and novelist.
In 2012, Kendall made her first film appearance in 35 years in Berberian Sound Studio, billed in some sources as the mother of the lead character Gilderoy, played by Toby Jones, though the end credits on the film list her as "special guest screamer". The film is about a sound engineer working on an Italian horror film, which alludes to several appearances Kendall made in Italian genre films during the 1970s.
Filmography[]
The Liquidator (1965) - Judith
Thunderball (1965) - Prue (uncredited)
Up Jumped a Swagman (1965) - Melissa Smythe-Fury
Circus of Fear (1966) - Natasha
The Sandwich Man (1966) - Sue
To Sir, with Love (1967) - Gillian Blanchard
The Penthouse (1967) - Barbara Willason
Up the Junction (1968) - Polly
30 Is a Dangerous Age, Cynthia (1968) - Louise Hammond
Fräulein Doktor (1969) - Fraülein Doktor
The Gamblers (1970) - Candace
The Bird with the Crystal Plumage (1970) - Julia
Darker Than Amber (1970) - Vangie / Merrimay
Assault (aka In the Devil's Garden) (1971) - Julie West
Fear Is the Key (1972) - Sarah Ruthven
Torso (1973) - Jane
Tales That Witness Madness (1973) - Ann / Beatrice (segment 2 "Penny Farthing")
Story of a Cloistered Nun (1973) - Mother Superior
Spasmo (1974) - Barbara
Craze (1974) - Sally
To the Bitter End (1975) - Joan Jordan
Adventures of a Private Eye (1977) - Laura
Berberian Sound Studio (2012) - Special Guest Screamer
TV appearances[]
The Spies (1 episode, 1966) - Polly Katt
Further Adventures of Lucky Jim (1 episode, 1967)
The Persuaders! (1 episode, 1971) - Kay Hunter
Van der Valk (1 episode, 1977) - Marijka
|
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en
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Dudley Moore
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[] |
[
""
] | null |
[] | null |
Dudley Moore (Born 19 April 1935, Charing Cross, London, England)
|
https://storage.proboards.com/6692551/images/kMykvzGIeKxJlBtGtBzV.ico
|
https://imdb2.freeforums.net/thread/108361/dudley-moore
|
Post by petrolino on
Dudley Moore (Born 19 April 1935, Charing Cross, London, England)
“Not everyone who drinks is a poet. Some of us drink because we're not poets.”
- Arthur Bach
Raquel Welch, Peter Cook & Dudley Moore
Dudley Moore, Eleanor Bron & Peter Cook
Suzy Kendall & Dudley Moore
Dudley Moore & Susan Anton
Katherine Healy, Dudley Moore & Mary Tyler Moore
Dudley Moore & Liza Minnelli
Dudley Moore & Daryl Hannah
'A Piano Sonata'
Tuesday Weld & Dudley Moore
Bo Derek, Dudley Moore & Julie Andrews
Dudley Moore & Mary Steenburgen
Dudley Moore & Nastassja Kinski
Dudley Moore & Brogan Lane
"Maybe you don't need the whole world to love you, you know? Maybe you just need one person."
- Kermit the Frog
'Mama Don't Allow'
Post by Lebowskidoo 🦞 on
One of the funniest men who ever lived, he gave me fits of real laughter in Foul Play, Arthur, Unfaithfully Yours and Crazy People. We lost him way too soon.
That Arthur remake was a crime against God and man, I only watched it because I love Helen Mirren and Jennifer Garner.
Post by petrolino on
One of the funniest men who ever lived, he gave me fits of real laughter in Foul Play, Arthur, Unfaithfully Yours and Crazy People. We lost him way too soon.
That Arthur remake was a crime against God and man, I only watched it because I love Helen Mirren and Jennifer Garner.
He had a great run of movies from 'Foul Play' (1978) to 'Blame It On The Bellboy' (1992). I didn't see the 'Arthur' remake but if it's half as rotten as the 'Alfie' remake it must really stink.
Post by bravomailer on
When asked my favorite comedy, I say it's a tie between Young Frankenstein and the original Bedazzled.
Post by louise on
HE was funny in Foul Play. I would have liked to see him do another film with Goldie Hawn, I think they were good together.
Post by sostie on
As great as he was in his solo films, he was never better than when he was with Peter Cook. For me the greatest comedy double act of all time...nothing better than watching Cook trying to get Moore to corpse on TV.
Post by sostie on
Peter Cook loved to try and get Moore to laugh on set. Sometimes all Dud could do to cover it up was stuff his face with food or drink
Post by taranofprydain on
Foul Play. Oh, he was so good there. I even have memorized some of his lines in it.
|
||||
26157
|
yago
|
3
| 72
|
https://www.ranker.com/list/full-cast-of-to-sir-with-love-actors-and-actresses/reference
|
en
|
Full Cast of To Sir, With Love Actors/Actresses
|
https://imgix.ranker.com/list_img_v2/3646/503646/original/full-cast-of-to-sir-with-love-actors-and-actresses-u2
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https://imgix.ranker.com/list_img_v2/3646/503646/original/full-cast-of-to-sir-with-love-actors-and-actresses-u2
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[] |
[] |
[
""
] | null |
[
"Reference"
] |
2012-03-17T00:00:00
|
To Sir, with Love cast list, listed alphabetically with photos when available. This list of To Sir, with Love actors includes any To Sir, with Love actresses ...
|
en
|
/img/icons/touch-icon-iphone.png
|
Ranker
|
https://www.ranker.com/list/full-cast-of-to-sir-with-love-actors-and-actresses/reference
|
To Sir, with Love cast list, listed alphabetically with photos when available. This list of To Sir, with Love actors includes any To Sir, with Love actresses and all other actors from the film. You can view additional information about each To Sir, with Love actor on this list, such as when and where they were born. To find out more about a particular actor or actress, click on their name and you'll be taken to page with even more details about their acting career. The cast members of To Sir, with Love have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with.
List is made up of a variety of actors, including Sidney Poitier and Lulu.
This cast list of who was in To Sir, with Love includes both lead and minor roles. {#nodes}
|
||
26157
|
yago
|
2
| 28
|
https://www.instagram.com/joysengupta97/p/C8BR32DIiJC/
|
en
|
Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
26157
|
yago
|
1
| 92
|
https://www.geni.com/people/Suzy-Kendall/6000000010495345362
|
en
|
Frieda Harper (Harrison)
|
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[
"family tree",
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"family tree maker",
"family tree search",
"family tree charts",
"family statistics",
"ancestors",
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] | null |
[] |
2015-02-03T21:56:32-08:00
|
Genealogy for Frieda Harper (Harrison) family tree on Geni, with over 260 million profiles of ancestors and living relatives.
|
en
|
/touch-icon-iphone.png
|
geni_family_tree
|
https://www.geni.com/people/Suzy-Kendall/6000000010495345362
|
Suzy Kendall is a British actress best known for her film roles in the late 1960s and early 1970s. Her blonde attractive looks got her leading roles in some fairly prestigious productions. She later appeared in increasingly lower-profile films, including several giallo thrillers made in Italy and several TV series in the 1970s before retiring to spend more time with her family.
She was born Frieda Harrison on January 1, 1944 in Belper, Derbyshire, England. Kendall attended Derby & District College of Art where she studied painting and design. She was a fabric designer at British Celanese and then became a photographic model before becoming an actress.
Kendall married the pianist, comedian, and actor Dudley Moore in 1968, and though they divorced in 1972, they remained friends. She remarried shortly afterwards. In 2002 she hosted a memorial service for Moore attended by her second husband and daughter.
Kendall and her friend Pat Wellington wrote Natural Appeal: Fragrant Natural Preparations for the Care of Skin, Hair and Body, a book on beauty tips (ISBN 978-0460045254 published 1980).
Kendall now lives in London with her second husband Sandy Harper. Their daughter Elodie Harper is a BBC journalist.
|
||||
26157
|
yago
|
0
| 66
|
https://www.infoplease.com/people/who2-biography/dudley-moore
|
en
|
Dudley Moore
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2017-02-16T05:57:00-05:00
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Dudley Moore joined Peter Cook, Alan Bennett and Jonathan Miller in the groundbreaking comedy revue Beyond The Fringe. (The group's offbeat satire set the stage for a later British comedy troupe, Monty Python's Flying Circus.
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en
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/themes/ip/favicon.ico
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Infoplease
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https://www.infoplease.com/people/who2-biography/dudley-moore
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Actor / Comedian / Pianist
complications from progressive supranuclear palsy
Place Of Birth:
London, England
Best Known As:
Oscar-nominated star of Arthur
Dudley Moore joined Peter Cook, Alan Bennett and Jonathan Miller in the groundbreaking comedy revue Beyond The Fringe. (The group's offbeat satire set the stage for a later British comedy troupe, Monty Python's Flying Circus.) Moore was an accomplished pianist who toured as a jazz musician before joining Beyond The Fringe; he often used the instrument in his comedy routines. Cook and Moore (also known as Pete and Dud) later co-starred in the sketch comedy TV show Not Only... But Also and the 1967 film Bedazzled. Moore starred in the hit 1979 film 10 where his diminutive size (he stood 5'2") made him a perfect comic foil for the statuesque love interest, Bo Derek. Moore was nominated for an Oscar for his work in the 1981 romantic comedy Arthur (with Liza Minnelli). In 1999 he announced that he was suffering from a rare degenerative disease known as progressive supranuclear palsy. (He ultimately died of pneumonia related to the disease.) Moore was awarded a CBE by Queen Elizabeth II in November of 2001.
Extra Credit:
Moore attended Magdalen College at Oxford on an organ scholarship… He was married four times — to actress Tuesday Weld, Brogan Lane, Suzy Kendall and Nicole Rothschild — and had a long relationship with statuesque model Susan Anton… Bedazzled was remade in 2000 with Brendan Fraser and Elizabeth Hurley (respectively) taking the roles first played by Moore and Cook… Moore died on the same day as comedian Milton Berle and one day before director Billy Wilder.
4 Good Links
BBC report on Moore's death, with more stories linked in the right column
The British Comedy website recaps their comedy career
A fan salutes Moore's early comedy revue
The Internet Movie Database lists his movies and TV series
See also:
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https://formalcontentsonly.wordpress.com/2019/03/24/a-suzy-kendall-double-bill-torso-spasmo/
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en
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A Suzy Kendall Double Bill: Torso & Spasmo
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2019-03-24T00:00:00
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It's Giallo time again. So pour yourself a J&B with ice and enjoy. First up is Torso, also occasionally known as The Bodies Bear Traces of Carnal Violence, or just plain Carnal Violence. This is my favourite film by Sergio Martino, a director who worked in many fields, from sex comedies to spaghetti westerns, Euro…
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en
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https://secure.gravatar.com/blavatar/bf725be9f9aaf745df91d801229cfc272d3520a69059d008aaebf57662e90a42?s=32
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https://formalcontentsonly.wordpress.com/2019/03/24/a-suzy-kendall-double-bill-torso-spasmo/
|
It’s Giallo time again. So pour yourself a J&B with ice and enjoy.
First up is Torso, also occasionally known as The Bodies Bear Traces of Carnal Violence, or just plain Carnal Violence.
This is my favourite film by Sergio Martino, a director who worked in many fields, from sex comedies to spaghetti westerns, Euro crime to the cannibal genre and even a not terribly good creature-feature Island of the Fishmen.
Martino, though, is today best remembered for his 1970s gialli output such as The Case of the Scorpion’s Tail, Your Vice is a Locked Door and Only I Have the Key, and The Strange Vice of Mrs. Wardh. Yes, like many other Italian directors in this field he did favour baroque titles.
Martino’s older brother Luciano had produced Mario Bava’s The Whip and The Body, and this film proved inspirational to Sergio, as did Dario Argento’s The Bird with the Crystal Plumage. The former starred John Richardson, the latter provided a prominent part for Suzy Kendall.
Both these English actors star in Torso, Richardson as Franz, an urbane art history professor in a Perugia university; one of his students being Jane, an American exchange student, played by Kendall.
The one time wife of Dudley Moore, Kendall is an actress whose early career saw her appear in a number of successes, most notably To Sir With Love and Up the Junction.
By the 1970s, she was also much sought after by big budget British TV series such as The Persuaders, where she was guaranteed to inject some instant glamour. Around this time she also established herself as a big name in the world of giallo after appearing in the aforementioned Bird with the Crystal Plumage.
After Torso’s opening credits sequence, which resembles something from a dodgy softcore movie of the era, we cut to a university hall, where Franz is giving a lecture to a large number of students on the subject of Pietro Perugino, an Italian Renaissance painter who he doesn’t rate very highly.
Afterwards, Jane, accompanied by her friends, chooses to discuss the artist further with him, arguing the case for Perugino. It’s easy to imagine a mutual attraction between the pair, even though Franz refuses to back down on his opinion.
Soon the murders begin. A balaclava wearing psycho brutally kills one of the females seen in the opening credits, after spying on her and her boyfriend canoodling in a car. He kills him too, but off-screen.
The murder of her friend, affects Jane’s pal Carol (Conchita Airoldi) badly. She troops off to what looks like a deserted warehouse with two motorbike riding students, where a gathering of hippy types smoke dope, relax, dance and play music.
Carol puffs on a joint and lets the two boys fondle her until one goes too far. She storms off, followed by them. This scene, as they chase her through a swampy forest, is particularly effective and the score works well, hinting at prog and helping to induce a real sense of dread. And the dread only increases when she glimpses a man through the mist.
This won’t be the last murder in Torso, and most of the victims will be in Jane’s circle of friends.
The suspects are many and varied. Chief among them is intense student Stefano (Roberto Bisacco), who has been obsessed by Daniela (Tina Aumont) for years. He’s shown being abusive to a local prostitute, throttling her throat for some moments before managing to calm down.
Then there’s the chisel-chinned man in a smart suit, spotted earlier by Carol buying a black and red neckerchief – which becomes a major clue in the manhunt. He later boards the same train as Jane and co., and chooses to sit in the same carriage as them.
Gianni Tomasso is an incredibly creepy looking man and has a sleazy manner to match. He runs a little clothes stall in a piazza in the centre of the city, near to the university and obviously knows more than he lets on to the police when questioned.
As the carnage continues, Dani’s wealthy Uncle Nino arranges for his daughter and her friends (including Jane) to leave their homes in Perugia and stay temporarily at a cliffside villa in the country, where they’ll be safe.
Is this a good idea? I think you can guess. And could Nino be involved in the slayings? After all, who doesn’t know how this kind of thing works?
Much as Torso is highly enjoyable, it must have been an even more remarkable watch in 1973. As many commentators have mentioned before, Torso is like a slasher before that cinematic term had even been coined.
The movie’s first half does start off in classic giallo fashion but as it progresses you can tick off a number of tropes and trappings of the slasher.
There’s the masked killer on the loose, the group of attractive young females, an isolated location, and the final girl – the sole survivor, resilient and resourceful and who just happens to be the most moral and pure member of the group.
I’m not much of a fan of slashers but I’m a big fan of Torso, although I only saw it for the first time years after the likes of Halloween and Friday the 13th had already begun spawning sequels.
Expect gratuitous gore, a shoal of red herrings, and a final third that is packed with suspense and features a fantastic performance from Kendall.
Spasmo is another giallo from a master of Italian genre cinema, Umberto Lenzi. This is a strange one and comes over like a particularly disturbing dream, especially with the running motif of female mannequins dressed only in lingerie, that are either mutilated or hanging on nooses.
The two leads here are Robert Hoffmann, an Austrian actor best known for TV’s The Adventures of Robinson Crusoe, and a badly dubbed Suzy Kendall, who plays Barbara. I do tend to love Italian genre cinema but just occasionally sloppy post-synching can annoy, and I committed the cardinal sin here of choosing the English language version. My wrists have been slapped.
Christian Bauman (Hoffmann) is a Bee Gee lookalike with a small medallion, who shows his girlfriend Xenia a patch of land where he and his older brother Fritz (Ivan Rassimov) once discovered a dead dog that had been strangled when they were kids. And don’t ask how two young boys managed to identify that cause of death. maybe they carried out a psot-mortem.
Xenia spots what she looks like a female corpse on a stretch of nearby sand and she and Chrstian run over to investigate. This is Barbara, who of course isn’t dead, and is surprised that anybody could have made the assumption, even though she admits to fainting from sunstroke.
‘What you need is a double Scotch,’ Christian advises her. ‘That’ll pick you up.’
As he and Xenia go to his car to locate the whisky, Barbara mysteriously disappears, leaving behind a clue as to her identity, a flask bearing the name Tucania on it.
Christian and Xenia soon track down a yacht of that name harboured locally, and join a party on-board the vessel that is populated by Euro jet-set types and owned by Barbara’s possessive friend Alex, who is in love with her.
By nightfall, though, Xenia has been forgotten and Barbara won over by his chat-up lines like him calling her a ‘sweet, sweet whore.’ They head to the motel where Barbara’s staying, although she demands that Christian shaves his beard off before they get down to action. She has a razor in her room that is ‘big, sharp and sexy.’
While he’s removing his facial hair – with an electric shaver rather than any razor – a gun-toting intruder who looks like Dario Argento attacks him. Christian fights him off and grabs the gun. Then shoots him dead.
‘What’re you doing?’ Barbara asks a dazed Christian, as he walks into the living room. ‘Destroying my bathroom?’
He explains what happened. She suggests running away. He agrees. Luckily, she knows a property owned by a Brazilian artist friend currently in Rio. Here they can hide and plan their next move.
They break into the seaside home and soon discover that a couple are already renting it out, an older man Malcolm and a much younger female Clorinda, a redhead with the most piercing blue eyes imaginable, who Christian appears to vaguely recognise. I think I would personally remember that face forever more.
He confesses to Malcolm that he has murdered a man but Malcolm fails to believe him. This is like a decidedly disturbing dream and it is only going to get even stranger.
Spasmo is a decent watch but nowhere near as effective as Torso. The dialogue is often abysmal and the plot too labyrinthine to easily follow, with a number of coincidences that are difficult to believe.
A revelation near the very end is clever enough and does make some sense of the batshit craziness that we have been watching but this comes just too late to entirely rescue the movie.
On the plus side, the mannequin motif is creepy and memorable, Ennio Morricone does provide a sometimes soothing, sometimes disorienting score, while in one great action sequence, Christian displays some driving skills that I don’t remember Jackie Stewart ever demonstrating back in the ’70s. And finally, Suzy Kendall is again in good form. A true giallo icon.
Suzy, incidentally, has now retired from acting but was persuaded to help out on 2012’s giallo influenced Berberian Sound Studio – another film with a disturbing and dreamy quality – where she is credited as ‘Special Guest Screamer’.
To see the trailer for Torso, click here.
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https://kids.kiddle.co/Dudley_Moore
|
en
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Dudley Moore facts for kids
|
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Learn Dudley Moore facts for kids
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https://kids.kiddle.co/Dudley_Moore
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Dudley Stuart John Moore CBE (19 April 1935 – 27 March 2002) was an English actor, comedian, musician and composer. Moore first came to prominence in the UK as a leading figure in the British satire boom of the 1960s. He was one of the four writer-performers in the comedy revue Beyond the Fringe from 1960 that created a boom in satiric comedy, and with a member of that team, Peter Cook, collaborated on the BBC television series Not Only... But Also. As a popular double act, Moore’s buffoonery contrasted with Cook’s deadpan monologues. They jointly received the 1966 British Academy Television Award for Best Entertainment Performance. They worked together on other projects until the mid 1970s, by which time Moore had settled in Los Angeles to concentrate on his film acting.
His career as a comedy film actor was marked by hit films, particularly Bedazzled (1967), set in Swinging Sixties London (in which he co-starred with Cook) and Hollywood productions Foul Play (1978), 10 (1979) and Arthur (1981). For Arthur, Moore was nominated for the Academy Award for Best Actor and won a Golden Globe Award. He received a second Golden Globe for his performance in Micki & Maude (1984). Moore was awarded a star on the Hollywood Walk of Fame in 1987, and was made a CBE by Queen Elizabeth II at Buckingham Palace on 16 November 2001 in what was his last public appearance.
Early life
Moore was born at the original Charing Cross Hospital in central London, the son of Ada Francis (née Hughes), a secretary, and John Moore, a railway electrician from Glasgow. He had an older sister, Barbara. Moore was brought up in the Becontree estate in Dagenham, Essex. He was short at 5 ft 2 in (1.57 m) and had club feet that required extensive hospital treatment. This made him the butt of jokes from other children. His right foot responded well to corrective treatment by the time he was six, but his left foot was permanently twisted and his left leg below the knee was withered. He remained self-conscious about this throughout his life.
Moore became a chorister at the age of six. At age 11 he earned a scholarship to the Guildhall School of Music, where he took up harpsichord, organ, violin, musical theory and composition. He rapidly developed into a highly talented pianist and organist and was playing the organ at local church weddings by the age of 14. He attended Dagenham County High School where he received dedicated musical tuition from Peter Cork (1926–2012), who helped him towards his Oxford music scholarship. (Norma Winstone was another student of Cork's at Dagenham). Cork was also a composer. Moore kept in touch until the mid-1990s and his letters to Cork were published in 2006.
Moore won an organ scholarship to Magdalen College, Oxford, where he was tutored by the composer Bernard Rose. While studying music and composition there, he also performed with Alan Bennett in The Oxford Revue. During his university years, Moore developed a love of jazz music and became an accomplished jazz pianist and composer. He began working with musicians such as John Dankworth and Cleo Laine. In 1960 he left Dankworth's band to work on Beyond the Fringe.
Career
Beyond the Fringe
John Bassett, a graduate of Wadham College, Oxford recommended Moore, his jazz bandmate and a rising cabaret talent, to producer Robert Ponsonby, who was putting together a comedy revue entitled Beyond the Fringe. Bassett also chose Jonathan Miller. Moore then recommended Alan Bennett, who in turn suggested Peter Cook.
Beyond the Fringe was at the forefront of the 1960s UK satire boom, although the show's original runs in Edinburgh and the provinces in 1960 had had a lukewarm response. When the revue transferred to the Fortune Theatre in London, in a revised production by Donald Albery and William Donaldson, it became a sensation, thanks in some part to a favourable review by Kenneth Tynan. There were also a number of musical items in the show, using Dudley Moore's music, most famously an arrangement of the Colonel Bogey March in the style of Beethoven, which Moore appears unable to bring to an end.
In 1962 the show transferred to the John Golden Theatre in New York, with its original cast. President John F. Kennedy attended a performance on 10 February 1963. The show continued in New York until 1964.
Partnership with Peter Cook
When Moore returned to the UK he was offered his own series on the BBC, Not Only... But Also (1965, 1966, 1970). It was commissioned specifically as a vehicle for Moore, but when he invited Peter Cook on as a guest, their comedy partnership was so notable that it became a permanent fixture of the series. Cook and Moore are most remembered for their sketches as two working-class men, Pete and Dud, in macs and cloth caps, commenting on politics and the arts, but they also fashioned a series of one-off characters, usually with Moore in the role of interviewer to one of Cook's upper-class eccentrics.
The pair developed an unorthodox method for scripting the material, using a tape recorder to tape an ad-libbed routine that they would then have transcribed and edited. This would not leave enough time to fully rehearse the script, so they often had a set of cue cards. Moore was famous for "corpsing" so, as the programmes often went out live, Cook would deliberately make him laugh in order to get an even bigger reaction from the studio audience. The BBC wiped much of the series, though some of the soundtracks (which were issued on LP record) have survived. In 1968 Cook and Moore briefly switched to ATV for four one-hour programmes entitled Goodbye Again; however, they were not as critically well-received as the BBC shows.
On film, Moore and Cook appeared in the 1966 British comedy film The Wrong Box, before co-writing and co-starring in Bedazzled (1967) with Eleanor Bron. Set in Swinging London of the 1960s, Bedazzled was directed by Stanley Donen. The pair closed the decade with appearances in the ensemble caper film Monte Carlo or Bust and Richard Lester's The Bed Sitting Room, based on the play by Spike Milligan and John Antrobus. In 1968 and 1969 Moore embarked on two solo comedy ventures, firstly in the film 30 is a Dangerous Age, Cynthia and secondly, on stage, for an Anglicised adaptation of Woody Allen's Play It Again, Sam at the Globe Theatre in London's West End.
In the 1970s, the relationship between Moore and Cook became increasingly strained. In 1971, however, Cook and Moore took sketches from Not Only....But Also and Goodbye Again, together with new material, to create the stage revue Beyond the Fringe. This show toured Australia in 1972 before transferring to New York City in 1973, re-titled as Good Evening. Cook frequently appeared on and off stage the worse for drink. Nonetheless, the show proved very popular and it won Tony and Grammy Awards.
When the Broadway run of Good Evening ended, Moore stayed on in the U.S. to pursue his film acting ambitions in Hollywood, but the pair reunited to host Saturday Night Live on 24 January 1976 during SNL's first season. They performed a number of their classic stage routines, including "One Leg Too Few" and "Frog and Peach", among others, in addition to participating in some skits with the show's ensemble.
It was during the Broadway run of Good Evening that Cook persuaded Moore to take the humour of Pete and Dud further on long-playing records as Derek and Clive. Chris Blackwell circulated bootleg copies to friends in the music business and the popularity of the recording convinced Cook to release it commercially as Derek and Clive (Live) (1976). Two further "Derek and Clive" albums, Derek and Clive Come Again (1977) and Derek and Clive Ad Nauseam (1978), were later released. The latter was also filmed for a documentary, Derek and Clive Get the Horn. In the film it is clear tensions between the two men were at a breaking point, with Moore at one point walking out of the recording room singing, 'Breaking up is so easy to do.'
The last significant appearance for the partnership was in 1978's The Hound of the Baskervilles, where Moore played Dr. Watson to Cook's Sherlock Holmes, as well as three other roles: in drag; as a one-legged man; and at the start and end of the film as a flamboyant and mischievous pianist. He also wrote the film's score. Co-star Terry-Thomas described it as "the most outrageous film I ever appeared in ... there was no magic ... it was bad!". The film was not a success, either critically or financially.
Moore and Cook eventually reunited for the annual American benefit for the homeless, Comic Relief, in 1987, and again in 1989 for a British audience at the Amnesty International benefit The Secret Policeman's Biggest Ball.
Moore was deeply affected by the death of Cook in 1995, and for weeks would regularly telephone Cook's home in London, just to hear his friend's voice on the telephone answering machine. Moore attended Cook's memorial service in London and, at the time, many people who knew him noted that Moore was behaving strangely and attributed it to grief or drinking. In November 1995, Moore teamed up with friend and humorist Martin Lewis in organising a two-day salute to Cook in Los Angeles that Moore co-hosted with Lewis.
In December 2004 the Channel 4 television station in the United Kingdom broadcast Not Only But Always, a TV film dramatising the relationship between Moore and Cook, although the principal focus of the production was on Cook. Around the same time, the relationship between the two was also the subject of a stage play called Pete and Dud: Come Again by Chris Bartlett and Nick Awde. For this production Moore is the main subject. Set in a chat-show studio in the 1980s, it focuses on Moore's comic and personal relationship with Cook and the directions their careers took after the split of the partnership.
Music
During the 1960s he formed the Dudley Moore Trio, with drummer Chris Karan and bassist Pete McGurk. Following McGurk's death in June 1968, Peter Morgan joined the group as his replacement.
Moore's admitted principal musical influences were Oscar Peterson and Erroll Garner. In an interview he recalled the day he finally mastered Garner's unique left-hand strum and was so excited that he walked around for several days with his left hand constantly playing that cadence. His early recordings included "My Blue Heaven", "Lysie Does It", "Poova Nova", "Take Your Time", "Indiana", "Sooz Blooz", "Baubles, Bangles & Beads", "Sad One for George" and "Autumn Leaves". The trio performed regularly on British television, made numerous recordings and had a long-running residency at Peter Cook's London nightclub, the Establishment. Amongst other albums, they recorded The Dudley Moore Trio, Dudley Moore plays The Theme from Beyond the Fringe and All That Jazz, The World of Dudley Moore, The Other Side Of Dudley Moore and Genuine Dud.
Moore was a close friend of record producer Chris Gunning and played piano (uncredited) on the 1969 single "Broken Hearted Pirates" which Gunning produced for Simon Dupree and the Big Sound. In 1976 he played piano on Larry Norman's album In Another Land, in particular on the song The Sun Began to Rain. In 1981 he recorded Smilin' Through with Cleo Laine.
He composed the soundtracks for the films Bedazzled (1967), 30 is a Dangerous Age, Cynthia (1968), Inadmissible Evidence (1968), Staircase (1969), The Hound of the Baskervilles (1978) and Six Weeks (1982), among others.
Later career in film, television and music
In the late 1970s Moore moved to Hollywood, where he had a supporting role in the hit film Foul Play (1978) with Goldie Hawn and Chevy Chase. The following year saw his breakout role in Blake Edwards's 10, which became one of the biggest box-office hits of 1979 and gave him an unprecedented status as a romantic leading man. Moore followed up with the comedy film Wholly Moses!, which was not a major success.
In 1981 Moore appeared in the title role of the comedy Arthur, an even bigger hit than 10. Co-starring Liza Minnelli and Sir John Gielgud, it was both commercially and critically successful, Moore receiving an Oscar nomination for Best Actor, whilst Gielgud won the Best Supporting Actor Oscar for his role as Arthur's stern but compassionate manservant. Moore lost to Henry Fonda (for On Golden Pond). He did, however, win a Golden Globe award for Best Actor in a Musical/Comedy. In the same year, on British television, Moore was the featured guest subject on An Audience With....
His subsequent films, Six Weeks (1982), Lovesick (1983), Romantic Comedy (1983) and Unfaithfully Yours (1984) were only moderate successes. He won another Golden Globe for Best Actor in a Musical/Comedy in 1984, starring in the Blake Edwards directed Micki & Maude, co-starring Amy Irving.
Later films, including Best Defense (1984), Santa Claus: The Movie (1985), Like Father Like Son (1987), Arthur 2: On the Rocks (1988), a sequel to the original, Crazy People (1990), Blame It on the Bellboy (1992) and an animated adaptation of King Kong, were inconsistent in terms of both critical and commercial reception. Moore eventually disowned the Arthur sequel, but, in later years, Cook would tease him by claiming he preferred Arthur 2: On the Rocks to Arthur.
In 1986 he once again hosted Saturday Night Live, albeit without Peter Cook this time.
Moore was the subject of the British This Is Your Life, for a second time, in March 1987 when he was surprised by Eamonn Andrews at his Venice Beach restaurant; he had previously been honoured by the programme in December 1972.
In addition to acting, Moore continued to work as a composer and pianist, writing scores for a number of films and giving piano concerts, which were highlighted by his popular parodies of classical favourites. He appeared as Ko-Ko in Jonathan Miller's production of The Mikado in Los Angeles in March 1988. He appeared on Kenny G's music video "Against Doctor's Orders" from the album Silhouette.
In 1991 he released the album Songs Without Words and in 1992 Live From an Aircraft Hangar, recorded at London's Royal Albert Hall.
He collaborated with the conductor Sir Georg Solti in 1991 to create a Channel 4 television series, Orchestra!, which was designed to introduce audiences to the symphony orchestra. He later worked with the American conductor Michael Tilson Thomas on a similar television series, Concerto! (1993), likewise designed to introduce audiences to classical music concertos.
Moore appeared in two series for CBS, Dudley (1993) and Daddy's Girls (1994); however, both were cancelled before the end of their run.
Moore had been interviewed for The New York Times in 1987 by the music critic Rena Fruchter, herself an accomplished pianist, and the two became close friends. By 1995 Moore's film career was on the wane and he was having trouble remembering his lines, a problem he had never previously encountered. It was for this reason he was sacked from Barbra Streisand's film The Mirror Has Two Faces. However, his difficulties were, in fact, due to the onset of the medical condition that eventually led to his death. Opting to concentrate on the piano, he enlisted Fruchter as an artistic partner. They performed as a duo in the US and Australia. However, his disease soon started to make itself apparent there as well, as his fingers would not always do what he wanted them to do. Further symptoms such as slurred speech and loss of balance were misinterpreted by the public and the media as a sign of drunkenness. Moore himself was at a loss to explain this. He moved into Fruchter's family home in New Jersey and stayed there for five years; however, this placed a great strain both on her marriage and her friendship with Moore, and she later set him up in the house next door.
Restaurant
Tony Bill and Dudley Moore founded a restaurant in 1983 (closed in November 2000), 72 Market Street Oyster Bar and Grill, in Venice, California.
Personal life
Moore was married and divorced four times: to actresses Suzy Kendall (15 June 1968 – 15 September 1972), Tuesday Weld (20 September 1975 – 18 July 1980; by whom he had a son Patrick on 26 February 1976), Brogan Lane (21 February 1988 – 1991), and Nicole Rothschild (16 April 1994 – 1998; one son, Nicholas, born on 28 June 1995).
Moore dated Susan Anton in the early 1980s, with a lot of talk being made of their height difference: Moore at 5 feet 2+1⁄2 inches (1.588 m) and Anton at 5 feet 11 inches (1.80 m).
In 1994, Moore was arrested and charged with domestic assault after allegedly assaulting his then-girlfriend and soon-to-be wife, Nicole Rothschild.
He maintained good relationships with Kendall, Weld and Lane. But he expressly prohibited Rothschild from attending his funeral since, at the time his illness became apparent, he was going through a difficult divorce with her while at the same time sharing a Los Angeles house with her and her previous husband.
Illness and death
In April 1997, after spending five days in a New York hospital, Moore was informed that he had calcium deposits in the basal ganglia of his brain and irreversible frontal lobe damage. In September 1997, he underwent quadruple coronary artery bypass surgery in London. He also suffered four strokes.
On 30 September 1999, Moore announced that he was suffering from the terminal degenerative brain disorder progressive supranuclear palsy (PSP), a Parkinson-plus syndrome, and that the illness had been diagnosed earlier in the year.
Moore died on the morning of 27 March 2002 as a result of pneumonia, secondary to immobility caused by his PSP, in Plainfield, New Jersey, at the age of 66. Rena Fruchter was holding his hand when he died; she reported his final words were "I can hear the music all around me." Moore was interred at Hillside Cemetery in Scotch Plains, New Jersey. Fruchter later wrote a memoir of their relationship entitled Dudley Moore (Ebury Press, 2004).
Honours and awards
In 1981, Moore won the Golden Globe for Best Actor for his role in Arthur, for which he was also Oscar-nominated. In November 2001, Moore was appointed a Commander of the Order of The British Empire (CBE). Despite his deteriorating condition, he attended the ceremony at Buckingham Palace on 16 November to collect his honour in a wheelchair. It was his last public appearance.
Filmography
Film performances Year Title Role Notes 1961 The Third Alibi Piano Accompanist Uncredited 1965 Flatland A. Square Voice role 1966 The Wrong Box John Finsbury 1967 Bedazzled Stanley Moon 1968 30 is a Dangerous Age, Cynthia Rupert Street 1969 Monte Carlo or Bust! Lt. Barrington (aka Those Daring Young Men in Their Jaunty Jalopies) 1969 The Bed Sitting Room Police Sergeant 1972 Alice's Adventures in Wonderland Dormouse 1975 Saturday Night at the Baths Himself – in theater audience uncredited role 1978 Foul Play Stanley Tibbets 1978 The Hound of the Baskervilles Doctor Watson / Mrs. Ada Holmes / Mr. Spiggot / Piano Player 1979 10 George Webber 1979 Derek and Clive Get the Horn Derek 1980 Wholly Moses! Harvey Orchid / Herschel 1981 Arthur Arthur Bach 1982 Six Weeks Patrick Dalton 1983 Lovesick Saul Benjamin 1983 Romantic Comedy Jason Carmichael 1984 Unfaithfully Yours Claude Eastman 1984 Best Defense Wylie Cooper 1984 Micki & Maude Rob Salinger 1985 Santa Claus: The Movie Patch 1986 The Adventures of Milo and Otis Narrator English version, voice 1987 Like Father Like Son Dr. Jack Hammond / Chris Hammond 1988 Arthur 2: On the Rocks Arthur Bach 1990 Crazy People Emory Leeson 1992 Blame It on the Bellboy Melvyn Orton 1993 The Pickle Planet Cleveland Man (uncredited) 1994 Parallel Lives Imaginary Friend / President Andrews 1994 Oscar's Orchestra Oscar 1995 The Disappearance of Kevin Johnson Dudley Moore 1996 A Weekend in the Country Simon Farrell 1998 The Mighty Kong Carl Denham / King Kong (voice) (final film role)
Television shows Year Title Role Notes 1964 Chronicle Piano Accompanist Episode: "A Trip to the Moon" 1964 Love Story Kuba Episode: "The Girl Opposite" 1965-1970 Not Only... But Also Various characters 22 episodes 1966 Five More Maserati Driver Episode: "Exit 19" 1968 Film Reviews Rupert Street Episode: "Backs British Films" 1969 World in Ferment Guest Store Detective Episode: "1.1" 1971 Not Only But Also. Peter Cook and Dudley Moore in Australia Various characters Mini series 1971 An Apple a Day Dr. Clive Elwood TV movie 1971 Behind the Fridge Various characters Tv movie 1975 When Things Were Rotten Sheik Achmed Episode: "Those Wedding Bell Blues" 1976 Pleasure at Her Majesty's Narrator TV Movie documentary 1992 Noel's House Party Special Guest Episode: "1.15" 1993 Dudley Dudley Bristol 6 episodes 1993-1996 Really Wild Animals Spin 13 episodes 1994 Parallel Lives Imaginary Friend / President Andrews TV movie 1994 Daddy's Girls Dudley Walker 3 episodes 1995 Oscar's Orchestra Oscar 38 episodes 1996 A Weekend in the Country Simon Farrell TV movie
Discography
UK chart singles
"Goodbye-ee", 1965, Peter Cook and Dudley Moore
"The Ballad of Spotty Muldoon", 1965, Peter Cook and Dudley Moore
Jazz discography
"Strictly for the Birds" b/w "Duddly Dell", 1961 (Parlophone R 4772) - The Dudley Moore Trio (Derek Hogg, drums; Hugo Boyd, double bass)
The Other Side of Dudley Moore, 1965 (Decca LK 4732 Mono) The Dudley Moore Trio (Pete McGurk - double bass, Chris Karan - drums)
Genuine Dud, 1966 (Decca LK 4788 Mono) The Dudley Moore Trio (Pete McGurk - double bass, Chris Karan - drums) [reissued as The World of Dudley Moore, vol 2, 1973]
From Beyond The Fringe, 1966 (Atlantic RecordsStandard 2 017)
The Dudley Moore Trio, 1969 (Decca Records (UK) / London Records (US) PS558)
Dudley Moore plays the Theme from Beyond the Fringe and All That Jazz, 1962 (Atlantic 1403)
The World of Dudley Moore, (Decca SPA 106)
The Music of Dudley Moore, (EMI Australia (Cube Records) TOOFA.14-1/2)
Dudley Down Under, (Cube ICS 13)
Dudley Moore at the Wavendon Festival, (Black Lion Records BLP 12151)
Smilin' Through – Cleo Laine and Dudley Moore, (Finesse Records FW 38091)
"Strictly for the Birds" – Cleo Laine and Dudley Moore, (CBS A 2947)
The Theme from Beyond The Fringe and All That Jazz, (Collectibles COL 6625)
Live from an Aircraft Hangar (Martine Avenue Productions MAPI 8486)
Songs Without Words, 1991 (GRP/BMG LC 6713)
The First Orchestrations – Dudley Moore and Richard Rodney Bennett, played by John Bassett and his Band, (Harkit Records HRKCD 8054)
Jazz Jubilee, (Martine Avenue Productions MAPI 1521)
The Dudley Moore Trio at Sydney Town Hall, 2 May 1978 (with Peter Morgan on bass and Chris Karan on drums). Produced by Peter Wall.
Today, The Dudley Moore Trio - again with Morgan and Karan (see above) recorded at United Sound, Sydney, in 1971, with some mono tracks added from a 1961 London session. No details.
Comedy discography
Beyond The Fringe (West End recording) (1961)
Beyond The Fringe (Broadway recording) (1962)
Not Only Peter Cook But Also Dudley Moore (1965)
Once Moore with Cook (1966)
Peter Cook and Dudley Moore Cordially Invite You to Go to Hell! (1967)
Goodbye Again (1968)
Not Only But Also (1971)
Behind the Fridge (1971) AUS #35
The World of Pete & Dud (1974)
Good Evening (1974)
Derek and Clive (Live) (1976)
Derek and Clive Come Again (1977)
Derek and Clive Ad Nauseam (1978)
See also
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Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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AllMusic
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https://www.allmusic.com/updated
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Dudley Moore and actress Suzy Kendall after they married in secret at Hampstead Register Office
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2019-02-21T13:57:35+00:00
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Dudley Moore and actress Suzy Kendall after they married in secret at Hampstead Register Office
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TopFoto
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https://www.topfoto.co.uk/asset/4216692/
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For full functionality of this site it is necessary to enable JavaScript. Here are the instructions how to enable JavaScript in your web browser.
Your download will start shortly, please do not navigate away from this page until the download prompt has appeared. Doing so may cause your download to be interrupted.
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https://www.famousbirthdays.com/people/suzy-kendall.html
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Suzy Kendall - Age, Family, Bio
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Suzy Kendall: her birthday, what she did before fame, her family life, fun trivia facts, popularity rankings, and more.
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Famous Birthdays
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https://www.famousbirthdays.com/people/suzy-kendall.html
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About
British film actress who appeared in 'The Liquidator,' 'Circus of Fear,' and other movies of the 1960s and '70s.
Before Fame
She studied at the Derby & District College of Art and worked as a fabric designer and a model before pursuing a career as an actress.
Trivia
She co-authored a beauty manual called 'Natural Appeal: Fragrant Natural Preparations for the Care of Skin, Hair and Body.'
Family Life
She and her second husband, Sandy Harper, had a daughter named Elodie.
Associated With
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https://www.infoplease.com/people/who2-biography/dudley-moore
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Dudley Moore
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Dudley Moore joined Peter Cook, Alan Bennett and Jonathan Miller in the groundbreaking comedy revue Beyond The Fringe. (The group's offbeat satire set the stage for a later British comedy troupe, Monty Python's Flying Circus.
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/themes/ip/favicon.ico
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Infoplease
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https://www.infoplease.com/people/who2-biography/dudley-moore
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Actor / Comedian / Pianist
complications from progressive supranuclear palsy
Place Of Birth:
London, England
Best Known As:
Oscar-nominated star of Arthur
Dudley Moore joined Peter Cook, Alan Bennett and Jonathan Miller in the groundbreaking comedy revue Beyond The Fringe. (The group's offbeat satire set the stage for a later British comedy troupe, Monty Python's Flying Circus.) Moore was an accomplished pianist who toured as a jazz musician before joining Beyond The Fringe; he often used the instrument in his comedy routines. Cook and Moore (also known as Pete and Dud) later co-starred in the sketch comedy TV show Not Only... But Also and the 1967 film Bedazzled. Moore starred in the hit 1979 film 10 where his diminutive size (he stood 5'2") made him a perfect comic foil for the statuesque love interest, Bo Derek. Moore was nominated for an Oscar for his work in the 1981 romantic comedy Arthur (with Liza Minnelli). In 1999 he announced that he was suffering from a rare degenerative disease known as progressive supranuclear palsy. (He ultimately died of pneumonia related to the disease.) Moore was awarded a CBE by Queen Elizabeth II in November of 2001.
Extra Credit:
Moore attended Magdalen College at Oxford on an organ scholarship… He was married four times — to actress Tuesday Weld, Brogan Lane, Suzy Kendall and Nicole Rothschild — and had a long relationship with statuesque model Susan Anton… Bedazzled was remade in 2000 with Brendan Fraser and Elizabeth Hurley (respectively) taking the roles first played by Moore and Cook… Moore died on the same day as comedian Milton Berle and one day before director Billy Wilder.
4 Good Links
BBC report on Moore's death, with more stories linked in the right column
The British Comedy website recaps their comedy career
A fan salutes Moore's early comedy revue
The Internet Movie Database lists his movies and TV series
See also:
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Dudley Moore Suzy Kendall Stock Photo
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Download this stock image: Dudley Moore Suzy Kendall - G457H4 from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
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This image could have imperfections as it’s either historical or reportage.
Comedian and actor Dudley Moore with Suzy Kendall at Heathrow airport in London, who later became his first wife. 12/6/96: Moore has filed for divorce from his fourth wife, Nicole Rothschild, after just over two years of marriage.
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Dudley's Ex: 'The Laughter Has Gone Now'
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Dudley Moore's first wife Suzy Kendall has spoken out about her grief for the tragic star. The legendary comedy actor died on Wednesday (27 March 2002), after failing to battle off a bout of pneumonia, complicated by his rare progressive supranuclear palsy brain disorder.
Moore, 66, was married four times, Kendall being the first. The couple tied the knot in 1968 and divorced four years later (72). But the former model says they stayed friends after the split, and she was deeply saddened at the news of his death.
Suzy says, "I've lost a best friend. We kept in touch over the years and stayed very close. He'd been very ill so, in a way, his death was a blessing. "He will be missed by everyone. He had such a gift and brought so much laughter to people. "I feel the laughter has gone now. He really did bring so much joy. "
Source: WENN
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https://www.tvinsider.com/people/suzy-kendall/
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Suzy Kendall
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Suzy Kendall is a British actress best known for her film roles in the late 1960s and early 1970s. Her blonde attractive looks got her leading roles in some f
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https://www.tvinsider.com/wp-content/themes/tv/images/favicon.ico
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TV Insider
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https://www.tvinsider.com/people/suzy-kendall/
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Benefits to Registering & Following
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https://themagnificent60s.com/2023/07/04/top-30-january-to-june-2023/
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Top 30: January to June 2023
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[
"Brian Hannan",
"Author Brian Hannan"
] |
2023-07-04T00:00:00
|
All the trade papers have cottoned on to the notion of doing half-yearly assessments of the movies on offer. Not suggesting they’ve stolen my idea, of course, but I always find it interesting to see which of my blogs attract more attention than others. So here’s the top-viewed films for January-June 2023. The Swinger (1966).…
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https://s1.wp.com/i/favicon.ico
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The Magnificent 60s
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https://themagnificent60s.com/2023/07/04/top-30-january-to-june-2023/
|
All the trade papers have cottoned on to the notion of doing half-yearly assessments of the movies on offer. Not suggesting they’ve stolen my idea, of course, but I always find it interesting to see which of my blogs attract more attention than others. So here’s the top-viewed films for January-June 2023.
The Swinger (1966). No surprises here since this movie is king of the all-time swingers. Ann-Margret stars as a wannabe writer living out her character’s adventures and, in passing, taking every opportunity to shake her booty.
Fireball XL5 (2022) The Gerry Anderson 1960s sci fi television series featuring Steve Zodiac, colorized and winning over a new legion of fans.
Plane (2023). Pilot Gerry Butler goes Die Hard on a remote island where his plane crash lands and his passengers are taken hostage by terrorists. No word yet on a sequel but another Den of Thieves 2 is in production.
Fraulein Doktor (1969). German spy Suzy Kendall outwits British opposite number during World War One.
Vendetta for the Saint (1969). Roger Moore as Simon Templar taking on the Sicilian Mafia in a movie stitched together from two television episodes. Love interest supplied by Rosemary Dexter.
Pendulum (1969). George Peppard, charged with murdering adulterous wife Jean Seberg, must clear his name.
Sgt Ryker (1968). Lee Marvin creates merry hell in Korea. Another compilation of television episodes and revived to cash in on his success.
Stagecoach (1966). Ann-Margret, Alex Cord and Bing Crosby head the cast of a decent remake of the John Ford western.
100 Rifles (1969). Raquel Welch and Jim Brown team up to drive out the ruthless Mexicans in a steamy, violent western.
Moment to Moment (1966). Jean Seberg caught up Hitchcockian skulduggery in the South of France.
Baby Love (1969). Linda Hayden as the object of too many people’s affections as she is taken in by a well-off London family.
Titanic (1997). The 3D version of the James Cameron classic, much in the news at the moment after the Titan disaster, which was reissued in advance of the Avatar sequel.
Sisters (1969). Nathalie Delon and Susan Strasberg in semi-incestuous Italian drama.
Mickey One (1965). Cult Arthur Penn existentialist thriller starring Warren Beatty and a stand-up comedian hiding out from the Mob.
Rage (1966). Glenn Ford and Stella Stevens battle a rabies outbreak in Mexico.
Sword of Lancelot/Lancelot and Guinevere (1963). Cornel Wilde writes, directs and stars in historical epic. Wife Jean Wallace has the female lead.
Beat Girl / Wild for Kicks (1960). Gillian Hills dips into the seamy side of London.
Charade (1963). Classic Hitchcockian thriller with Cary Grant and Audrey Hepburn at the top of their game with a host of rising stars and directed by Stanley Donen.
Here We Go Round the Mulberry Bush (1968). Provincial teenager Barry Evans tries to get his share of the Swinging Sixties with the help of Judy Geeson.
Lady in Cement (1969). Frank Sinatra as private eye Tony Rome makes the mistake of taking on mob moll Raquel Welch as a client.
Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness (1969). Anthony Newley warbles his way through cult musical, another actor-writer-director extravaganza this time mainlining on Fellini and with copious nudity.
The Invitation (2022). Nathalie Emmanuel finds her lover enmeshed in a Gothic conspiracy.
Once a Thief (1965). Ann-Margret again, this time in a more serious role as the wife of reformed criminal Alain Delon sucked back into a heist. Directed by Ralph Nelson. Hip jazz score by Lalo Schifrin.
Hannibal Brooks (1969). Michael Winner World War Two comedy drama with Oliver Reed making best friends with an elephant.
Arabella (1967). Delightful Italian comedy with Virna Lisi trying to seduce various versions of Terry-Thomas.
Naked Under Leather / The Girl on a Motorcycle (1968). Chanteuse Marianne Faithful brings erotic heft to controversial movie, heavily cut for U.S. release. Co-star Alain Delon smokes a pipe.
King’s Pirate (1967). Decent swashbuckler starring Doug McClure and Jill St John.
The First Deadly Sin (1980). Superb performance by Frank Sinatra as cop hunting serial killer. Co-stars Faye Dunaway.
Whirlpool / She Died With Her Boots On (1970). Creepy thriller from Jose Ramon Larraz sees top model Vivian Neves terrorized by photographer Karl Lanchbury. Lost for decades.
Giant (1956). Big screen revival of George Stevens’ oil epic starring Rock Hudson, Elizabeth Taylor and James Dean.
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Author: Brian Hannan
I am a published author of books about film - over a dozen to my name, the latest being "When Women Ruled Hollywood." As the title of the blog suggests, this is a site devoted to movies of the 1960s but since I go to the movies twice a week - an old-fashioned double-bill of my own choosing - I might occasionally slip in a review of a contemporary picture. View all posts by Brian Hannan
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IMAGO.
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https://www.huffingtonpost.co.uk/entry/suzy-eddie-izzard-shares-inspiration-new-name_uk_641c7568e4b0cfde25c9cc2f
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Suzy Eddie Izzard Opens Up About Inspiration Behind New Feminine Name
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[] |
[
"uk celebrity",
"Eddie Izzard",
"suzy izzard"
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[
"Daniel Welsh"
] |
2023-03-23T16:00:49+00:00
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"No one can make a mistake with me," the comedian said of her new moniker.
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/favicon.ico
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HuffPost UK
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https://www.huffingtonpost.co.uk/entry/suzy-eddie-izzard-shares-inspiration-new-name_uk_641c7568e4b0cfde25c9cc2f
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Suzy Eddie Izzard has opened up about her recent revelation that she has begun alternating between a new feminine name and her original moniker.
The gender-fluid comedian – who announced in 2020 that she would be using “she/her” pronouns moving forward – shared during an interview earlier this month: “There’s another name I’m going to add in as well, which is Suzy, which I wanted to be since I was 10. I’m going to be Suzy Eddie Izzard.
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“That’s how I’m going to roll, so people can choose what they want. They can’t make a mistake, they can’t go wrong.”
Suzy was asked about this during an interview on Lorraine, and told the host the name was inspired by watching Suzy Kendall in To Sir With Love as a 10-year-old.
“I just thought, ‘I’d like to have that name’, but of course at that time I wasn’t telling anyone,” she recalled.
“I knew I was what seems now to be trans, [but] I couldn’t define it when I was a young kid, I just sort of said, ‘that’s not happening’. And then I took off as Eddie, and I thought, ‘well it doesn’t matter’.”
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She continued: “It’s got Edward John in my passport, so I just thought, what if I add ‘Suzy’ in there? And then all these people are not sure what to say, and I said, ‘I prefer Suzy, but I don’t mind Eddie. I prefer she/her, I don’t mind he/him’.”
“No one can make a mistake with me,” Suzy added, joking: “Unless they call me Gregory or Sabrina, and then that’s not quite right. But everything else, no one can make a mistake, and they can choose.”
Lorraine also spoke about the difficulties faced by trans people in the world right now, pointing out: “It’s got really toxic and it’s really hard.”
Drawing comparisons between the arguments lesbian, gay and bisexual people found themselves at the centre of in previous decades, Suzy insisted: “This is just a time we have to go through to get to the better time. I’m sure of this.
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“Because when I came out 38 years ago, in 1985, no one was talking at all about trans people. We were non-people, we weren’t toxic people, we were just ‘other’ and we were not in a conversation. Now the conversation’s happening – it’s quite heated – but this idea of culture wars, I think that’s the right-wing just stirring things up.
“Most people, when I was campaigning in Sheffield to be an MP, just said, ‘hello Eddie, how are you doing? Good to see you’, and they were lovely and chatty.
“I think 90 to 95 percent of the country, maybe the world, are just saying ‘live and let live, it’s your own personal self, you’re being your authentic self’, and then there’s two to five percent of people who want to stir it up and get angry and shout and get very angry on the internet – which I just ignore.”
During a wide-ranging interview with HuffPost UK published in 2021, Suzy said of her pronouns: “I spent 50 years predominantly in boy mode, so let’s try the next 50 in girl mode.”
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“It’s just a language adjustment,” she added later in the interview. “And no one should get het up about it.”
She also stated: “I’m still gender-fluid and I tell everyone that’s supported me, ‘Relax people, he or she, it doesn’t really matter.’ The pronoun thing isn’t the important thing, the important thing was coming out [as trans] back in 1985, that was the tough time.”
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https://archive.org/details/01-dudley-moore
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Dudley Moore : Free Download, Borrow, and Streaming : Internet Archive
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Dudley MooreA gifted musician as well as comic actor, diminutive British performer Dudley Moore made his mark as an American movie star with his hilarious...
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Internet Archive
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https://archive.org/details/01-dudley-moore
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A gifted musician as well as comic actor, diminutive British performer Dudley Moore made his mark as an American movie star with his hilarious turns as sensitive, bumbling libertines in the hit movies 10 (1979) and Arthur (1981). His stardom, however, had already ebbed before he was diagnosed with a degenerative brain disorder in 1997. Born with a clubfoot and withered leg, Moore endured a series of operations as a child to correct them. He found a refuge from his physical difficulties when he began studying the piano at age six, adding violin and organ to the mix as he got older. After a stint at London's Guildhall School of Music and Drama, Moore attended prestigious Oxford University on an organ scholarship and began composing music for local shows. While at Oxford, Moore met Peter Cook, with whom he teamed up several years after graduation for the popular London musical and comedy revue Beyond the Fringe (1961). After the show's four-year run, Moore and Cook branched out into British TV and movies, including The Wrong Box (1966) and the original version of Bedazzled (1968), featuring Moore as the schlub who makes an absurd Faustian pact with Cook's Satan. Taking a brief break from his comedy partnership, Moore co-wrote, composed the score, and starred in the romantic comedy 30 Is a Dangerous Age, Cynthia (1968), opposite his then-wife Suzy Kendall. After spending the mid-'70s performing live in their hit revue Good Evening, Moore and Cook parted for good in 1977 (save for performances in the Amnesty International benefit shows immortalized on film in The Secret Policeman's Ball [1979]) and Moore headed to Hollywood for his first movie role since 1972. Though the part was small, Moore made the most of it with his outrageous performance as a swinging opera conductor in the Hitchcockian comedy Foul Play (1978). A summer hit, Foul Play inspired Blake Edwards to hire Moore to replace George Segal for the lead in 10. A sex comedy about 1970s hedonism, midlife crises, and the male search for female physical perfection, 10 made inept pursuer Moore and voluptuous fantasy girl Bo Derek into stars. After the woeful Biblical spoof Wholly Moses (1980), Moore had his greatest film success with the blockbuster romantic comedy Arthur. Starring Moore as a soused, piano-playing millionaire, Liza Minnelli as his working-class true love, and Sir John Gielgud as his long-suffering butler, Arthur managed to be as funny as it was charming, earning Moore his sole Oscar nomination and a marvelously dry Gielgud his one Oscar win.
Following a dramatic performance in the unpopular weepy Six Weeks (1982), Moore returned to the frothy genre that had served him so well. Lovesick (1983), Romantic Comedy (1983), and Moore's remake of the Preston Sturges marital farce Unfaithfully Yours (1984), however, all failed to live up to Arthur's success. Whatever ground Moore regained with Blake Edwards' bigamy romp Micki + Maude (1984) was soon frittered away with Santa Claus: The Movie (1985) and Moore's entrant in the late '80s young/old body-swapping comedies, Like Father, Like Son (1987). The saccharine sequel Arthur 2: On the Rocks (1988) failed to recapture the original's sparkle and flopped accordingly. His movie-star status further crippled by box-office duds Crazy People (1990), Blame It on the Bellboy (1992), and The Pickle (1993), Moore returned to TV in the early '90s. Neither of his sitcom vehicles, Dudley (1993) and Daddy's Girls (1994), made it past the first season. Still, through his movie heyday and decline, Moore maintained his parallel career as a musician, appearing as a concert pianist during the 1980s and '90s, as well as masterminding and performing in Showtime's documentary series Orchestra! (1991).
The effects of Moore's disease became apparent, though, during a troubled 1996 concert tour in Australia, and he lost the lead in The Mirror Has Two Faces (1996) when he couldn't remember his lines. Already tabloid fodder when his then-fiancée filed domestic abuse charges in 1994, Moore's fourth marriage dissolved into an ugly divorce in 1997, the same year he was diagnosed with progressive, supranuclear palsy. Increasingly immobilized by the disease, Moore's public appearances became rarer; though not lethal, PSP left Moore susceptible to a fatal bout of pneumonia in March 2002.
Moore's four wives also included American actress Tuesday Weld, and he had two sons.
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Suzy Kendall Pictures
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Check out production photos, hot pictures, movie images of Suzy Kendall and more from Rotten Tomatoes' celebrity gallery!
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https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico
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Rotten Tomatoes
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https://www.rottentomatoes.com/tv/suzy_kendall/pictures
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Let's keep in touch!
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Sign up for the Rotten Tomatoes newsletter to get weekly updates on:
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https://musiclinernotes.wordpress.com/tag/dudley-moore/
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Paul Roth's Music Liner Notes
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Posts about Dudley Moore written by Paul Roth
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Paul Roth's Music Liner Notes
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https://musiclinernotes.wordpress.com/tag/dudley-moore/
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Dudley Stuart John Moore, CBE (19 April 1935 – 27 March 2002) was an English actor, comedian, composer and musician.
Most everyone thinks of the film “Arthur” when they think of Dudley Moore. Wait till you hear some of his music. Not only was he a wonderful comedian, actor, song writer, but such an accomplished pianist. Truly amazing -you will never think of Dudley Moore the same way after hearing this!!
Moore first came to prominence as one of the four writer-performers in Beyond the Fringe in the early 1960s and became famous as half of the popular television double-act he formed with Peter Cook. His fame as a comedic actor was later heightened by his success in Hollywood movies such as 10 with Bo Derek and Arthur in the late 1970s and early 1980s, respectively. He was often known as “Cuddly Dudley” or “The Sex Thimble”, a reference to his short stature and reputation as a “ladies’ man”.
“Just In Time”
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Moore was born the son of a railway electrician in Charing Cross Hospital, London and brought up in Dagenham. His working class parents showed little affection to their son (as his elder sister publicly revealed ). He was notably short: 5 ft 2½ in (1.588 m) and was born with a club foot that required extensive hospital treatment and which, coupled with his diminutive stature, made him the butt of jokes from other children. Seeking refuge from his problems he became a choirboy at the age of six and took up piano and violin. He rapidly developed into a talented pianist and organist and was playing the pipe organ at church weddings by the age of 14. He attended Dagenham County High School where he received musical tuition from a dedicated teacher, Peter Cork. Cork became a friend and confidant to Moore, corresponding with him until 1994.
Moore’s musical talent won him an organ scholarship to Magdalen College, Oxford. While studying music and composition there, he also performed with Alan Bennett in the Oxford Revue. Bennett then recommended him to the producer putting together Beyond the Fringe, a comedy revue, where he was to first meet Peter Cook. Beyond the Fringe was at the forefront of the 1960s satire boom and after success in Britain, it transferred to the United States where it was also a hit.
Dudley with Johnny Carson
During his university years, Moore took a great interest in jazz and soon became an accomplished jazz pianist and composer. He began working with such leading musicians as John Dankworth and Cleo Laine. In 1960, he left Dankworth’s band to work on Beyond the Fringe. During the 1960s he formed the “Dudley Moore Trio” (with drummer Chris Karan and bassists Pete McGurk and later Peter Morgan). Moore’s admitted principal musical influences were Oscar Peterson and Errol Garner. In an interview he recalled the day he finally mastered Garner’s unique left hand strum and was so excited that he walked around for several days with his left hand constantly playing that cadence. His early recordings included “My Blue Heaven”, “Lysie Does It”, “Poova Nova”, “Take Your Time”, “Indiana”, “Sooz Blooz”, “Baubles, Bangles and Beads“, “Sad One for George” and “Autumn Leaves”. The trio performed regularly on British television, made numerous recordings and had a long-running residency at Peter Cook’s London nightclub, The Establishment.
The Dudley Moore Trio
Moore composed the soundtracks for the films Bedazzled, Inadmissible Evidence, Staircase and Six Weeks among others.
In the early 1970s, he had a brief relationship with British singer-songwriter Lynsey De Paul, whom he met at a party.
Pete and Dud
After following the Establishment to New York City, Moore returned to the UK and was offered his own series on the BBC. Not Only… But Also (1965). It was commissioned as a vehicle for Moore, but when he invited Peter Cook on as a guest, their comedy partnership was so notable that it became a fixture of the series. Cook and Moore are most remembered for their sketches as two working class men, Pete and Dud, in macs and cloth caps, commenting on politics and the arts, but they fashioned a series of one-off characters, usually with Moore in the role of interviewer to one of Cook’s upper-class eccentrics. The pair developed an unorthodox method for scripting the material by using a tape recorder to tape an ad libbed routine that they would then have transcribed and edited. This would not leave enough time to fully rehearse the script so they often had a set of cue cards. Moore was famous for “corpsing“—the programmes often went on live, and Cook would deliberately make him laugh in order to get an even bigger reaction from the studio audience. Regrettably, many of the videotapes and film reels of these seminal TV shows were later erased by the BBC (an affliction which wiped out large portions of other British television productions as well, such as Doctor Who), although some of the soundtracks (which were issued on record) have survived. Moore and Cook co-starred in the film Bedazzled (1967) with Eleanor Bron, and also had tours called Behind the Fridge and Good Evening.
A Gershwin Medley
In 2009 it came to light that at the time three separate British police forces had wanted them to be prosecuted under obscenity laws for their comedy recordings made during the late 1970s under the pseudonyms Derek and Clive. Shortly following the last of these, Derek and Clive – Ad Nauseam, Moore made a break with Cook, whose alcoholism was affecting his work, to concentrate on his film career. When Moore began to manifest the symptoms of the disease that eventually killed him (progressive supranuclear palsy), it was at first suspected that he too had a drinking problem. Two of Moore’s early starring roles were the titular drunken playboy Arthur and the heavy drinker George Webber in 10.
Later career
In the late 1970s, Moore moved to Hollywood, where he appeared in Foul Play (1978) with Goldie Hawn and Chevy Chase. The following year saw his break-out role in Blake Edwards‘s 10, which he followed up with the movie Wholly Moses! The latter was not a major success. Soon thereafter, Moore appeared in Arthur, an even bigger hit than 10, which also starred Liza Minnelli and Sir John Gielgud (who won an Oscar for his role as Arthur’s stern but compassionate manservant) and Geraldine Fitzgerald.
“My Blue Heaven”
Moore played Watson to Cook’s Holmes in 1978’s Hound of the Baskervilles. Moore was noteworthy as a comic foil to Sir Henry and played 3 other roles: one in drag and one as a one legged man. Moore also played the piano for the entire score and appears at the start and end of the film as a flamboyant and mischievous pianist. Moore also scored the film.
Moore was nominated for a Best Actor Academy Award but lost to Henry Fonda (for On Golden Pond). He did, however, win a Golden Globe award for Best Actor in a Musical/Comedy. In 1984, Moore had another hit, starring in the Blake Edwards directed Micki + Maude, co-starring Amy Irving. This won him another Golden Globe for Best Actor in a Musical/Comedy.
His subsequent films, including Arthur 2: On the Rocks, a sequel to the original, and an animated adaptation of King Kong, were inconsistent in terms of both critical and commercial reception; Moore eventually disowned the former. In later years, Cook would wind up Moore by claiming he preferred Arthur 2: On the Rocks to Arthur.
In addition to acting, Moore continued to work as a composer and pianist, writing scores for a number of films and giving piano concerts, which were highlighted by his popular parodies of classical favourites. In addition, Moore collaborated with the conductor Sir Georg Solti to create a 1991 television series, Orchestra!, which was designed to introduce audiences to the symphony orchestra. He later worked with the American conductor Michael Tilson Thomas on a similar television series from 1993, Concerto!, likewise designed to introduce audiences to classical music concertos. He also appeared as Ko-Ko in a Jonathan Miller production of The Mikado in Los Angeles in March 1988.
In 1987, he was interviewed for the New York Times by the music critic Rena Fruchter, herself an accomplished pianist. They became close friends. At that time Moore’s film career was already on the wane. He was having trouble remembering his lines, a problem he had never previously encountered. He opted to concentrate on the piano, and enlisted Fruchter as an artistic partner. They performed as a duo in the U.S. and Australia. However, his disease soon started to make itself apparent there as well, as his fingers would not always do what he wanted them to do. Symptoms such as slurred speech and loss of balance were misinterpreted by the public and the media as a sign of drunkenness. Moore himself was at a loss to explain this. He moved into Fruchter’s family home in New Jersey and stayed there for five years, but this, however, placed a great strain on both her marriage and her friendship with Moore, and she later set him up in the house next door.
“Back Home In Indiana”
Moore was deeply affected by the death of Peter Cook in 1995, and for weeks would regularly telephone Cook’s home in London just to get the telephone answering machine and hear his friend’s voice. Moore attended Cook’s memorial service in London and at the time many people who knew him noted that Moore was behaving strangely and attributed it to grief or drinking. In November 1995, Moore teamed up with friend and humorist Martin Lewis in organising a two-day salute to Cook in Los Angeles which Moore co-hosted with Lewis.
Moore is the main subject of the play Pete and Dud: Come Again, by Chris Bartlett and Nick Awde. Set in a chatshow studio in the 80s, it focuses on Moore’s comic and personal relationship with Peter Cook and how their careers took off after the split of the partnership.
He was intended to star in a number of movies that never came into fruition. When his future Santa Claus The Movie producer Ilya Salkind planned his original Superman III in 1982, Dudley was the main choice to play the villainous Mr Mxyzptlk. He was again considered by the Superman producers to play the part of Zaltar in Supergirl, the role subsequently went to Peter O’Toole. When United Artists tried to restart The Pink Panther movie series following the death of Peter Sellers, Moore was offered a lucrative contract to play Inspector Clouseau in Romance of the Pink Panther. The studio brought Blake Edwards back to direct this latest instalment at Moore’s request. He eventually decided not to take up the studio offer to play Clouseau when it became apparent that they wanted to sign him to a four picture deal. Over ten years later he was linked to the role of Jacques Gambrelli, Clouseau’s son in Son of the Pink Panther, the role eventually went to Roberto Benigni. Frank Sinatra acquired the rights to remake La Cage aux Folles and wanted Moore to play the part of flamboyant transvestite “Frank” in this American movie, however Moore could not see himself in the role and turned down Sinatra’s offer. In 1987, Moore agreed at a lunch meeting in London to play Doctor Who in the never made Doctor Who: The Movie from producers Peter Litten and George Dugdale, Moore being the top choice of potential director Richard Lester. The role of Doctor Who would have re-ignited his waning star in the US, and many British tabloids carried front page news of Moore’s casting. Before agreeing to make Rhinestone with Dolly Parton, Sylvester Stallone was prepping an action comedy movie at Paramount Pictures called Jitterbugs which would have seen him cast as a New York Cop hired to protect classical musical conductor Moore, who is caught up in a world of espionage, mafia death threats, and computer chip warfare. Richard Donner was in talks to direct. Around 1983-1984 it was widely rumoured Moore and Arnold Schwarzenegger would team up for an Asterix movie to be produced by Dino De Laurentiis, with Moore playing Asterix and Schwarzenegger as his sidekick Obelix. He and Moore shared the same agent, Lou Pitt, and years later it was again rumoured the two would team up for an action/comedy. The character of Gwildor played by Billy Barty in Masters of the Universe was originally intended to be the character of Orko and likewise was intended for Moore. In 1989, the James Bond producers wanted to cast Moore in the role of Q in Licence To Kill. Moore travelled to Mexico to have a costume fitting, but apparently had a last minute change of heart and left the project. Likewise in 1995 he was again linked to the Bond franchise to be playing a character in Goldeneye. It is thought[who?] that his agent Lou Pitt lobbied hard for Dudley to get the role of The Penguin in Batman Returns, but Danny Devito was director Tim Burton‘s number one choice. Films he turned down aside from these include Splash, Beetlejuice, Short Circuit, Turner and Hooch, Trading Places and Empire of the Sun.
With Julie Andrews
Entrepreneur
Moore co-owned a fashionable restaurant in Venice, California [1980s-2000]. The restaurant was named 72 Market Street. Moore played piano in the restaurant whenever he dropped by the premises.
Personal life
Moore was married and divorced four times: to actresses Suzy Kendall, Tuesday Weld (by whom he had a son, Patrick, in 1976), Brogan Lane and Nicole Rothschild (one son, Nicholas, born in 1995).
He maintained good relationships with Kendall particularly, and also Weld and Lane. However, he expressly forbade Rothschild to attend his funeral. At the time his illness became apparent, he was going through a difficult divorce from Rothschild, despite sharing a house in Los Angeles with her and her previous husband.
Moore dated and was a favourite of some of Hollywood’s most attractive women, including the statuesque Susan Anton. In 1994, Moore was arrested after Rothschild claimed he had beaten her before that year’s Oscars; she later withdrew her charges.
Illness and death
In September 1997 Moore underwent quadruple heart bypass surgery in London, and subsequently suffered four minor strokes.
Comical interpretation of classical music
In June 1998, Nicole Rothschild was reported to have told an American television show that Moore was “waiting to die” due to a serious illness, but these reports were denied by Suzy Kendall.[1]
On 30 September 1999, Moore announced that he was suffering from the terminal degenerative brain disorder progressive supranuclear palsy, some of whose early symptoms were so similar to intoxication that he had been accused of being drunk, and that the illness had been diagnosed earlier in the year.[2]
He died on 27 March 2002, as a result of pneumonia, secondary to immobility caused by the palsy, in Plainfield, New Jersey. Rena Fruchter was holding his hand when he died, and she reported his final words were, “I can hear the music all around me.” Moore was interred in Hillside Cemetery in Scotch Plains, New Jersey. A video of his tombstone is on YouTube. Fruchter later wrote a memoir of their relationship (Dudley Moore, Ebury Press, 2004).
In December 2004, the Channel 4 television network in the United Kingdom broadcast Not Only But Always, a television movie dramatising the relationship between Moore and Cook, although the principal focus of the production was on Cook. Around the same time the relationship between the two was also the subject of a stage play called Pete and Dud: Come Again.
Dudley and Cleo Laine singing “When I Take My Sugar To Tea”
Honours and awards
In June 2001, Moore was appointed a Commander of the Order of The British Empire (CBE). Despite his deteriorating condition, he attended the ceremony, mute and wheelchair-bound, at Buckingham Palace to collect his honour.
Filmography
The Wrong Box (1966)
Bedazzled (1967)
The Bed-Sitting Room (1969)
Monte Carlo or Bust (1969)
Alice’s Adventures in Wonderland (1972)
The Hound of the Baskervilles (1978)
Foul Play (1978)
10 (1979)
Skatoony – Gummo
BBC Horizon: “It’s About Time” (1979)
Wholly Moses! (1980)
Arthur (1981)
Six Weeks (1982)
Lovesick (1983)
Romantic Comedy (1983)
Unfaithfully Yours (1984)
Micki + Maude (1984)
Best Defense (1984)
Santa Claus: The Movie (1985)
Like Father Like Son (1987)
Arthur 2: On the Rocks (1988)
The Adventures of Milo and Otis (1989)
Crazy People (1990)
Blame It on the Bellboy (1992)
Really Wild Animals (1993)
The Disappearance of Kevin Johnson (1995)
The Mighty Kong (1998)
Discography
UK chart singles
“Goodbye-ee” (1965) Peter Cook and Dudley Moore
“The L.S. Bumble Bee” (1967) Peter Cook and Dudley Moore
“Song for Suzy” (1972) Dudley Moore Trio — upbeat jazz.
Jazz discography
From Beyond The Fringe (Atlantic Standard 2 017, 1966)
The Dudley Moore Trio (Decca Records (LK UK) / London Records (US) PS558) 1969
Dudley Moore plays The Theme From Beyond The Fringe and All That Jazz – Atlantic 1403 (1962)
The World of Dudley Moore – Decca SPA 106
Genuine Dud – Decca LK 4788
The Music of Dudley Moore – EMI Australia (Cube Records)TOOFA.14-1/2
Dudley Down Under – Cube ICS 13
Dudley Moore at the Wavendon Festival – Black Lion Records BLP 12151
Smilin’ Through – Cleo Laine & Dudley Moore – – Finesse Records FW 38091
Dudley Dell – Parlophone 45R 4772
Strictly For The Birds – Cleo Laine & Dudley Moore – CBS A 2947
The Theme From “Beyond The Fringe” & All That Jazz – Collectibles COL 6625
Live From an Aircraft Hangar – Martine Avenue Productions MAPI 8486
Songs Without Words – GRP/BMG LC 6713
The First Orchestrations – Dudley Moore & Richard Rodney Bennett – Played by John Bassett and his Band – Harkit Records HRKCD 8054
Jazz Jubilee – Martine Avenue Productions MAPI 1521
37.810448 -122.239864
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Suzy Kendall
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https://static.wikia.nocookie.net/hammerhouseofhorror/images/c/cd/Suzy_Kendall_-_autographed_photo.webp/revision/latest?cb=20221110205659
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"Contributors to Hammer horror Wiki"
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2024-07-29T22:27:06+00:00
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Suzy Kendall (born Freda Harriet Harrison; January 1, 1937) is a British retired actress best known for her film roles in the late 1960s and early 1970s. Born in Belper, Derbyshire, Kendall attended Derby & District College of Art where she studied painting and design. She was a fabric designer...
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https://static.wikia.nocookie.net/hammerhouseofhorror/images/4/4a/Site-favicon.ico/revision/latest?cb=20221011235301
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Hammer horror Wiki
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https://hammerhouseofhorror.fandom.com/wiki/Suzy_Kendall
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Suzy Kendall (born Freda Harriet Harrison; January 1, 1937) is a British retired actress best known for her film roles in the late 1960s and early 1970s.
Personal Life[]
Born in Belper, Derbyshire, Kendall attended Derby & District College of Art where she studied painting and design. She was a fabric designer at British Celanese and then became a photographic model before becoming an actress. She initially appeared in supporting roles before progressing to female leads in a number of British films in the late 1960s. In the early 1970s, she appeared in several Italian giallo thrillers before returning to Britain and played supporting roles in a few more films until her retirement from screen acting in 1977.
In 1968, Kendall married pianist, comedian and actor Dudley Moore, and though they divorced in 1972, they remained friends until Moore's death in 2002.
Following the divorce she remarried shortly afterwards to Sandy Harper, whom Moore also befriended. Moore was godfather to her daughter Elodie. In 2002 she hosted a memorial service for Moore attended by her second husband and daughter.
Kendall now lives in London with her second husband Sandy Harper. Their daughter Elodie Harper is a journalist (at ITV Anglia) and novelist.
In 2012, Kendall made her first film appearance in 35 years in Berberian Sound Studio, billed in some sources as the mother of the lead character Gilderoy, played by Toby Jones, though the end credits on the film list her as "special guest screamer". The film is about a sound engineer working on an Italian horror film, which alludes to several appearances Kendall made in Italian genre films during the 1970s.
Filmography[]
The Liquidator (1965) - Judith
Thunderball (1965) - Prue (uncredited)
Up Jumped a Swagman (1965) - Melissa Smythe-Fury
Circus of Fear (1966) - Natasha
The Sandwich Man (1966) - Sue
To Sir, with Love (1967) - Gillian Blanchard
The Penthouse (1967) - Barbara Willason
Up the Junction (1968) - Polly
30 Is a Dangerous Age, Cynthia (1968) - Louise Hammond
Fräulein Doktor (1969) - Fraülein Doktor
The Gamblers (1970) - Candace
The Bird with the Crystal Plumage (1970) - Julia
Darker Than Amber (1970) - Vangie / Merrimay
Assault (aka In the Devil's Garden) (1971) - Julie West
Fear Is the Key (1972) - Sarah Ruthven
Torso (1973) - Jane
Tales That Witness Madness (1973) - Ann / Beatrice (segment 2 "Penny Farthing")
Story of a Cloistered Nun (1973) - Mother Superior
Spasmo (1974) - Barbara
Craze (1974) - Sally
To the Bitter End (1975) - Joan Jordan
Adventures of a Private Eye (1977) - Laura
Berberian Sound Studio (2012) - Special Guest Screamer
TV appearances[]
The Spies (1 episode, 1966) - Polly Katt
Further Adventures of Lucky Jim (1 episode, 1967)
The Persuaders! (1 episode, 1971) - Kay Hunter
Van der Valk (1 episode, 1977) - Marijka
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200 Oldest Living Screen Stars
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2024-03-14T00:00:00
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by Nathaniel R
Your assignment should you choose to accept it is this: Choose a few of these fi...
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en
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by Nathaniel R
Your assignment should you choose to accept it is this: Choose a few of these fine talents this year and investigate the riches of their filmographies while they're still walking the Earth. Here's the list...
200 OLDEST LIVING SCREEN STARS
101 years old
01 Janis Paige (9/16/22)
This singing stage and screen actress made big impressions in Silk Stockings and Please Don't Eat the Daisies in the late 50s early 60s but her breakthrough stage role went to Doris Day on film (The Pajama Game). She later moved to TV soaps where she worked through the early 1990s...
02 Jacqueline White (11/23/22)
Actress of the 1940s for MGM and RKO. Credits include Crossfire, The Narrow Margin, Swing Shift Maisie
99 years old
03 Priscilla Pointer (5/18/24) Mother of Amy Irving and frequent TV actress. In addition to playing mother to Amy Irving in the horror classic Carrie (it was her second film and Amy's first!) She also appeared in films like Nickelodeon, Mommie Dearest, and Blue Velvet and had recurring characters on two big 80s tv hits, LA Law and Dallas.
04 Eva Marie Saint (7/4/24)
Star of Exodus and North by Northwest and an Oscar winner for On the Waterfront (1954) - which we covered for the 1954 Smackdown. She still works on rare occassions, playing Superman's mom in Superman Returns (2006) and also appearing in A Winter's Tale (2014).
98 years old
05 June Lockhart (6/25/25) This Tony winner and Emmy nominee was most famous for two TV matriarch roles on Lassie and Lost in Space. We always thought she had the best stage name ever but it's her real name. How about that? The bulk of her big screen career was in the 1940. You can see her in supporting roles in classic films too, like Meet Me In St Louis, Sergeant York, and All This and Heaven Too.
06 Lee Grant (10/31/25) Supporting Actress Oscar Winner for Shampoo and frankly lots more incredible in The Landlord (1970, which we've discussed). Other film roles include In The Heat of the Night (Globe nomination... and no Oscar nomination for that one is mystifying given its popularity), The Detective Story (Oscar & Globe nomination), Voyage of the Damned (Oscar & Globe nomination), and Valley of the Dolls. She's also a two-time Emmy winner. Have you read her memoirs?
07 Dick Van Dyke (12/13/25) "it's a jolly holiday with you, Bert!" ♫ - Didn't you love that he tap-danced for Mary Poppins Returns in his 90s. Incredible. Other key works include The Dick Van Dyke Show, Diagnosis Murder, Chitty Chitty Bang Bang, Never a Dull Moment, and Mary Poppins.
97 years old
08 Mel Brooks (6/28/26) Writer/Director/Actor/Icon. Credits include Young Frankenstein, High Anxiety, Spaceballs, Blazing Saddles, Silent Movie, and many more. He still works!
09 Judith Magre (11/20/26) French actress with over 100 credits to her name. Elle, The Lovers, and more.
10 Barbara Rush (1/4/27) Peyton Place, It Came From Outer Space
11-50
Lisa Lu (1/19/27) of Joy Luck Club fame. Most recently seen in Crazy Rich Asians as Ah Ma. She'll be seen later this month in an episode of the Disney+ series American Born Chinese.
96 years old
William Daniels (3/31/27)
A series regular on multiple hit shows like Boy Meets World, Grey's Anatomy and St Elsewhere (2 Emmys for Lead Actor in a Drama Series) but also some movies - like playing Dustin Hoffman's father in The Graduate.
Rosemary Harris (9/19/27)
Oscar nominee for Tom and Viv (discussed at our 1994 Smackdown). Passed her fine acting talent genes down to daughter Jennifer Ehle. Lived long enough now to see "Aunt May," one of her signature roles, de-aged by 30 or so years via Marisa Tomei and then killed off!
Estelle Parsons (11/20/27)
Oscar Winner and 5 time Tony nominee. Credits include 60s classics Bonnie and Clyde, Rachel Rachel, and TV series like Roseann and Grace & Frankie.
Geneviève Page (12/13/27)
French actress. Belle de Jour, Private Life of Sherlock Holmes, El Cid, Aria, and Grand Prix.
Paul Dooley (2/22/28)
Instantly familiar character actor. Credits include Popeye, Curb Your Enthusiasm and famous dad roles in Breaking Away and 16 Candles.
95 years old
Yvonne Furneaux (5/11/28)
A French actress best known for Repulsion, The Mummy, and La Dolce Vita.
Nancy Olson (7/14/28)
Supporting Actress Nominee from the immortal classic Sunset Blvd -- she is its last surviving cast member.
Ann Blyth (8/16/28)
Was slapped by AND slapped Joan Crawford (how many other people can claim that?) and was Supporting Actress nominated for her trouble in Mildred Pierce. Leading roles followed in the 1950s such as Kismet and The Helen Morgan Story.
Earl Holliman (9/11/28)
He's in movie classics Forbidden Planet, Giant, and several TV series too
Marion Ross (10/25/28)
Versatile tv/film star. Best known for Happy Days but also critically acclaimed for the short lived TV series Brooklyn Bridge and the Terms of Endearment sequel Evening Star.
Kathleen Hughes (11/14/28)
B movie actress of the 1950s. Her most recent credit of note was in Kevin Costner's Revenge (1990) as a nun
Terry Moore (1/7/29)
Storied Starlet, Best Supporting Actress Nominee for Come Back Little Sheba. Other famous pictures include Mighty Joe Young and the "flashy girl" whose heart is actually true in sudsy Peyton Place.
Michael Craig (01/27/29)
British/Canadian actor. Oscar nominated as a screenwriter (The Angry Silence, 1961) and BAFTA nominated as an actor Desert Patrol (1959). Other acting credits include Svengali, Upstairs Downstairs, Doctor in Love, Ride A Wild Pony.
James Hong (2/22/29)
Enduring character Actor of The Sand Pebbles, Blade Runner, Big Trouble in Little China and RIPD fame. Recently found renewed attention (and a SAG cast award) for Everything Everywhere All At Once.
94 years old
John Woodvine (7/21/29)
Credits including An American Werewolf in London and recently The Crown
Vera Miles (8/23/29)
Beauty Queen (literally. "Miss Kansas") who became a Hitchcock favorite. Her most famous role is Lila Crane in Psycho. Also briefly married one of the screen Tarzans. Other film credits include The Searchers and The Man Who Shot Liberty Valence.
Bob Newhart (9/5/29)
Famous comic of "The Bob Newhart Show"
Liselotte Pulver (10/11/29)
Swiss actress of 1950s cinema. Ich und Du, A Time to Love and a Time to Die, and Billy Wilder's One Two Three.,
Fernanda Montenegro (10/16/29)
This Brazilian powerhouse (basically the Meryl Streep of Brazil) was justly Oscar nominated for Central Station in the nineties and won an International Emmy for a TV film called Sweet Mother. She recently co-starred in the Brazilian Oscar submission The Invisible Life of Euridice Gusmão (2019) which won Un Certain Regard at Cannes.
Joan Plowright (10/28/29)
British Dame / Actress / Widow of Sir Laurence Olivier / Oscar nominee for Enchanted April (1991). Recently seen in that Tea with the Dames documentary.
June Squibb (11/6/29)
Oscar nominee for Nebraska the fourth oldest nominee ever in that category and her career has been booming ever since with multiple TV and film roles.
Mara Corday (1/3/30)
B movie actress Tarantula, The Black Scorpion, and the occasional Clint Eastwood film
Tippi Hedren (1/19/30)
Animal activist and actress whose most famous pictures were the Hitchcock double The Birds and Marnie. Mother of Melanie Griffith and grandmother of Dakota Johnson.
Gene Hackman (1/30/30)
Actor's Actor of multiple superb performances. Won Oscars for The French Connection and Unforgiven. Other classics include Postcards from the Edge, The Conversation, The Poseidon Adventure, The Royal Tenenbaums, Bonnie & Clyde. and Superman. Retired against everyone on earth's wishes. No one has been able to lure him back to the spotlight.
Robert Wagner (2/10/30)
Mr Natalie Wood of Hart to Hart TV fame. As a young actor he appeared in westerns like Broken Lance and Oscar bait pictures like With a Song in My Heart.
Joanne Woodward (2/27/30)
Awesome Oscar winning Actress of Three Faces of Eve fame. Other famous films include: The Age of Innocence, Rachel Rachel, Mr and Mrs Bridge, and The Long Hot Summer. Widow of Paul Newman.
Taina Elg (03/09/30)
Finnish actress and dancer. Credits include Les Girls, Hercules in New York, and The 39 Steps ('59 version).
93 years old
Mary Costa (4/5/30)
She's the singing voice of Disney's Sleeping Beauty among other accomplishments.
Clive Revill (04/18/30)
New Zealander actor. Avanti!, A Fine Madness, and a lot of voice work including the Emperor in Empire Strikes Back!
Clint Eastwood (5/31/30)
Icon both in front of and behind the camera. Won Best Director for both Million Dollar Baby and Unforgiven. Up next is a film called Juror #2.
Gena Rowlands (6/19/30)
Actressexual™ Fixation, A Woman Exerting Much Influence. Received the very justly deserved Honorary Oscar in 2015. Classics include A Woman Under the Influence, Faces, and Gloria.
Philippe Leroy (10/15/30)
French Actor. La Femme Nikita, The Night Porter, and more
Lois Smith (11/3/30)
Character Actress, Sookie's "Gran" on True Blood. Her credits stretch all the way back to East of Eden co-starring one James Dean. Star of Marjorie Prime (2017) on stage and on film. And she recently won the Tony for the epic gay play The Inheritance. Still working regularly with recent films including Mack & Rita and The French Dispatch.
Armin Muehller-Stahl (12/17/30)
Charactor Actor, Best Supporting Actor Shine nominee. Other notable films include Avalon, Eastern Promises, Veronika Voss, and German language Oscar-nominated films Angry Harvest, and Colonel Redl.
Robert Duvall (1/5/31)
Acting legend, Oscar and Emmy winner. Classics include: Tender Mercies, The Apostle, Apocalypse Now, The Great Santini, A Civil Action, Network, Rambling Rose, True Grit, M*A*S*H*, and The Godfather.
James Earl Jones (1/17/31)
The Voice of... Darth Va-- well, everything really. Who has ever monetized their non-singing voice this well? No one. Still voice acting (Obi Wan Kenobi, The Lion King) and very occassionally regular acting (Coming 2 America). Oscar nominated as a boxer in The Great White Hope (1970) for which he had previously won a Tony. Lifetime honorary awards at the Tonys and the Oscars in the 2010s.
Mamie Van Doren (2/6/31)
Sex Symbol. Voyage to the Planet of the Prehistoric Women, Teachers Pet, Girls Town
Claire Bloom (2/15/31)
Emmy & Tony nominated Actress. Brideshead Revisited, Limelight, The King's Speech, and more
Dominic Chianese (2/24/31)
TV regular and movie irregular, Emmy nominee. The Sopranos, The Godfather Part II, All the Presidents Men, and more...
51-100
92 years old
Hal Linden (3/20/31)
Barney Miller himself
William Shatner (3/22/31)
Captain Kirk
Barbara Barrie (5/23/31)
The beloved Breaking Away (1978) mom is still not nearly beloved enough. She was perfect in everything basically. She even won Best Actress at Cannes for the interracial romance drama One Potato Two Potato -- very much ahead of its time in 1964. Though she's done several small parts since, her last major role was in the TV series Suddenly Susan. Still working occassionally!
Carrol Baker (5/28/31)
1950s movie regular: Baby Doll, Giant, The Big Country. Post 1950s films include Harlow, The Watcher in the Woods, Star 80, Ironweed. Retired from acting in the early 00s.
Virginia McKenna (6/7/31)
Infrequently working actress of Born Free fame. Other credits include A Town Like Alice and Sliding Doors
Marla Gibbs (6/14/31)
5 time Emmy nominee for classic sitcom The Jeffersons. Other credits: 227, El Camino
Leslie Caron (7/1/31)
Gigi herself. Two Oscar nominations, one on either side of Gigi (her biggest hit): Llli and The L Shaped Room.
Darryl Hickman (7/28/31)
He started off as a child actor in the 1930s and kept on acting through the 1990s! Credits include: Strange Love of Martha Ivers, The Tingler, Network, and many many TV guest spots.
Pat Heywood (08/01/31)
BAFTA nominated Scottish actress. Mostly British television but she played "Nurse" in Franco Zeffirelli's Oscar nominated classic Romeo and Juliet.
Marianne Koch (8/19/31)
Prolific spaghetti western German actress
Barbara Eden (8/23/31)
Who doesn't dream of her "Jeannie"?
Mitzi Gaynor (9/4/31)
Musical Star. Her most famous role was in South Pacific.
Silvia Pinal (09/12/31)
Mexican Legend of The Exterminating Angel, and Viridiana fame. Three Ariel awards in Mexico.
Barbara Bain (9/13/31)
Space 1999
Angie Dickinson (9/30/31)
Emmy nominated for Policewoman. Film hits include Rio Bravo, Oceans Eleven, and Dressed to Kill.
Rita Moreno (12/11/31)
Trailblazer. Dancer. Dynamo. Oscar winner for West Side Story. Grammy winner for The Electric Company. Tony winner for The Ritz. Emmy winner for The Muppets. The third person to ever EGOT. SAG Lifetime Achievement Winner. She was recently ultra fabulous on the TV sitcom One Day at a Time and in Steven Spielberg's remake of West Side Story. Current movie: 80 For Brady.
Dabney Coleman (1/3/32)
Ubiquitous 80s screen presence. Best known for his evil sexist boss in Nine to Five. Other films include: Tootsie, You've Got Mail, Melvin & Howard, War Games, On Golden Pond. Emmy win for Sworn to Silence (1987)
Woo Fung (1/18/32)
Hong Kong cinema regular with over 200 acting credits to his name and a career stretching from Men's Hearts (1953) to A Home With a View (2019). His most famous film internationally is the Jackie Chan vehicle Police Story (1985)
Harriett Andersson (2/14/32)
Bergman regular (Cries and Whispers, Through a Glass Darkly and more), a lot of Swedish television. Her most recent feature was Von Trier's Dogville. She even co-starred in the infamous Jerry Lewis picture The Day the Clown Cried.
91 years old
Joel Grey (4/11/32) Impish talented Tony and Oscar winner who will forever be known as Cabaret's emcee. But he's had many other credits, too, onscreen. Remember when he played that demon on Buffy the Vampire Slayer? He still frequently works on stage as a performer and a director. He was Tony nominated for the latter for the acclaimed 2011 revival of The Normal Heart which led to a successful TV movie... albeit without Grey.
Elaine May (4/21/32) Part time actress, brilliant comic voice, Oscar nominated screenwriter, and weirdly maligned director. Won the Tony for Best Actress The Waverly Gallery (2019). Films as an actress include Small time Crooks, A New Leaf, Enter Laughing, and California Suite.
Anouk Aimée (4/27/32) Legend. Auteur Muse. Oscar nominee (A Man and a Woman). Other classics include 8 1/2, La Dolce Vita, and Pret a Porter
Bruce Glover (5/2/32) Prolific character actor. Also gave the world Crispin Glover.
Phyllida Law (5/8/32) She gave the world Emma Thompson. A gift so great the world will always owe her. Also she is a very good actress.
Kenji Sahara (5/14/32) Godzilla franchise trouper/survivor and Rodan headliner (1956)
Helga Liné (7/14/32) International actress, horror regular, model. Briefly joined the Almodóvar troupe in the mid 80s. She's in both Labyrinth of Passion and Law of Desire.
George Chakiris (09/16/32) West Side Story Best Supporting Actor winner. Other classics include White Christmas and The Young Girls of Rochefort
Colleen Miller (11/10/32) Westerns, noirs, and more though she left movies early for domestic life.
Mary Louise Wilson (11/12/32) You can see her in the Best Picture nominee Nebraska, on the small screen on Amazon's Mozart in the Jungle and on stage occassionally. So she's still working hard at that screen career that began in 1971's Klute !
Petula Clark (11/15/32) The songstress of "Downtown" fame was also an actress of screen stage and tv, most famously in Finian's Rainbow.
Ellen Burstyn (12/7/32) Regular nominee for both Oscars and Emmys and the star of MANY classics including Alice Doesn't Live Here Anymore, Requiem for a Dream, and The Exorcist. When's her next great part coming? We feel like filmmakers are sleeping on this and time is a wastin'. A sequel to The Exorcist is on the way.
Tatsuya Nakadai (12/13/32) Major Japanese film star. Credits include Kurosawa films (Yojimbo, Ran, etcetera) and many more.
Julieta Serrano (1/2/33) an Almodóvar favorite (Matador, Tie Me Up Tie Me Down, and more). She is a three time Goya supporting actress nominee finally winning for her one scene (but it's a wonder) in Pain and Glory (2019).
Ann Firbank (1/9/33) Played "Mrs Callendar" in A Passage to India and has over 90 other credits, too
Emily Banks (1/23/33) TV guest star on various shows of the 60s, 70s, and 80s.
Françoise Brion (1/29/33) French actress, primarily TV. Credits including Dangerous Liaisons (miniseries), Nelly et Monsieur Arnaud, and L'Immortelle
Geoffrey Fredrick (1/29/33) British actor (Lifeforce, Hell is a City)
Victor Rebengiuc (2/10/33) Romanian actor -- starred in two Oscar foreign language submissions Japanese Dog and Aferim!
Patrick Godfrey (2/13/33) British character actor of Merchant/Ivory fame. Also appeared in The Duchess, Ever After and many more.
Kim Novak (2/13/33) 1950s movie star and sex symbol of Picnic, Vertigo, and Bell Book and Candle fame (among many many more)
Caroline Blakiston (2/13/33) British TV and the occasional film
Sheila Hancock (2/22/33) British actress of television and stage
Ziva Rodann (3/2/33) Israeli beauty who starred in multiple 1950 B movies. Also "Nefertiti" on the Batman TV series
Barbara Feldon (3/12/33) "Agent 99" on Get Smart
Michael Caine (3/14/33) Legendary two-time Oscar winner (Hannah and Her Sisters, Cider House Rules), British icon (Alfie, Educating Rita, Sleuth), and Christopher Nolan (Dark Knight, Tenet, Interstellar, The Prestige) obsession. Up next: The Great Escaper and Now You See Me 3.
90 years old
Renée Taylor, (3/19/33) This actress and comedian was Oscar nominated for co-writing Love and Other Strangers in 1970
May Britt (3/22/33) Swedish beauty who worked regularly in the 1950s. She retired young after marrying Sammy Davis Jr
Shani Wallis (4/14/33) Oliver!'s singing prostitute with a heart of gold. We're still confused that she wasn't Oscar nominated for it given the role and Oscar's obsession with the movie itself.
Carol Burnett (4/26/33) Iconic legend of television comedy. Occasional movie actor, most notably in Annie and The Four Seasons.
Françoise Fabian (5/10/33) French actress. My Night at Maud's, Belle de Jour and more.
Siân Phillips (5/14/33) Livia in I Claudius
101-150
Constance Towers (5/20/33) General Hospital
Joan Collins (5/23/33) The infamous "Alexis Carrington Colby" herself from Dynasty. Also numerous films
Brett Halsey (6/20/33) a busy actor of the late 50s and early 60s with credits stretching to 2015. Films include The Godfather Part III, Return to Peyton Place, Desire in the Dust
Bernie Kopell (6/21/33) 70s TV regular including The Love Boat
Lea Massari (6/30/33) Italian actress with long career including classics like L'Avventura and Murmur of the Heart
Robert Fuller (07/29/33) Oft employed actor of the 1960s and 1970s
Julie Newmar (8/16/33) Catwoman herself and one of those Seven Brides for Seven Brothers. There's even a movie that pays titular tribute to her statuesque beauty "To Wong Foo, Thanks For Everything, Julie Newmar"
Debra Paget (08/19/33) 1950s film actress The Ten Commandments, Broken Arrow, Love Me Tender and Les Miserables. Retired from acting in the 1960s
Tom Skeritt (8/25/33) Steel Magnolias, Alien, Cheers, Poison Ivy, A River Runs Through It, Picket Fences and many more
Pat Crowley (9/17/33) TV star of the 1950s and 1960s
Kathleen Nolan (9/27/33) TV actress, Emmy nominated for the series The Real McCoys
Kathryn Grant (11/25/33) Beauty with some success on TV and film including Anatomy of a Murder, The 7th Voyage of Sinbad
Tsai Chin (11/30/33) The Joy Luck Club, You Only Live Twice, Memoirs of a Geisha, Casino Royale, Shang Chi, and more. She's been working forever!
Bob Dishy (1/12/34) character actor of movies and TV
Tom Baker (1/20/34) British actor. Seven years as "Dr Who"
Audrey Dalton (1/21/34) Irish actress. Credits include Titanic, My Cousin Rachel, Separate Tables
Tina Louise (2/11/34) "Ginger" on Gilligan's Island
Annette Crosbie (2/12/34) British actress, BAFTA nominated for The Slipper and the Rose
Michael Fairman (2/25/34) Mulholland Dr, Thirteen Days, Cagney & Lacey
James Sikking (3/5/34) Emmy nominee Hill Street Blues
Joyce Van Patten (3/9/34) TV regular, sister of Dick
89 years old
Shirley Jones (3/31/34) Oscar winner (Elmer Gantry) and three time Emmy nominee.
Richard Chamberlain (3/31/34) TV icon, the star of "event" miniseries in the 80s like Shogun and The Thorn Birds. Movies include Joy in the Morning, Madwoman of Challiot, The Towering Inferno, King Solomon's Mines
Shirley Maclaine (4/24/34) Oscar winning legend. Terms of Endearment, The Apartment, In Her Shoes, The Children's Hour, Sweet Charity, and many more. Most recently seen on Only Murders in the Building.
Nanette Newman (5/29/34) Stepford Wives, International Velvet and more.
Pat Boone (6/1/34) Famous singer though a regular big screen presence in the late 1950s through mid 60s
Millicent Martin (6/8/34) Grace & Frankie, Frasier, Days of Our Lives
Eileen Atkins (6/16/34) Underrated Dame. Gosford Park, Cold Comfort Farm, The Lost Language of Cranes, Cold Mountain, The Hours, and an Emmy winner for Cranford.
Bill Cobbs (6/16/34) TV regular. Occasional films, too
Jamie Farr (7/1/34) "Klinger" from MASH
Jean Marsh (7/1/34) Willow, Frenzy, The Changeling
Vernon Dobtcheff (8/14/34) The Spy Who Loved Me
George Chakiris (9/16/34) West Side Story (Oscar win), The Young Girls of Rochefort, White Christmas, White Christmas
Sophia Loren (9/20/34) Silver Screen Icon. Two Women, Yesterday Today and Tomorrow, El Cid, Nine, Marriage Italian Style, Desire Under the Elms, The Life Ahead
Brigitte Bardot (9/28/34) Legendary Gallic sex symbol. And God Created Woman, Contempt
Laurence Luckinbill (11/21/34) Cocktail, Boys in the Band, Star Trek V
Judith Roberts (11/30/34) You Were Never Really Here, Eraserhead
Dame Judi Dench (12/9/34) Late blooming Legend. Films include: Shakespeare in Love, Mrs Brown, Notes on a Scandal, and various Bond films.
Dame Maggie Smith (12/28/34) Enduring Star whose screen stardom stretches across six decades already. Four Emmys (Downton Abbey, My House in Umbria), Two Oscars (The Prime of Miss Jean Brodie, California Suite) and numerous other classics: Gosford Park, Harry Potter, The Pumpkin Eater, Death on the Nile, Clash of the Titans, The Lonely Passion of Judith Hearne, Sister Act, A Room With a View. Two films on the way soon: Miracle Club and A German Life.
Russ Tamblyn (12/30/34) Oscar nominated and Globe winning actor. His classics include West Side Story, The Haunting, Peyton Place, Twin Peaks, Seven Brides for Seven Brothers, Samson and Delilah, and Tom Thumb.
Ghita Nørby (1/11/35) Four time Bødil winning Danish actress of Hamsun fame.
Christina Pickles (2/17/35) Friends (Ross & Monica's mom), The Wedding Singer, Masters of the Universe, Romeo + Juiet,
Nancy Kovack (3/11/35) Jason and the Argonauts, Mannix, and lots of TV guest spots including Batman, I Dream of Jeannie, and Star Trek
88 years old
Leslie Parrish (3/18/35) For Love or Money, The Manchurian Candidate
M Emmet Walsh (3/23/35) Blood Simple, Bladerunner, The Jerk
Julian Glover (3/27/35) The Empire Strikes Back, The Last Crusade, For Your Eyes Only, Game of Thrones. Recently genius in a small role in TÁR.
Lee Meriwether (4/27/35) Batman, All My Children, The Munsters Today, and more
Salome Jens (5/8/35) Seconds, and a ton of tv series include Superboy and Mary Hartmann Mary Hartmann
Anne Reid (5/28/35) Years and Years, Hot Fuzz, The Mother, Last Tango in Halifax
Ruta Lee (5/30/35) Witness for the Prosecution, Funny Face, Seven Brides for Seven Brothers
151-200
Irma P Hall (6/3/35) The Ladykillers, Midnight in the Garden of Good and Evil
Donald Sutherland (7/17/35) Honorary Oscar winner Klute, Don't Look Now, JFK, The Hunger Games
Julie Andrews (10/1/35) All time great. The definitive musical movie star of the 1960s. Classics include: Mary Poppins, Thoroughly Modern Millie, Victor/Victoria, The Princess Diaries
Judy Parfitt (11/7/35) Dolores Claiborne, Call the Midwife, LIttle Dorritt
Alain Delon (11/8/35) French looker. Franco-Italian film classics include: Rocco and His Brothers, L'Eclisse, Is Paris Burning?, The Leopard, Le Samouraï, and of course he was the original onscreen avatar for Patricia Highsmith's Tom Ripley in Purple Noon.
Pippa Scott (11/10/35) Auntie Mame, The Searches, Petulia, and more...
Diane Ladd (11/29/35) Three time Oscar nominated actress (Wild at Heart, Rambling Rose, Alice Doesn't Live Here Anymore), three time Emmy nominee, and mother of Laura Dern.
Woody Allen (12/1/35) Perpetual writer/director and some time ago now the star of all of his own movies
Luz Marquez (12/12/35) Spanish star
Barbara Leigh-Hunt (12/14/35) British TV and stage regular. Infamously strangled in Hitchcock's Frenzy. Other films include Billy Elliott, and Vanity Fair.
William Bassett (12/28/35) The Towering Inferno, The Karate Kid, tv guest regular of the 70s and 80s, and voice actor for video games and Tv shows
Alan Alda (01/28/36) Six timeEmmy winner (M*A*S*H*, The West Wing) and 1 time Oscar nominee (The Aviator). Recently brilliant in Marriage Story (2019).
Joe Don Baker (02/12/36) Instantly recognizable character actor: Mars Attacks!, GoldenEye, Congo, Reality Bites, Cape Fear and many many many more
Joan O'Brien (02/14/36) Operation Petticoat, The Alamo, The Comancheros, and frequent TV gigs thereafter
Elizabeth MacRae (02/22/36) Big in the 1960s, particularly in television. Credits include Gomer Pyle, I Dream of Jeannie, The Virginian, The Conversation,
Sue Ane Langdon (03/8/36) frequent TV guest appearances including Perry Mason, and regular series gigs on Arnie (Golden Globe win), The Honeymooners, and Grandpa Goes to Washington.
87 years old
Patty Maloney (03/17/36) Lots of TV guest work in the 70s and animated voice acting. Films include Twin Falls Idaho, Swing Shift, Under the Rainbow.
Ursula Andress (03/19/36) The original Bond Girl of Dr. No fame.
Jerry Lacy (03/27/36) Play it Again Sam, Dark Shadows
Norma Aleandro (05/02/36) Oscar nominated Argentinian legend of The Official Story fame.
Millie Perkins (05/12/36) The titular character in The Diary of Anne Frank when she was young. Other films include Wall Street, The Shooting, At Close Range
Anthony Zerbe (05/20/36) The Omega Man, Licence to Kill, Matrix Reloaded, Cool Hand Luke
Louis Gossett Jr (05/27/36) Big in the 70s/80s! An Officer and a Gentleman (Oscar win), The Landlord, Travels with My Aunt, Enemy Mine, Roots, Jaws 3-D and lots of TV including Watchmen in the recent past
Keir Dullea (05/30/36) 2001: A Space Odyssey, David and Lisa, De Sade
Bruce Dern (06/04/36) Enduring screen presence in films stretching from to now! Father to Laura Dern.
James Darren (06/08/36) Gidget, TJ Hooker, Star Trek: Deep Space Nine, more...
Kris Kristofferson (06/22/36) Singer/actor. Big in the 1970s. A Star is Born, Heaven's Gate, Semi-Tough, Songwriter (Oscar nomination), Blade, Pat Garrett & Billy the Kid (BAFTA nod)
Richard Wilson (07/09/36) A Passage to India, Merlin, and lots of theater
Ruth Buzzi (07/24/36) Comic actress of Laugh-In fame
Anita Gillette (08/16/36) Moonstruck, and lots of TV guest spots
Robert Redford (08/18/36) Iconic heartthrob and part time Director. The "Sundance Kid"
Walter Koenig (09/14/36) "Chekov" in Star Trek
Brian Blessed (10/9/36) Prince Vultan in 1980's Flash Gordon. Lots of animated voice work and British television.
Tony Lo Bianco (10/19/36) The Honeymoon Killers, The French Connection, Jesus of Nazareth. Currently he can be seen in the Ray Romano comedy Somewhere in Queens.
Jack Taylor (10/21/36) Film/TV in Spanish and English language films including The Vengeance of Doctor Mabuse, The Ninth Gate, Conan the Barbarian
Susan Kohner (11/11/36) Oscar nominee (Imitation of Life)
José Carlos Ruiz (11/17/36) 5 time Ariel winner in Mexico
Lucha Villa (11/30/36) Mexican singer / actress
Hector Elizondo (12/22/36) Pretty Woman, The Princess Diaries, Runaway Bride. Also does a lot of voice work on animated series. Emmy winner for Chicago Hope in the 1990s
Suzy Kendall (1/1/37) British beauty
Dyan Cannon (01/04/37) Oscar nominated -- so great in Bob & Carol & Ted & Alice
Shirley Eaton (01/12/37) Bond Girl
Margaret O' Brien (01/15/37) major child star
Kazuo Suzuki (01/18/37) kaiju movie regular
William Wellman Jr (01/20/37) child of Hollywood
Vanessa Redgrave (01/30/37) Legendary actress and activist
BarBara Luna (03/02/37) Broadway actress turned TV regular with occassional films
86 years old
Warren Beatty (03/30/37) Icon. Actor. Director. Writer.
Edward Fox (04/13/37) The Day of the Jackal, triple BAFTA winner
George Takei (04/20/37) "Sulu" himself, enduring actor and activist
STILL TOO YOUNG FOR THIS LIST
|
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https://www.capecodtimes.com/story/news/2002/03/27/dudley-moore-dies-at-66/50969938007/
|
en
|
Dudley Moore dies at 66; actor's charm shone in '10,' 'Arthur'
|
[] |
[] |
[] |
[
""
] | null |
[
"JEFF WILSON,Associated Press ,RELATED:, Cape Cod Times"
] |
2002-03-27T00:00:00
|
LOS ANGELES — Actor Dudley Moore, who became an unlikely Hollywood heart-throb portraying a cuddly pipsqueak whose charm melted hearts in \
|
en
|
Cape Cod Times
|
https://www.capecodtimes.com/story/news/2002/03/27/dudley-moore-dies-at-66/50969938007/
|
LOS ANGELES — Actor Dudley Moore, who became an unlikely Hollywood heart-throb portraying a cuddly pipsqueak whose charm melted hearts in "10" and "Arthur," died Wednesday at his home in New Jersey, a spokeswoman said. He was 66.
Moore died at 11 a.m. EST, said publicist Michelle Bega in Los Angeles. The British-born actor died of pneumonia as a complication of progressive supranuclear palsy, she said.
There was more than a touch of autobiography in "10," the 1979 film in which Moore played a musician determined to marry a perfect woman. But the happy ending eluded him in real life. Four marriages ended in divorce.
He confessed to being driven by feelings of inferiority about his working-class origins in Dagenham, east London, and because of his height of five feet, 2 1/2 inches. In later life he also spoke of the pain of being rejected by his mother because he was born with a deformed left foot.
Comedians, he said in an interview with Newsday in 1980, are often driven by such feelings. "I certainly did feel inferior. Because of class. Because of strength. Because of height. ... I guess if I'd been able to hit somebody in the nose, I wouldn't have been a comic."
Music was Moore's entree into public performance, first as a chorister and organist in his parish church in Dagenham, near London, and then in 1960 as a young Oxford graduate recruited for the hit four-man comedy review "Beyond the Fringe."
"Fringe," which played two years in London and then moved to Broadway, was perhaps the greatest assembly of young comic talent in Britain in this century. Moore was teamed with Alan Bennett, later a successful playwright Jonathan Miller, the cerebral opera producer and medical doctor, and Peter Cook, a surreal comic talent and a famously dissipated talent.
Moore's whimsical sense of humor fitted oddly with the more savage satirical style of his partners. "Apart from his musical contributions to the show," Cook wrote in Esquire in 1974, "Dudley's suggestions were treated with benign contempt by the rest of us."
One of Moore's celebrated contributions to the show was his impersonation of the pianist Dame Myra Hess, playing a bombastic version of "Colonel Bogey's March" which he couldn't seem to end.
Moore and Cook formed a fast friendship and later teamed on television as Dud and Pete on "Not Only ... but Also," a sketch comedy series. They also plumbed the depths of taste and decency in a series of recordings as "Derek and Clive."
Cook and Moore made their screen debuts in "The Wrong Box" in 1966, and followed up the next year with another success, "Bedazzled."
Moore wrote, starred and composed the score for his next film, "30 is a Dangerous Age," in 1968.
Moore and Cook teamed again in 1971 for a comedy review titled "Beyond the Fridge," which was a success in London and a smash on Broadway in the 1973-74 season, with the pair winning a special Tony award for their "unique contribution to the theater of comedy."
Cook returned to England but Moore settled in Southern California, where he met the director Blake Edwards in a therapy group. When George Segal walked out of Edwards' production of "10," the director turned to Moore.
The 1979 film, co-starring Bo Derek, established Moore as a Hollywood star. Two years later, he had another: "Arthur," playing a rich drunk who falls for Liza Minnelli.
That marked the peak of Moore's film career, though he made several more films including a sequel to "Arthur" in 1988.
Music remained part of Moore's life, both as a jazz pianist and as a parodist.
"I can't imagine not having music in my life, playing for myself or for other people. If I was asked, 'Which would you give up,' I'd have to say acting," he said in an interview with The Associated Press in 1988.
Moore married Suzy Kendall in 1958, Tuesday Weld in 1975, Brogan Lane in 1988 and Nicole Rothschild in 1994. He had a son, Patrick, by his second marriage and a son, Nicholas, by his fourth.
|
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https://www.mauritius-images.com/en/asset/ME-PI-6417615_mauritius_images_image_number_12292825_dudley-moore-with-suzy-kendall
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mauritius images
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/public/apple-icon-57x57.png
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26157
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yago
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3
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https://www.picturepalacemovieposters.com/stars/suzy-kendall/
|
en
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[] |
[] |
[] |
[
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26157
|
yago
|
2
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|
https://www.imago-images.com/st/0301395781
|
en
|
IMAGO.
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https://www.imago-images.com/favicon/favicon.ico
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https://www.imago-images.com/favicon/favicon.ico
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/favicon/favicon.ico
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26157
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yago
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1
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https://www.topfoto.co.uk/asset/1518401/
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en
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British comedian Dudley Moore, 36, and his actress wife Suzy Kendall. On arrival in Sydney, Moore revealed he and Suzy have separated. The couple wed in June 1968, at a secret ceremony in the London s
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2019-02-21T13:57:35+00:00
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British comedian Dudley Moore, 36, and his actress wife Suzy Kendall. On arrival in Sydney, Moore revealed he and Suzy have separated. The couple wed in June 1968, at a secret ceremony in the London suburb of Hampstead. Moore arrived here with partner, Peter Cook, 32, to stage a new revue called
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TopFoto
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https://www.topfoto.co.uk/asset/1518401/
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For full functionality of this site it is necessary to enable JavaScript. Here are the instructions how to enable JavaScript in your web browser.
Your download will start shortly, please do not navigate away from this page until the download prompt has appeared. Doing so may cause your download to be interrupted.
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26157
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yago
|
2
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https://www.alamy.com/stock-photo-dudley-moore-and-actress-suzy-kendall-after-they-married-in-secret-20063232.html
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en
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Dudley Moore and actress Suzy Kendall after they married in secret at Hampstead Register Office Stock Photo
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Download this stock image: Dudley Moore and actress Suzy Kendall after they married in secret at Hampstead Register Office - B4HXT0 from Alamy's library of millions of high resolution stock photos, illustrations and vectors.
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https://www.alamy.com/stock-photo-dudley-moore-and-actress-suzy-kendall-after-they-married-in-secret-20063232.html
|
Dudley Moore and actress Suzy Kendall after they married in secret at Hampstead Register Office
Captions are provided by our contributors.
RMID:Image ID :B4HXT0
Image details
Contributor :
Trinity Mirror / Mirrorpix / Alamy Stock Photo
Image ID :
B4HXT0
File size :
8.4 MB (479.8 KB Compressed download)
Open your image file to the full size using image processing software.
Releases :
Model - no | Property - noDo I need a release?
Dimensions :
1616 x 1808 px | 27.4 x 30.6 cm | 10.8 x 12.1 inches | 150dpi
Date taken :
14 June 1968
Photographer :
Mirrorpix
More information :
This image could have imperfections as it’s either historical or reportage.
Available for editorial use only. Get in touch for any commercial
Commercial use includes advertising, marketing, promotion, packaging, advertorials, and consumer or merchandising products.
or personal uses
Personal prints, cards and gifts, or reference for artists. Non-commercial use only, not for resale.
.
Taxes may apply to prices shown.
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26157
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yago
|
2
| 8
|
https://www.pinterest.com/pin/327988785345776697/
|
en
|
[] |
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[
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2016-09-19T04:33:27+00:00
|
Model and actress Suzy Kendall with her husband, the actor and comedian, Dudley Moore , in Hyde Park. Get premium, high resolution news photos at Getty Images
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en
|
Pinterest
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https://www.pinterest.com/pin/327988785345776697/
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26157
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yago
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1
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https://letterboxd.com/film/30-is-a-dangerous-age-cynthia/
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en
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30 Is a Dangerous Age, Cynthia! (1968)
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A 29-year old aspiring composer—still single and without any romantic prospects—vows to both marry and write a hit musical before he turns 30. Director Joseph McGrath's 1968 British comedy stars Dudley Moore, Suzy Kendall, Eddie Foy Jr. and Patricia Routledge.
|
en
|
https://letterboxd.com/film/30-is-a-dangerous-age-cynthia/
|
"I'm sorry, Rupie. Hey, where you goin'?"
"I've got to find Louise."
"But, uh..."
"Look, no buts, you look after the show."
"But..."
"I'll only be a couple of days. I'll ring you, all right?"
"Can I just say one thing?"
"All right, say it, but I'm still going."
"That's my suitcase you've got."
I recorded this off of Turner Classic Movies some time ago and just got around to sitting down and watching it. I can't say that I was really amused by it, but Dudley Moore seems to play the piano very well and it's the first meeting between him and Suzy Kendall, who he was married to for about four years. Not much more to say than that.
Poor Dudley Moore — in 1968 he wrote this movie, starred in it, composed its score and it’s songs, plays piano with his jazz trio in it, and romances his then-wife Suzy Kendall and it’s so little remembered that I’m the third person to review it since Letterboxd debuted in 2011.
Maybe Dudley needed to direct this one too — fun script and game actors lead a Swingin’ London era satire on old movie cliches and story conventions would have worked better with a creative director with some visual flair and a sense of pace.
Great character actors through out.
I was saving this one up to watch on the day I turned 30 in the hope that it might prove itself revelatory viewing in some way, but the movie is mostly a failure, which doesn't entirely prevent it from being mildly likeable in spots, very much like me. Watching a bug-eyed Dudley Moore look directly at the camera, have a royal freak-out and anguishly and hysterically shout "I'M THIRTY!!!!" before the scene abruptly cuts to a nightmare sequence that ends with a proverbial pie in the face was somewhat amusing. Bad movie, though still not nearly as bad as turning 30.
Dudley Moore needed to ripen a little before he was ready to carry a movie (by himself, without Peter Cook to balance him out). He co-wrote this debut solo starring vehicle, as well as composing the score, and he comports himself as if he were afraid the audience might burn the theater down if they felt they weren't getting enough of him. The director, Joseph McGrath, who had much more to be modest about than Moore, was not the man to teach him about the value of self-restraint, or anything else.
|
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26157
|
yago
|
2
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|
https://www.topfoto.co.uk/asset/1518401/
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en
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British comedian Dudley Moore, 36, and his actress wife Suzy Kendall. On arrival in Sydney, Moore revealed he and Suzy have separated. The couple wed in June 1968, at a secret ceremony in the London s
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2019-02-21T13:57:35+00:00
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British comedian Dudley Moore, 36, and his actress wife Suzy Kendall. On arrival in Sydney, Moore revealed he and Suzy have separated. The couple wed in June 1968, at a secret ceremony in the London suburb of Hampstead. Moore arrived here with partner, Peter Cook, 32, to stage a new revue called
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TopFoto
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https://www.topfoto.co.uk/asset/1518401/
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26157
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https://cinemasojourns.com/2018/04/08/high-rise-invaders/
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High Rise Invaders
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2018-04-08T00:00:00
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Long before Michael Haneke arrived on the scene with his original 1997 version of Funny Games (1997), a highly influential and deeply disturbing home invasion thriller, there were many precursors in this unsettling genre that date all the way back to 1939 with Blind Alley and its 1948 remake The Dark Past, in which a…
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https://secure.gravatar.com/blavatar/96d82e82513200e871850ea4e85567f4725b0379fdbbe372548101a10cbb9268?s=32
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Cinema Sojourns
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https://cinemasojourns.com/2018/04/08/high-rise-invaders/
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Long before Michael Haneke arrived on the scene with his original 1997 version of Funny Games (1997), a highly influential and deeply disturbing home invasion thriller, there were many precursors in this unsettling genre that date all the way back to 1939 with Blind Alley and its 1948 remake The Dark Past, in which a psychopathic killer and his gang crash a private gathering at the home of a psychologist. There have been varying tonal approaches to the subject over the years; some overwrought and pretentious like 1964’s Lady in a Cage, some meticulously detailed and artfully depicted as in the Oscar-nominated In Cold Blood (1967) and some purely exploitive and sadistic such as The Strangers (2008). But one of the lesser known but most intriguingly offbeat entries is The Penthouse (1967), the directorial feature debut of British director Peter Collinson.
The film opens as Bruce (Terence Morgan), a real estate agent, and Barbara (Suzy Kendall), his mistress, share breakfast after a night at their secret love nest at the top of an unoccupied high-rise. Their world is soon turned upside down when Barbara answers the door and lets in Tom (Tony Beckley), a man who claims he is the meter man. He is quickly followed by his co-partner Dick (Norman Rodway). The couple is provoked, taunted and terrorized until their relationship to each other and their tormentors becomes more ambiguous and disorienting. The surprise arrival of a third intruder named Harry (Martine Beswick) provides a cathartic closer to the madness.
The Penthouse has the look and feel of a Harold Pinter play and, in fact, it was based on a play by Scott Forbes entitled The Meter Man. Pinter had certainly explored this terrain before in some of his earliest plays. Take, for example, Pinter’s The Birthday Party (1957), which was adapted for the screen in 1968 and directed by William Friedkin: Two mysterious men arrive unannounced at a shabby seaside boarding house and proceed to interrogate and torment a lodger there (who doesn’t appear to know them) until they drive him to the breaking point. Disturbing and darkly humorous, the violence in Pinter’s play is purely psychological and rarely physical.
Although The Penthouse is clearly influenced by Pinter’s work, the threat of physical harm as well as the sexual tension is much more overt, resulting in something that straddles the line between arthouse thriller and trashy drive-in fare. And the fact that the home invaders in the film are creepy ciphers with no back story or rational motivation for their behavior is something that Haneke would take to extremes in both his 1997 and 2007 remake of Funny Games, which bare some similarities to The Penthouse.
Arriving toward the end of that period when films about “swinging London” were the latest craze – Morgan, Alfie, Georgy Girl, Blow-Up – The Penthouse could be viewed as a moralistic backlash against those movies and the hedonistic hipsters who populate them. Within the first five minutes of the film, the central couple, Barbara and Bruce, are established as illicit lovers. Barbara, who is your basic working class shop girl, is clearly frustrated by their sporadic trysts and Bruce, a married real estate agent, is equally wary of the “when-will-you-ask-your-wife-for-a-divorce” discussions which inevitably follow their couplings. But there is already tension in the air, established under the opening credits of The Penthouse, as two sinister looking men gaze upward at the top of a sterile new high rise, see the lights come on in the penthouse, and then with a knowing smile between them advance toward the building.
The penthouse in question turns out to belong to one of Bruce’s clients, who is on vacation in the Bahamas and Bruce is using it without his knowledge. Right from the get-go, Bruce is established as a cad. He’s unfaithful to his wife, takes advantage of his mistress and his clients and is a spineless jellyfish to boot. We know this as soon as he sends Barbara off to answer the door when an unexpected visitor comes knocking, afraid their affair will be exposed.
As soon as she opens the door, The Penthouse crosses over into theatre-of-the-absurd territory as first Tom, and then his partner Dick, invade the penthouse, posing as meter men who have come to take the gas reading. They end up taking more much in both physical and psychological terms, and as their mind games become increasingly sinister, the film develops a compelling claustrophobic tension between how far Tom and Dick will go and how much abuse Barbara and Bruce will take before they fight back or snap.
While Barbara is easily the more sympathetic member of the couple, neither character allows for easy identification because of the film’s highly stylized structure which emphasizes its stage origins. It allows us to experience the couple’s night of torment as a surreal, avant-garde happening – not hard-edged realism. Like other plays such as Who’s Afraid of Virginia Woolf?, where souls are stripped bare and relationships built on hypocrisy crumble when forced to face the truth, this one ends with Bruce and Barbara forever changed and damaged by their ordeal, unable to face each other again. It’s as if Tom, Dick and Harry (more on “him” in a minute) were externalized versions of the couple’s worst fears come home to roost.
The type of funny games Tom and Dick favor seem to have no rhyme or reason other then breaking down their victim’s will. When they first gain entrance to the penthouse, they start by berating Barbara (she pretends to be the actual tenant) for not knowing where the gas meter is. Bruce, who pretends to be sleeping while overhearing Barbara’s harassment, finally rouses himself for a confrontation, only to be threatened with a switchblade.
Tom and Dick then bind Bruce to a chair with silk cords, spinning him around until he is completely ensnared and forced to watch while the duo force Barbara to get drunk and strip down to her underwear. And so it goes, one humiliation follows another and Bruce’s attempt to turn Dick against Tom by planting a seed of distrust between them leads nowhere. Finally the two intruders, after ravaging Barbara, pack up their things and leave the couple to sort the whole thing out.
Yet, just when you think the whole ordeal is over, the games begin anew with the introduction of “Harry,” who claims she is Tom and Dick’s parole officer. Verifying that she has the two men in custody and in handcuffs in her police car, she appeals to Barbara and Bruce to see the duo one last time so that they can apologize and ask for their forgiveness. By this point in this movie, you know that Bruce and Barbara are condemned to repeat the same mistakes over and over again and so The Penthouse comes to a close with one more round of WTF antics.
While The Penthouse can be self-consciously arty and unapologetically sordid at times – Barbara’s transformation into a docile sex toy is helped along by John Hawksworth “blue movie” music cues– it is also compulsively watchable with a powerhouse cameo by Hammer Films sex siren Martine Beswick (Slave Girls, One Million Years B.C.) as Harry. She receives third billing but doesn’t appear until the final fifteen minutes.
Beswick’s dominatrix-like presence – she arrives in male drag and soon “lets down her hair” with a wicked laugh – is as much fun as Amanda Donohoe’s camp turn in Ken Russell’s The Lair of the White Worm (1988). In addition, the movie has some striking Pinter-like dialogue. When Bruce blurts out, “Why’d you have to do this? We haven’t done you any harm.” Tom responds, “Well, it’s not a question of that. It’s more a question of the harm you might do us.” Haneke’s dialogue in Funny Games follows the same ying-yang logic.
Tom and Dick may be absurdist creations but their enigmatic relationship remains one of The Penthouse’s most intriguing aspects. While they both have their way with Barbara, their flamboyant behavior and bitchy banter wouldn’t be out of place in The Boys in the Band. At odd moments in the narrative, Bruce and Barbara’s degradation becomes secondary to Tom and Dick’s passive/aggressive role-playing.
There is one scene where Dick is having fun trying on Bruce’s clothes as his victims watch and Tom sarcastically comments, “Dick’s rich you see. He’s terribly rich. You should see all the clothes he’s got. I don’t know where he keeps them all.” Disgusted, Dick strips off the jacket and throws it at Tom, saying, “I think this coat will fit you better than me.” Tom then flashes him an intimate look and says, “Maybe I’ll try it on a bit later” which brings a sly grin to Dick’s face. But the game remains a secret despite occasional signs that a clue will be revealed.
It’s pointless to fight a tight, airless contraption like this but there is a certain fascination in monitoring your own reaction to it. What would you do if you were in Bruce or Barbara’s situation?
Tom Beckley, the actor who plays Tom, might look familiar to you. That’s because he played the twisted psychopath who terrorized Carol Kane in When a Stranger Calls (1979), his final film before he died of cancer in 1980. He was also appropriately creepy in Robert Hartford-Davis’s The Fiend (aka Beware My Brethren, 1972) and offered memorable support in Get Carter (1971).
Norman Rodway as Dick is less familiar to American audiences since he spent most of his career working in British television but you can see him in Four in the Morning (1964), a bleak portrait of working class life, Orson Welles’s Chimes at Midnight (1965) and Michael Winner’s I’ll Never Forget What’s ‘isname (1967), which also starred Welles. Terence Morgan, in the role of Bruce, is also an actor who received little exposure stateside but appeared in numerous British B-movie melodramas such as The Shakedown (1959) and Tread Softly Stranger (1958) and a few A-list titles such as Alexander MacKendrick’s Mandy (1952).
Those of you who enjoy Italian giallos and swinging sixties cinema from England need no introduction to Suzy Kendall, who first made favorable impressions in the James Bond imitation The Liquidator (1965) and To Sir, With Love (1967). Her film career has been eclectic, to say the least, and she’s appeared in a variety of genre films from the international espionage thriller Fraulein Doktor (1969) to the horror anthology Tales that Witness Madness (1973) to nunsploitation Diary of a Cloistered Nun (1973). However, it is her appearances in giallos that have earned her an international cult following for Dario Argento’s The Bird With the Crystal Plumage (1970), Sergio Martino’s Torso (1973) and his subsequent thriller Spasmo (1974).
As for Peter Collinson, he followed up The Penthouse with Up the Junction (1968), also starring Suzy Kendall, in a working class expose that was firmly in the “Kitchen sink” school of British realism. His next film, The Long Day’s Dying (1969), a grim anti-war drama, received critical acclaim and won two awards at the San Sebastian Film Festival. But most of Collinson’s later work was ignored by the cinema intelligentsia though he is probably best known for The Italian Job (1969) starring Michael Caine. He died of cancer at the age of 44 in 1980, the year Tony Beckley died of the same disease. The Penthouse is still not currently available on any format. I recently viewed it again on VHS from a cable TV recording in 1984 courtesy of WWOR in Secaucus, New Jersey. While the visual quality of the recording left much to be desired, this is a film with a desaturated color scheme and the dominant color is gray. The skies are gray (one of the few exterior shots shows an urban landscape dwarfed by an industrial complex where toxic clouds of smoke are billowing forth from its towers) and the interiors are gray with some black and white highlights. Here and there are shades of sickly green on the walls and furniture. And Arthur Lavis’s cinematography concentrates on eerie shadows across faces, the shiny sweat on foreheads and the low florescent lightning that emphasizes the bleak tone. All of it adds quite effectively to the movie’s sense of alienation and despair and John Hawksworth’s alternately brooding and sleazy score is the putrid icing on the poison cake.
Most American film critics ignored or dismissed The Penthouse but Roger Ebert wrote, “The Penthouse,” quite simply, is a pretty good shocker. Shockers are standard fare in the movies and always have been, but successful ones are rare. It’s a relief to find one that’s made with skill and a certain amount of intelligence. “The Penthouse” isn’t in the same class with “Psycho” (1960) but it’s in the same school.”
Other websites of interest:
http://www.screenonline.org.uk/people/id/862751/index.html
https://www.nytimes.com/1979/10/19/archives/new-face-tony-seekley-genial-film-maniac-with-english-roots-a.html
https://www.rogerebert.com/interviews/interview-with-peter-collinson
https://www.rogerebert.com/reviews/the-penthouse-1967
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yago
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https://www.dailymail.co.uk/news/article-6399071/How-stars-rallied-round-comedian-Dudley-Moore-outpouring-love.html
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en
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How stars rallied round comedian Dudley Moore with an outpouring of love
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2018-11-16T22:01:35+00:00
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As Dudley Moore approached his 64th birthday in 1999, he was acutely depressed. For four years, it had become clear that something was wrong with him, but doctors didn't know what.
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/favicon.ico?v=2
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Mail Online
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https://www.dailymail.co.uk/news/article-6399071/How-stars-rallied-round-comedian-Dudley-Moore-outpouring-love.html
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As Dudley Moore approached his 64th birthday in 1999, he was acutely depressed. For four years, it had become increasingly clear that something was wrong with him, yet his doctors kept coming up with negative test results.
Being a longtime friend and his official biographer, I wanted to cheer him up — so I had the idea of approaching friends and former colleagues to ask them to write letters to him for his birthday. Dudley, I thought, might be heartened to know how much he meant to them all.
I had no idea what a mammoth undertaking it would be to locate everyone. But I managed to contact nearly 300 celebrities, telling them only that Dudley was ill and about to turn 64.
I was blown away by the response. Over the next four months, letters poured in from all over the world, bearing loving messages and words of comfort to the man who’d given them so much pleasure through his music and humour.
Some — like those from Emma Thompson, Billy Joel and Phil Collins (who wrote a three-page fan letter) — were from people who didn’t know him personally but wanted to be part of a massive outpouring of affection for him.
Among them was a parody, by Paul McCartney, of The Beatles hit When I’m Sixty-Four; a caricature of Dudley with ribald comments from the Rolling Stones scribbled around his face; and loving notes from Elton John, Bette Midler, Whoopi Goldberg, Jack Lemmon, Mel Brooks, Michael Caine, Neil Simon and hundreds more.
Some tried to make him smile. ‘Many happy returns from someone who is just over a year older (and still slightly taller),’ wrote Alan Bennett, while Billy Joel confided: ‘I’m not much taller than you and I think I understand how uncomfortable it can be carrying an oversized set of b***s on such short legs.’
Dawn French wished she’d married Dudley — ‘At least I wouldn’t have had to put up with neck-ache from kissing [my] husband’ — and Emma Thompson confessed: ‘I’ve always been slightly in love with you.’
Steven Spielberg’s wife Kate Capshaw remembered their ‘deliciously naughty chats’, Goldie Hawn treasured their talks about ‘life and relationships’ and Liza Minnelli called him ‘the best, the brightest, the funniest and dearest person I know…and are you cute!’
Lynn Redgrave recalled Dudley renting a small basement flat in her house and calling to Stanley, his Persian cat: ‘ “Come on Steainley,” in your most nasal Dagenham voice.’ Dame Edna Everage wrote: ‘You once told me it was me who gave you a taste for statuesque women and I’ve been blaming myself ever since’.
For Mary Tyler Moore, Dudley was ever-present because she’d named her dog after him. For Woody Allen, his friend’s mystery illness inspired a comic page of his own physical woes.
Assembling all these amazing letters was a challenge. David Hockney rang several times to ask if I’d selected the albums yet, because he needed the measurements. I didn’t know why until he sent over a painting of a birthday card that fitted exactly onto one of the pages.
During all this time, I was bombarded by calls from concerned friends. ‘I didn’t know he was ill,’ Kelsey Grammer fretted. ‘What’s wrong with him?’ It was a question that nobody could answer.
American musician-producer Quincy Jones rang me one night after I’d started to run a bath. For 15 minutes he talked about the magic of Dudley, his wonderful spirit and how much he loved him. I spent the next half-hour mopping the flood in my bathroom.
By the time I’d assembled all the letters, they filled two massive albums, which I packaged and sent to Dudley. He was overwhelmed. ‘I found it enormously touching,’ he told me. ‘I thought it was extraordinary that they would write me letters that expressed their feelings about me. Such a surprise. It was amazing.
‘It gave me some encouragement to think a bit more pleasantly about myself, and to think more positively about myself.’
The first sign of a problem had come on the first day of shooting of Dudley’s final film. It was the mid-Nineties, and his triumphs in Arthur and 10 were far behind him.
So he’d been surprised to be offered a cameo role in Barbra Streisand’s romantic comedy, The Mirror Has Two Faces. This would be Dudley’s chance to remind people of the talents that once made him the toast of Hollywood. Except it didn’t turn out that way.
As the cameras rolled, he found he simply couldn’t remember his lines. Even writing them on giant cue cards wasn’t helping, because he was finding it hard to focus. Afterwards, Dudley retreated to his trailer, so upset that he refused to have any lunch. ‘Something is happening to me and I don’t know what,’ he told journalist and friend Rena Fruchter and me.
Rena and I thought we knew the answer. Nicole Rothschild had happened to him, and the once irrepressible Dudley, who lit up rooms with his warmth and raucous laughter, was increasingly sinking into depression.
As it turned out, we were only partially right. Half his age, Nicole had met him a few years earlier through the simple stratagem of stopping him in the street and begging for his autograph. Never able to resist an attractive woman, Dudley plunged into an affair.
His latest leggy girlfriend was eight inches taller than him and came loaded with problems. While still married to her first husband, she’d gone through a bigamous marriage with Charles Cleveland, a self-confessed drug addict, and had two children with him.
So obsessed was Dudley with his new lover that he helped the couple financially throughout their ‘marriage’. Then, when Nicole decided to leave Cleveland, he bought her a house around the corner from his home in California, and gave her a 20,000-dollar sports car and a monthly allowance.
That wasn’t all: he continued supporting her ex-husband, who was now HIV positive, and their two children. Plus he bought cars for both Cleveland and Nicole’s sister, and a flat in Las Vegas for Cleveland’s mother.
If that seemed outrageously philanthropic, Dudley’s friends knew it was typical behaviour. He’d always taken on responsibility for the families of long-term girlfriends or wives, just as he’d always insisted on having the freedom to sleep around.
So despite his infatuation with Nicole, he was still enjoying the company of other women, among them Quincy Jones’s daughter Jolie. Why did he stay with Nicole?
Their relationship became ‘a union created in hell’, as one of his friends described it.
No one could understand the dynamics that kept them together, because they were such opposites. While Dudley was meticulous and rational, Nicole was volatile, often irrational and as changeable as the English weather.
These differences triggered endless fights, often resulting in Dudley — all 5ft 2½in of him — emerging scratched and bruised. Somehow they always kissed and made up.
Eventually Nicole persuaded him to marry her. First he had to get his lawyers to track down her first husband and get that marriage annulled, as Nicole had married Cleveland without an annulment.
Soon she was pregnant with their son, Nicholas. Dudley, however, felt trapped in a cycle of abuse, remorse and apology — yet strangely helpless to do anything about it.
The night before he forgot his lines on Streisand’s new movie, Nicole had rung him several times in the early hours. She announced that she was moving the household to Telluride, a small mountain town in Colorado, where Dudley had already given in to her latest whim and put down a deposit on another home.
Little wonder that he was distracted. He’d already arranged to move there with Nicole; her phone calls were because she didn’t want to wait until he returned to LA a week later — she wanted to move immediately. She was a very impulsive woman.
‘I just want to play the piano and have everyone leave me alone,’ he said despairingly to Rena, herself a renowned pianist.
In a break from filming, Dudley flew back to California, determined to commit all his lines to memory. But he wasn’t surprised when his agent rang a few days later to report that Streisand was cutting him loose from the film.
Still puzzled by his sudden memory problems, Dudley decided to have some medical tests. Having ruled out every common brain disorder, however, his doctors pronounced themselves mystified.
Dudley’s only obvious problem seemed to be the continuing turmoil in his personal life. It would be another two years before doctors were finally able to diagnose what was really wrong with him.
Dudley’s amazing facility to switch between acting, comedy, writing film scores and playing jazz had already made him one of the most versatile and multi-faceted performers of our time.
In mid-life, he’d also developed another major talent. Buckling down for the first time to do up to six hours of practice a day, he’d blossomed into a critically acclaimed concert pianist —admired by, among others, the great conductor Sir Georg Solti and the violinist Itzhak Perlman.
More recently, spurred on and tutored by Rena, he’d mastered Grieg’s Piano Concerto, which was released as a CD. Despite Dudley’s love of acting and comedy, it was music that gave him the most fulfilment. For him, it was the more visceral art, the one through which he became emotionally recharged.
As his old music tutor, Peter Cork, observed: ‘What is incredible is how he does brilliantly with one career then opens up in another. But in the end it comes back to the one thing that was always the most overwhelming — his music.’
After the Streisand debacle, however, Dudley seemed almost to have given up. Now living in Telluride, surrounded by the chaos of Nicole’s family, he abandoned his daily piano practice.
He’d lost confidence, believing he no longer had a place in the world of entertainment. ‘I know it’s sad because I have so much to give,’ he told me, ‘but I’ve tried to come back and people don’t like what I do. I’m resigned to that.’
Rena was alarmed. They’d been booked to perform some concerts together, so she flew out from New York several times to see him.
Gently, she encouraged him back to the keyboard and managed to rekindle his passion. Over time, it became clear Dudley depended on her for the security that was otherwise lacking in his life.
Nicole had been up to her usual antics. On one of her whims, she decided to open a shop selling children’s clothes and furniture, and Dudley had paid 60,000 dollars for the merchandise.
Then, two months after he moved to Colorado, she decided they should go back to California. The shop never opened.
After settling back into the two homes in LA’s Marina del Rey — his and hers — they resumed their pattern of blistering rows and abuse. There was yet more turmoil when Dudley discovered that his business manager had misappropriated several million dollars of his savings.
In an effort to raise money, Dudley tried to sell the flat he’d bought for Nicole’s ex-husband’s mother. The woman promptly sued him.
Eventually, he paid her $25,000 to leave, even though — thanks to his kindness — she’d lived for several years at the flat for free.
Music came to the rescue in 1996, in the form of an Arthur reunion tour in Boston, Massachusetts, with Liza Minnelli, Dudley’s co-star from the film. With every joke, the audience roared, and with every piece he played on the piano they applauded wildly.
Boston breathed new life into him. He felt loved and wanted again, and the feeling was so powerful that it swept away his self-doubts.
For too long, Dudley realised, he’d been too wrapped up in his personal life. Now it was time to take care of himself and focus on his work.
Two weeks later, he left his fourth wife and filed for divorce. It was not the first time he’d tried to escape from Nicole. He retracted and refiled for divorce several times before making it final two years later.
On one of the numerous occasions he’d tried to leave her, she’d broken into his house and smashed it up, leaving it looking like a bomb site. She’d destroyed his cherished memorabilia and irreplaceable sheet music and threatened to burn the place down.
Several times, Dudley tried fleeing — to New York, even London and Australia — but she always tracked him down. Each time, he’d returned, hoping things would be different. They never were.
He’d eventually resorted to taking out restraining orders, but Nicole simply disregarded them.
Towards the end of their relationship, he felt forced to surround himself with bodyguards.
The last time he’d gone back to his home, Dudley had sat terrified inside while Nicole went berserk outside. After just one day he left, never to return.
By the time Dudley and Rena embarked on a concert tour of Australia in 1996, he was back to his old self: confident, self-assured and in absolute command.
But there were hiccups. Dudley was having difficulty with one finger on his right hand and that sometimes resulted in him playing wrong notes. Also, his speech would occasionally become incoherent, giving rise to rumours that he was drunk.
When he rang me one day from Australia, I noticed that he sometimes rambled and lost his train of thought. ‘Are you all right?’ I asked. ‘No, I’m not!’ he shouted, frustrated by his increasing mental confusion.
By the following year, something was clearly amiss with his playing. Sometimes he sounded fine; at other times his fingers simply refused to play the notes.
Dudley pushed himself ever harder, trying to complete an album of Gershwin music with Rena. Two days after starting work on the intricate piano pieces, he called me again.
This time he was in distress. ‘My fingers on my right hand won’t go where I tell them to go; they don’t play the right notes,’ he said mournfully. ‘I don’t know what’s happening.’ The next day, he entered the famous Mayo Clinic in Minnesota for a barrage of tests.
Almost by accident, they found a small hole in his heart, a blocked artery and a hiatal hernia. He was also diagnosed as having an addictive relationship with his fourth wife. Understanding at last that he was a victim of abuse, he agreed to undergo treatment.
Meanwhile, he was referred to a specialist in a rare disease called progressive supranuclear palsy (PSP), a distant cousin of Parkinson’s, which attacks the brain’s motor functions.
The new doctor thought he was suffering from it, but other doctors disagreed. So Dudley remained in New Jersey with Rena and her family while he had yet more tests.
Fifteen months later, the diagnosis of PSP was confirmed. And though he had feared it, for Dudley it was almost a relief, after four years of uncertainty, to put a name to what was wrong.
With hindsight it was obvious that some of the early signs had been his trouble with remembering lines on Streisand’s film set.
In October 1999, I visited Dudley in New Jersey, where he’d been living with Rena’s family — who helped care for him — for two years.
The house next door had come up for sale and he’d immediately snapped it up. Rena’s daughter had just moved in to help him and he’d also hired a cook/housekeeper.
The next few days were heart-wrenching as I saw the full devastation of Dudley’s illness. His speech had become slurred and his balance unsteady; he would often stumble while walking or climbing stairs, and had a tendency to fall backwards.
On top of that, his eyesight had become impaired. He was having trouble focusing and was suffering from double vision.
Taking part in conversation had become difficult. Sometimes he’d begin expressing a thought but would lose the thread before he could get it all out.
It was frustrating and enervating, and he found it easier to listen than to participate. ‘I’m trapped inside this body,’ he’d tell me. ‘It feels as if I have something on the tip of my tongue but I can’t quite get at it. I start to say something, but by the time I’ve said it, the rest of the thought has disappeared.’
I noticed he had three grand pianos in the house as well as the upright he’d learned on as a child — but he played only when no one was around.
He felt tremendous gratitude towards Rena and her husband Brian. ‘They are remarkable,’ he told me. ‘They’re like the family I’ve never had. I feel very comfortable here. Life is very quiet, nice and extremely supportive.’
Later, as Rena drove us home from lunch at a restaurant — a daily ritual — Dudley played his Songs Without Words CD. His eyes filled with tears as we listened to his evocative score from the film Six Weeks, arguably his most outstanding composition.
These days, he spent a great deal of time playing his own music, he said. Now that he could no longer play properly, listening had become his substitute.
He even watched his own movies, laughing at himself. It was the first time in his life that he’d felt able to sit back and genuinely appreciate his work.
‘I don’t visualise myself at concerts, and I’m not obsessed by images of myself at the piano,’ he said. ‘You get used to the idea of saying: “Goodbye, goodbye, practical world…”
‘But there are regrets. It’s very hurtful to realise that one can’t function in the same way ever again. So I just listen to my old records and feel it’s something unachievable by today’s standards, but it was achievable in the past.’ Before leaving, I asked if he’d play for me one last time.
To my delight, he launched into his exquisite Six Weeks score. No, it didn’t sound the same. But when he couldn’t sustain the classical sound, he suddenly transformed it into a moment of glorious improvised jazz.
Knowing that Bach and Ravel had written music specifically for the left hand, I asked him if he’d consider playing in public again.
He shook his head. ‘It’s not my bag. It’s maddening as it’s the one thing that I really regret saying goodbye to — the ability to play with two hands — but it’s impossible to get the hands together to play the right speed.’
At the end of my three-day stay, Dudley gave me a long, tight hug, his face puckered into that familiar boyish, pixie smile.
In his own way, he continued to fight back against his illness. He compiled a CD with Rena of a legendary concert he’d performed in 1992 at the Royal Albert Hall.
And with great courage, he agreed to give a charity performance in Philadelphia that November, in which he and Julie Andrews narrated American poet Ogden Nash’s Carnival Of The Animals.
With the help of his speech therapist, Dudley worked assiduously on the narration for several weeks. He was ecstatic to be facing an audience again — and they responded on the night with a standing ovation.
During his final few years, he was wrapped in the loving, protective cocoon provided by Rena’s family.
Life settled into a routine filled with speech and physical therapy, daily excursions to local restaurants, rented movies every evening, holidays at the family’s Nova Scotia hideaway and even a week’s cruise to Bermuda.
With them, Dudley was at last able to find the peace and contentment that had eluded him for so much of his life.
In the autumn of 2001, despite his increasingly frail condition, he came to Britain to receive a CBE from Prince Charles, who spent several minutes speaking with him. Afterwards, he caught up with old friends, including his first wife Suzy Kendall.
When he said goodbye to them all, he knew it was for the last time. At the end of March 2002, just a few weeks before his 67th birthday, Dudley lost the battle he’d so bravely fought for the past five years.
Adapted from Dear Dudley: A Celebration Of The Much-loved Comedy Legend by Barbra Paskin, published by John Blake on November 15 at £18.99. © Barbra Paskin 2018.
To order a copy for £15.19 (offer valid to 24/11/18; p&p free), visit www.mailshop.co.uk/books or call 0844 571 0640.
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Dusty Video Box: See Dudley Play… 30 Is a Dangerous Age, Cynthia (1968)
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“… the most exhilarating part of it all was the music, mainly because I could indulge quite wantonly in all sorts of styles that wer...
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http://dustyvideobox.blogspot.com/2020/10/see-dudley-play-30-is-dangerous-age.html
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“… the most exhilarating part of it all was the music, mainly because I could indulge quite wantonly in all sorts of styles that were variously required for the different parts of the film.” Dudley Moore for the 1969 issue of the soundtrack
One thing that gets my goat is the word “dated”. What does it really mean? Are people saying that just because something looks so much “of its time” that that’s a bad thing and also, shame on it for not having the foresight to take on board the sensibilities of future decades, for making the wrong choices about design and tone that would be just toe-curling in, say, fifty years’ time.
On a discussion board, one earnest fellow argued that Pink Floyd’s See Emily Play seemed to him to be “locked in the sixties, as psychedelic pop-rock…” but this is to view it in an un-historical way purely in the context of its relationship to a “now” it could never have seen coming. Syd’s Floyd were of their time – just as you and I are of ours – and you can still enjoy them for their musicality and the fact that they represent certain aspects of cultural style and musical development. Some of their choices may still be well regarded as they represent strands that not only influenced modern music but which also remain popular in of themselves. For instance, we still have indie guitar bands that play in similar ways even if they do not revere Syd Barrett, they’re making music that shares spirit and technique.
Any view on “dated” is purely subjective but you can’t get away from the fact that music made in 1967 was for 1967 and not intended to be still fresh and timeless in 2020. Yet as an emblem of progressive rock from that period The Pink Floyd remain outstanding and, on that level, I’m glad their creations are “dated” if you see what I mean?
Suzy Kendall in a psychedelic scene
How does this apply to Dudley Moore’s 30 Is a Dangerous Age, Cynthia then I hear you ask? Well, very much so in terms of the style of comedy as well as the fashions on display in terms of clothing, humour and the whole mise-en-scène: it is undeniably of its time and therefore 52 years “dated” in relation to now. So, I watched it because I wanted a film of this vintage, one that showed Dudley Moore striking out on his own without Mr Cooke and, yes, because it featured the sublime Suzy Kendall, then married to Dudley Moore. I also watched because I have the soundtrack to the film on vinyl – a mono original pressing from 1968 – and because this film features The Dudley Moore Trio in one superb scene, playing live and loving it.
For those who always feel somehow sorry for Dudley Moore, and that he was in some way overshadowed by his more edgy partner, here I present is the case against: one, he was the better actor, two he was a top-rank composer and musician and three, Suzy Kendall! Moore was over-laden with ability and whilst this film is not a five-star work of genius it is likeable, stylish and still funny representing that Oxbridge comedy that, Beyond the Fringe – and Footlights – is still informing today’s comedians, writers and film-makers not to mention our, seriously un-funny, politicians.
Dudley and the Trio
As it happens, in the context of ability versus achievement, the film is very much concerned with the illusion of false targets. Dudley plays an aspiring composer, Rupert Street (which leads up into Soho and many a club and bar…) who plays jazz for a living and who is determined to tick off certain key life goals before he turns 30. We see him at the start of the picture trying to arrange his marriage date before he has even found a woman to propose to. The registrar, played by Frank Thornton (latterly Captain Peacock) throws him out onto the streets of Marylebone where he imagines a leggy dolly bird as his, much taller, bride.
Rupert works at Jock’s Box run by Jock McCue (the excellent Duncan Macrae!) but he has agreed to write his first musical if, that is, he can get the whole thing written in the few months before, you guessed it, his 30th birthday. He’s manged by Oscar (Eddie Foy, Jr.), an old stager with a can-do attitude and carrying the ever-present threat of “hoofing” and, whilst the pressure is on, if Handel could The Messiah in six weeks, surely Rupert can cobble together a musical. Cue a drift into a dream of bewigged musical and marital success with accompanying musical pastiche that Moore was so adept at performing. He arrives back at his flat still in character, reading a copy of his buddy’s Private Eye (Peter Cook being one of the founding fathers) now there’s something that has remained current!
The sublime Suzy and Dud
Moore was 32 at the time and had missed this target himself by two years when he married the sublime Suzy Kendall who co-stars in the film as his seemingly unobtainable and impossibly lovely next-door neighbour Louise. He meets her as she’s having a telephone argument with Paul (Nicky Henson… always so convincing in these parts!) the latest in a long line of men who’s looks promise far more than their morality delivers. Dudley’s smitten but surely out of his league… but he’s soon daydreaming of Louise as a bride and himself as a shorter Rudolph Valentino in The Sheik, ready to whisk her away to his tent for an in-tents experience, or maybe Fred Astaire, or a cowboy or a stock-car racer?
Rupert’s imagination runs riot, but Louise invites him in for tea where he discovers that she is an artist who also teaches. He plays her one of his songs, which starts off with a fee upper class introduction before – in his head – they are transported to an ultra-modern discotheque, surrounded by appreciative scenesters as he bellows out an r n’ b (sixties style) song – The Real Stuff - and Louise go-go dances. Back in the room, they embrace and the improbable seems to be happening.
But still there is Paul and an altercation outside Jock’s Box leaves Rupert with a broken arm – and you should see the other fella… - which is set in plaster at 90 degrees making it impossible to play. With the pressure mounting from impresario Victor (Peter Bayliss) and his mysterious backers the Honourable Gavin Hopton (John Wells who co-scripted) and Captain Gore-Taylor (Jonathan Routh).
Old Hollywood in Victor's pad
Slightly discouraged by Louise’s need to find her own career path and the ever-dwindling timeline, Rupert heads off to Dublin for inspiration, hundreds of coffees and some more fantasy. Finally, he meets a mysterious story teller (Micheál MacLiammóir) who tells him of The Golden Legend of Erin, an Irish fairy tale he visualises as featuring himself and Louise with Jock playing the evil baddie who tries to separate the lovers.
He returns home and production starts but he now needs to find Louise who has seemingly disappeared in Birmingham. Will the lovers be re-united, will the play be any good, will John Bird turn up as northern PI with a Sam Spade fixation, Herbert Greenslade, years before Albert Finney in Gumshoe? Well, you’ll have to watch it to find out!
Dusty verdict: Released in March 1968 it already feels more like a 1966 film than a 1967 one, fashions and mood were changing so quickly and unevenly. It is a charming film that retains its humorous appeal thanks to both leads’ watchability and Dudley’s comedic restraint; he’s got more natural instinct here than many and his satire is always informed and gently effective.
His music is indeed among the best parts of the film from the delicious lines of Waltz for Suzy – proof enough of the couple’s affection even without the obvious chemistry between the two – to the quasi-orchestral Legend theme for the Irish tale. The score is an eclectic mix from the splendid folk pastiche of Madrigal to the big-band moods of The Detective, John Bird couldn’t have hoped for a more impressive musical signature. But what I enjoyed most of all was seeing Dud performing Rupert’s Romp, with his actual trio – Chris Karan on drums and Pete McGurk on double bass – at Jock’s Box. You can see them having an absolute blast and Dudley’s smile is the warmest and most genuine in the film and so is the watching Louise/Suzie… this is what they both knew he loved doing the most.
Joseph McGrath directs effectively and his supporting cast are superb with excellent work from Birkenhead’s finest Patricia Routledge and Larne’s Harry Towb as Rupert’s landlords as well as cameos from Clive Dunn as a Doctor (not butcher…) and Derek Farr as a TV announcer.
30 Is a Dangerous Age, Cynthia is sadly not available on digital release which is a shame as it’s a fine example of Dudley doing what he did best.
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Dudley Moore Movies and Shows
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Learn about Dudley Moore on Apple TV. Browse shows and movies that feature Dudley Moore including Foul Play, Arthur, and more.
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The son of working class parents, John Moore, a railway electrician, and Ada Francis (Huges), a secretary, Dudley Stuart John Moore was born in Dagenham, an industrial suburb in east London, England. From the start, life proved enormously challenging and tragic for the boy. Not only was he short in stature, but was born with two clubfeet, one of which never responded to corrective treatment. Ada was less than sympathetic to her son's handicap, making a point of telling him she had wished he had never been born, such was her disgust with his deformity. Music became a refuge for Moore, who blossomed into a prodigy on piano and organ at a young age; at age 14, he was playing the pipe organ at church weddings. His musical talents won him a scholarship to Magdalen College, Oxford, where by day, he studied the organ and composition, and performed at jazz clubs and cabarets in the evening. Moore soon developed a following in nightclub circles and began performing with such seasoned players as musician John Dankworth and singer Cleo Lane. He also explored acting and comedy through a friend and fellow Oxford student, Alan Bennett, with whom he performed in the famed Oxford Revue Comedy Group.Bennett also gave him his first brush with fame by referring him to producer John Bassett, who was assembling a comedy revue called "Beyond the Fringe." The satirical sketch show introduced Moore and Bennett to Peter Cook and Jonathan Miller, who had made a name for themselves as comic talents at Cambridge. "Beyond the Fringe" became a sensation in England for its surreal and often biting humor, which targeted political and military figures as absurd and often dangerous personalities. Moore soon had to abandon his music career to perform with "Fringe," which eventually made its way to New York, where he and his castmates won a special Tony Award in 1963. Its impact upon British and American comedy was far-reaching, and could be felt in such later efforts as "Monty Python's Flying Circus" (BBC, 1969-1974), "Mr. Show" (HBO, 1995-98) and "The Kids in the Hall" (CBC, 1988-1994/NBC, 1995-98). After "Fringe's" spectacular run, Moore returned to England, where he was given his own television series, "Not Only But Also" (BBC, 1964-1970). Moore invited Cook to join him as his guest on the series, but their comedic repartee proved so popular with audiences that it soon became the focus of the show. Their most popular sketches were a series of conversations, dubbed the "Dagenham Dialogues," with Moore and Cook playing working class men Pete and Dud, who discussed everything from high art and motion pictures to the life span of geckos without a single informed idea on the subject. Moore and Cook would frequently record an improvised version of the sketch prior to air time, and deviated wildly from the material while performing live on the air. The highlight of most "Dagenham Dialogues" was Cook's wholehearted attempts to make Moore break into gales of infectious laughter, much to the audience's delight. Sadly, most of the episodes of "Not Only But Also" were destroyed during the BBC's frequent eliminations of what they considered outdated programs.Moore and Cook's popularity soon translated into a film career, beginning in 1966 with "The Wrong Box," Bryan Forbes' broad all-star adaptation of a Robert Louis Stevenson novel about a group of eccentrics vying for a vast fortune. Cook and Moore played the villainous cousins of star Michael Caine, who thwarted their schemes at every turn. The duo were front and center for their next screen effort, "Bedazzled" (1967), a biting and frequently surreal black comedy about a lovelorn short order cook (Moore) who sells his soul to the Devil (Cook) in exchange for the heart of the woman (Eleanor Bron) he loves. Moore co-wrote the film's script with Cook, as well as its pop-psychedelic score. A misfire upon its release, the Stanley Donen fantasy-comedy eventually developed a devoted cult following.Moore took a solo turn as star, co-writer and composer of "30 is a Dangerous Age, Cynthia" (1968), a harmless romantic comedy co-starring his first wife, actress Suzy Kendall, before reuniting with Cook for "The Bed-Sitting Room" (1969), comic Spike Milligan's bizarre and hauntingly surreal comedy about survivors in a post-apocalyptic London. The duo's movie fortunes faltered after a string of failed pictures, including the period comedy "Monte Carlo or Bust" (1969), so they took to the road with a stage show called "Behind the Fridge," which was built around their best "Not Only But Also" sketches. The production won a Tony Award, but Cook's growing dependency on alcohol put a severe strain on their working and personal relationships. To ease tensions, Cook would frequently book a recording studio and improvise routines with Moore as Derek and Clive, who were a besotted variation on Pete and Dud. The rambling, frequently profane dialogues eventually made their way onto bootleg record releases, beginning with 1976's Derek and Clive (Live). The duo also reunited for a final comedy film, but the result was a dismal and crass comic take on "The Hound of the Baskervilles," with Cook as the master detective and Moore as Dr. Watson.Meanwhile, across the pond, Moore had landed a supporting role in "Foul Play" (1978), a romantic comedy-mystery starring Chevy Chase and Goldie Hawn. Though his role was supporting, Moore made the most of his character, a diminutive lothario blissfully unaware of his lack of appeal. The performance earned him a Golden Globe nomination for Best Supporting Actor, and launched his career as a solo performer in the United States. The following year, Moore's star ascended even further with "10" (1979), a smart and sexy comedy about a middle-aged composer who leaves his longtime girlfriend (Julie Andrews) for a fantasy woman (Bo Derek). Initially envisioned as a project for George Segal, Moore delivered a winning performance that perfectly balanced the romantic and dramatic aspects of his role with the more outrageous slapstick moments. A major hit with moviegoers, it established Moore as a leading man and made Bo Derek and overnight sex symbol. Around this time, he also developed a reputation as an unlikely ladies' man, enjoying lengthy relationships with such beauties as the towering actress-model Susan Anton and Tuesday Weld, whom he married in 1975 and divorced in 1980. As Moore's star rose in Hollywood, he was mortified to discover that the Derek and Clive albums had developed a cult following among comedy listeners. Nevertheless, he relented to recording a final collection of routines with Cook, which was also filmed for a documentary. The resulting picture, "Derek and Clive Get the Horn" (1979), showed both the best and worst aspects of their relationship: Cook was still able to reduce Moore to peals of laughter, but also displayed a streak of angry jealously over his partner's solo success, and delivered a stinging personal attack that drove Moore from the studio and closed the door on their relationship for years.Moore returned to features with "Wholly Moses!" (1980), a dismal Biblical comedy about a reluctant Old Testament prophet, but rebounded with "Arthur" (1981), a sparkling, old-fashioned romantic comedy about an alcoholic playboy who falls for a shoplifter (Liza Minnelli). A major hit in the summer of 1981, its success was due entirely to Moore's ebullient performance, which captured both the manic, childlike glee of his character and the long-simmering hurt of a man forgotten by a father who pawned him off on a frosty valet (John Gielgud). Moore received a Golden Globe for his iconic turn, as well as an Oscar nomination. Sadly, it would also serve as the beginning of the end of his film career.Moore's next project, a melodramatic romantic comedy called "Six Weeks" (1982), was largely dismissed by critics and viewers, as were "Lovesick" (1983) and "Romantic Comedy" (1983). He rebounded briefly with "Micki + Maude" (1984), which reunited him with Blake Edwards for a giddy comedy about a reporter (Moore) who juggles relationships with his wife (Ann Reinking) and mistress (Amy Irving), both of whom are pregnant. The film earned Moore a Golden Globe award, and seemed to signal a comeback, but a 1984 remake of Preston Sturges' "Unfaithfully Yours" (1948) and "Best Defense" (1984), a military comedy with Eddie Murphy, were both failures. During this period, Moore was offered "Splash" (1984), but unwittingly launched Tom Hanks' movie career by turning it down.By 1985, Moore's star was on the wane. The expensive, effects-laded fantasy "Santa Claus: The Movie" (1985) received a blockbuster publicity build-up, but failed at American box offices. Follow-ups, including "Like Father Like Son" (1987) and even "Arthur II: On the Rocks" (1988) met similar fates, but a even more troubling problem was developing for Moore. He found himself struggling to remember lines and even keep his balance on movie sets and in public, which the press interpreted as a drinking problem, a la Arthur. Frustrated, he poured his energies into playing the piano and composing, and developed a pair of television miniseries, 1991's "Orchestra!" and 1993's "Concerto for Showtime that introduced viewers to the sections of a classical orchestra and the concerto, respectively. But his physical ailments continued to haunt him, and eventually hampered his ability to perform live. He returned briefly to feature films, but the results, including 1990's "Crazy People," failed to revive his career. Moore then tried his hand at television with a pair of sitcoms, but neither "Dudley" (CBS, 1993) or "Daddy's Girls" (CBS, 1994) lasted a single season. He would make one final one-camera appearance, in the 1995 comedy-documentary "The Disappearance of Kevin Johnson," before the ailments that had been plaguing him took over his life. Moore was devastated by the news of his old partner Peter Cook's death in 1995, and fellow mourners at his funeral noted that Moore himself seemed gravely ill. Most attributed it to drinking or the personal problems that had overwhelmed his life; his fourth marriage to Nicole Rothschild had been marred by a 1994 arrest for alleged domestic abuse. He struggled to get through a 1996 music tour of Australia, and made headlines for losing the lead role in "The Mirror Has Two Faces" (1996) because of his inability to remember his lines. The following year, Moore underwent quadruple bypass surgery, which preceded four minor strokes. He recorded his final performance as the legendary King Kong and his discoverer, Carl Denham, in the animated feature "The Mighty Kong" (1998) before announcing that he was suffering from progressive supranuclear palsy, a rare and terminal degenerative brain disease that had produced the symptoms that had plagued him for years.Moore's condition quickly deteriorated, leaving him mute and wheelchair bound. Onlookers were shocked by his appearance at a 2001 ceremony at Buckingham Palace, where he was made a Commander of the Order of the British Empire. The following year, Moore succumbed to pneumonia on March 27, 2002. His work with Cook received numerous tributes in the years that followed, most notably the 2004 television drama "Not Only But Always" (Channel 4) and the stage play "Pete and Dud: Come Again" (2005). When "Arthur" (2011) was remade with British comic Russell Brand in the quintessential Moore role, it sparked interest in the 1981 film, as well as defense of the late actor as the only actor to truly deliver the goods in that particular role.
|
||||
26157
|
yago
|
1
| 82
|
https://www.culturaldaily.com/remembering-dudley-moore/
|
en
|
Remembering Dudley Moore
|
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""
] | null |
[
"Elisa Leonelli"
] |
2020-07-08T13:43:16-07:00
|
I was still living in my hometown of Modena when I first saw Bedazzled (1967), the irreverent British comedy directed by Stanley Donen, so it was dubbed in Italian and titled Il mio amico diavolo, but I found it wickedly delicious. Peter Cook played the devil who, helped by the seven deadly sins, offers seven
|
en
|
Cultural Daily - Independent Voices, New Perspectives
|
https://www.culturaldaily.com/remembering-dudley-moore/
|
I was still living in my hometown of Modena when I first saw Bedazzled (1967), the irreverent British comedy directed by Stanley Donen, so it was dubbed in Italian and titled Il mio amico diavolo, but I found it wickedly delicious. Peter Cook played the devil who, helped by the seven deadly sins, offers seven wishes to a young cook, Dudley Moore, in exchange for his soul.
It was a dream come true when, many years later, in November 1980, after I had moved to Los Angeles and was working as a photo-journalist, I was entrusted with the assignment to photograph Dudley Moore in his Marina Del Rey home for the magazine Intro. By then the success of the film Ten (1979) directed by Blake Edwards with Bo Derek and Julie Andrews had made him a movie star in America. Dudley was game and posed for my Nikon cameras in every room of the house against various backdrops, that I had lit with my portable Norman 200B strobe diffused with an umbrella and captured on vibrant Kodachrome. He changed his clothes from a yellow sweater to a green one, he made funny faces and gestures, he was delightful and sweet. The published article’s headline was his nickname “Cuddly Dudley.”
I interviewed Dudley for Arthur (1981) with Liza Minnelli, for Six Weeks (1982) a drama directed by Tony Bill, for Micki and Maude (1984) by Blake Edwards. I photographed him at the Golden Globes in 1982, when he won Best Actor for Arthur, accompanied by his girlfriend Susan Anton, and at the Oscars in 1988.
I was familiar with his work as an actor and had a real fondness for Dudley, but only recently I read the 2004 biography by Rena Fruchter, Dudley Moore: An Intimate Portrait, and learnt more about his seven year battle with the rare neurological disease PSP (Progressive Supranuclear Palsy) that took his life on March 27, 2002 at age 66. He was married four times, to Suzy Kendall (1968-1972), to Tuesday Weld (1975-1980) with whom he had a son, Patrick, to Brogan Lane (1988-1991), and to Nicole Rothschild (1994-1998) with whom he had another son, Nicholas. He was a classical concert pianist and performed at Carnegie Hall, he composed music, including the soundtracks for Bedazzled and Six Weeks.
When asked about the comedians that make him laugh, he mentions Peter Sellers, Marcel Marceau, Jacques Tati, Fernandel, Terry Thomas, John Cleese, Alistair Sim, Bob Hope, Jerry Lewis, Steve Martin, Bill Murray.
On religion: “My father’s great interest in life was the Church. I spent time as a choirboy from the age of 6, and I was struggling with the idea of God and religion for a long time when I was young. But I’ve now abandoned it, which is a great relief. The essence of people as they are is enough for me.”
On marriage: “l’m not against it. It’s a nice and cozy gesture to make with somebody. lt’s saying that you really like to be with that person. If you expect it to be any more than that, you might get into trouble. Promises of lifelong trust are very dangerous things.”
|
|||||
26157
|
yago
|
3
| 62
|
https://pocketmags.com/ca/prog-magazine/issue-152/articles/1447555/magic-fig
|
en
|
MAGIC FIG
|
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[] |
[] |
[
""
] | null |
[] |
2024-08-02T00:00:00
|
Transportive psych prog. Take a bite and wait for them to kick in.
|
https://pocketmags.com/ca/prog-magazine/issue-152/articles/1447555/magic-fig
|
M indful of their native San Francisco Bay Area’s psychedelic past, yet also influenced by everyone from Caravan to Claude Debussy, Magic Fig’s debut EP fizzes with avant-pop wonder, with hook-laden, surrealist adventures such as Goodbye Suzy and Obliteration certainly following Alice down the rabbit hole. Moog synth, harpsichord, meaty plectrum bass and bucolic woodwind are among the ingredients prepped to evoke the childlike wonder and magical, hallucinatory worlds successfully summoned. Singer Inna Showalter’s imperturbable coolness is her strength; reportage not showy emotion is very much her thing as she tells of ‘daisy chains all wilted in the heat.’
With keyboardist Jon Chaney, bassist Matthew Ferrara and drummer Taylor Giffin completing this crack team drawn from Bay Area psych and garage bands, such as The Umbrellas and Almond Joy, the pooled talent on show is formidable, while producer Joel Robinow (Once & Future Band; Howlin’ Rain) brings everything into glorious colour. Fans of Jellyfish, Soft Machine and The Seeds Of Love-era Tears For Fears will be very well served.
|
|||||||
26157
|
yago
|
2
| 4
|
https://www.gettyimages.com/photos/suzy-kendall
|
en
|
Getty Images
|
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Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.
|
de
| null | |||||||
26157
|
yago
|
2
| 18
|
https://www.alamy.com/stock-photo/suzy-kendall.html
|
en
|
res stock photography and images
|
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[
"Alamy Limited"
] | null |
Find the perfect suzy kendall stock photo, image, vector, illustration or 360 image. Available for both RF and RM licensing.
|
en
|
Alamy
|
https://www.alamy.com/stock-photo/suzy-kendall.html
|
Alamy and its logo are trademarks of Alamy Ltd. and are registered in certain countries. Copyright © 21/08/2024 Alamy Ltd. All rights reserved.
|
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26157
|
yago
|
0
| 95
|
https://www.latimes.com/archives/la-xpm-2002-mar-28-me-moore28-story.html
|
en
|
Dudley Moore, 66; Comic Actor, Musician
|
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[
"SUSAN KING",
"ROBERT W. WELKOS",
"www.latimes.com"
] |
2002-03-28T00:00:00
|
Dudley Moore, the elfin, Oxford-educated comic actor who used biting wit, physical pratfalls and on-screen vulnerability to tap into the good-natured debauchery of the times in hit films such as "10" and "Arthur," died Wednesday at his home in Plainfield, N.J., after a long, debilitating illness.
|
en
|
/apple-touch-icon.png
|
Los Angeles Times
|
https://www.latimes.com/archives/la-xpm-2002-mar-28-me-moore28-story.html
|
Dudley Moore, the elfin, Oxford-educated comic actor who used biting wit, physical pratfalls and on-screen vulnerability to tap into the good-natured debauchery of the times in hit films such as “10” and “Arthur,” died Wednesday at his home in Plainfield, N.J., after a long, debilitating illness. He was 66.
The 5-foot, 21/2-inch, British-born funny man died of pneumonia as a complication of progressive supranuclear palsy, according to his publicist in Los Angeles.
Moore had been diagnosed with the degenerative, Parkinson’s-like disease in 1997. The rare brain disorder causes severe problems with walking and balance, and is triggered by the death of cells in a small area of the brain stem. Although the disease is not fatal, sufferers such as Moore are predisposed to develop illnesses such as pneumonia.
In recent months, Moore, a composer and accomplished pianist who early in his career found fame on stage by teaming with the late Peter Cook for a comedy revue called “Beyond the Fringe,” had trouble communicating.
His last public appearance was in November at London’s Buckingham Palace as Queen Elizabeth conferred upon him one of the United Kingdom’s highest honors for entertainment, the insignia of Commander of the Most Excellent Order of the British Empire.
But while his mind was ever alert, Moore’s body had been robbed of its vitality.
“He had a very debilitating disease,” said his friend Tony Bill, who had directed the actor in one of his rare dramas, “Six Weeks,” and the comedy “Crazy People.” Bill said Moore’s “mental powers had not been affected,” but he was forced to watch himself “wasting away.”
“That was the tough thing,” said Lou Pitt, Moore’s agent of more than 25 years. “He could receive all the information ... but couldn’t express it.”
Divorced four times, Moore had been living with his friends pianist Rena Fruchter and her husband, Brian Dallow.
During his heyday in the early 1980s, Moore commanded $2 million a picture, an impressive fee in those days. But by 1999, he was forced to sell his beloved house in Marina del Rey.
With his shaggy mane, sly grin and even a pixieish twinkle in his eyes, Moore became an unlikely movie sex symbol.
“He was physically funny and adorable and kind of sexy,” said Rita Rudner, who co-wrote and starred with Moore in his last movie, “Weekend in the Country” in 1996.
It was Blake Edwards who turned Moore into a comic giant by casting him in the hit 1979 film “10.” Moore played a successful composer suffering a midlife crisis who, driving through Beverly Hills one day, spots a perfect vision of beauty on her way to her wedding. He then follows the blond-braided beauty played by Bo Derek to Mexico on her honeymoon.
On Wednesday, Derek said, “He was wonderful to work with, and when he wasn’t making you laugh with his comedy, he was making you cry with his music,” she said. The last time she saw him was at a tribute concert to him last April at Carnegie Hall.
In a statement issued by Edwards and his wife and Moore’s “10” co-star Julie Andrews, they expressed sadness over the passing of the comedian, who they described as a “rare human being who brought warmth and joy to all who knew him.”
Two years after he found international stardom in “10,” Moore received his first and only Oscar nomination for best actor in the blockbuster comedy “Arthur.” He played a rich, lovable lush opposite Liza Minnelli’s stable but poor Italian waitress and Sir John Gielgud in his Oscar-winning role for best supporting actor as his faithful manservant.
Minnelli said in a statement Wednesday that she was deeply saddened by her co-star’s death. “He was a unique individual who was multitalented,” she said. “He could make the world laugh and brought joy to millions.”
But Moore was unable to sustain his box office appeal because of a series of misfires, including “Unfaithfully Yours” and “Blame it on the Bellboy.” And in the early 1990s, he made two unsuccessful attempts at his own TV series, with “Dudley” in 1993 and “Daddy’s Girl” in 1994.
Throughout his film and TV work, however, he never abandoned his musical career, performing as a guest artist with several symphonies, including the Los Angeles Philharmonic, and developing and co-hosting with conductor Sir Georg Solti the Showtime series “Orchestra!” He even issued a CD of his music titled “Dudley Moore--Live from an Airplane Hangar” in 2000 to raise money for research on his debilitating disease.
Dudley Stuart John Moore was born April 19, 1935, in less than affluence in Dagenham, Essex, England, to a railway engineer father and a Christian Scientist typist mother. Born with a club foot and withered right leg, Moore eventually underwent a series of corrective operations.
Pitt said he doubted Moore ever got over his childhood feelings of inadequacy over his early physical woes, saying they lingered with him like an “albatross” that he kept private for years.
Music freed him, however. At the age of 6, Moore began studying piano and later the violin, harpsichord and organ. After graduating from Dagaenham County High School, he attended Guidhall School of Music and Drama in London and then vaulted over his lowly station by gaining entrance to Magdalen College at the University of Oxford in Oxford, England, on an organ scholarship. By the time he left in 1958, he was a composer for local cabarets.
He also was an excellent jazz pianist and recorded an album with the great jazz singer Cleo Laine. In his later years, Moore performed at the Hollywood Bowl, appearing in groups with top jazz players such as bassist Ray Brown.
Fame came in 1961, when Moore teamed on the London stage with three other Oxford graduates--Cook, Jonathan Miller and Alan Bennett--in the antic but sophisticated musical and comedy revue “Beyond the Fringe.”
The show was an instant hit, playing for four years, first in London and then on Broadway. Afterward, Moore and Cook became a popular team doing a TV series and five movies, including their outrageous 1967 spin on the Faust legend, “Bedazzled,” which featured Raquel Welch as Lust (and remade in 2000 with Brendan Fraser and Elizabeth Hurley).
They returned to the Broadway stage in the mid-’70s with their award-winning comedy revue “Good Evening,” which featured the famous sketch about an eatery that only served frogs and peaches.
Moore recalled his relationship with Cook as “stormy.”
“We always got along well together when we were alone, but sometimes when other people were around, there was competition,” Moore said in a 1983 interview. “He was bored with my desire to please, and I scorned his relentless and perverse cynicism.”
In 1977, they parted company and Moore headed west to Hollywood to star in the Goldie Hawn-Chevy Chase comedy “Foul Play,” in which he played a randy opera conductor.
Moore’s private life was a turbulent series of broken relationships and marriages. His former wives included British actress and model Suzy Kendall, American film star Tuesday Weld, Brogan Lane and Nicole Rothschild.
In 1994, Moore was arrested on suspicion of domestic abuse after Rothschild claimed that he struck her. He was investigated but charges were never lodged and they married a month later. They separated in May 1986, reconciled briefly, then in 1997 separated again and eventually divorced.
In the mid-1990s, Moore began to suffer severe memory lapses and was fired from Barbra Streisand’s film “The Mirror Has Two Faces.”
In his last film, “Weekend in the Country,” Rudner said she knew there was something terribly wrong with Moore. “He had problems remembering things and we used to go through scenes over and over.”
On a concert tour of Australia in 1996, Moore was criticized in the media for appearing drunk, staggering and speaking incoherently. The next year, he was admitted to the Mayo Clinic for neurological tests, but while there the doctors found a hole in his heart that required surgery. The doctors then diagnosed him with PSP.
“It’s totally mysterious the way this illness attacks and eats you up and spits you out,” Moore said in a December 2000 interview. “I did get angry, but there’s not much point in being angry. There’s always a feeling, ‘Why did it hit me?’ And I can’t make peace with it because I know I’m going to die from it.”
Arthur Hiller, who directed Moore in the 1983 film “Romantic Comedy,” recalled the last time he saw his friend.
“It was a year or two ago that he came out here [to L.A.] to close things up, and Lou Pitt, his agent, had a Sunday afternoon get-together,” Hiller said. “There were about 40 or 50 of us and we were just saying hi and goodbye. We were happy to see him, but it was so sad to see this warm and talented ... person having difficulty even communicating.”
Moore is survived by two sons, Patrick, by Weld, and Nicholas, by Rothschild; and his sister, Barbara Stevens. Funeral and memorial services were pending.
Donations in Moore’s memory can be made to Music for All Seasons and the Dudley Moore Research Fund for PSP.
|
||
26157
|
yago
|
1
| 61
|
https://ironleg.wordpress.com/2009/01/18/dudley-moore-the-real-stuff-1/
|
en
|
Dudley Moore – The Real Stuff (+1)
|
http://helium.lunarpages.com/~funky4/pictures/ironleg/dudleymoore-1.jpg
|
http://helium.lunarpages.com/~funky4/pictures/ironleg/dudleymoore-1.jpg
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2009-01-18T00:00:00
|
Dudley Moore Listen - Dudley Moore - The Real Stuff - MP3 Listen - Dudley Moore Trio - Unknown Tune from '30 Is a Dangerous Age Cynthia' - MP3 Greetings all. I hope the beginning of a new week finds you all well. This week is the beginning of something major for yours truly (stop…
|
en
|
https://s1.wp.com/i/favicon.ico
|
Iron Leg
|
https://ironleg.wordpress.com/2009/01/18/dudley-moore-the-real-stuff-1/
|
Dudley Moore
Listen – Dudley Moore – The Real Stuff – MP3
Listen – Dudley Moore Trio – Unknown Tune from ’30 Is a Dangerous Age Cynthia’ – MP3
Greetings all.
I hope the beginning of a new week finds you all well.
This week is the beginning of something major for yours truly (stop by Funky16Corners for the whole story), that will in all likelihood lead to a less stressful life (which can only be good for the blogging and the creativity and what not).
All of this turmoil makes me want to start the week with something unusual, so, here we go.
Though I suspect that very few of you have never heard of Dudley Moore, I’m pretty sure that a lot of you have no idea that alongside his career as an actor and comedian, he was also a successful musician and composer.
Moore was an accomplished jazz pianist (he recorded in that capacity for several labels) and wrote and performed music for a number of his movies.
The tune(s) I bring you today hail from the soundtrack of the 1967 film ’30 Is a Dangerous Age Cynthia’ in which Moore starred with his future wife Suzy Kendall. Oddly enough, roundabout 20 years ago, when I had my first apartment, this movie was a fixture on Cinemax and I remember watching it several time, and digging the soundtrack. There was one tune in particular that I fell in love with.
It was only recently that I managed to grab a copy of the soundtrack album (after winning the 45 of two of the songs, and having it disappear in the mail). So, the album pops through the mail slot, makes it onto the turntable, and lo and behold the song I was looking for turns out not to have been included on the soundtrack!
There are some cool tunes – including the groovy ‘The Real Stuff’ which I’m posting today – but the instrumental I remembered was nowhere to be found.
So, I set out on the interwebs, and without to long a search happened upon a clip of this very song on Youtube. I put my considerable digi-ma-tization talents to work and created an MP3 (thanks to whoever posted the film clip, which had fairly decent fidelity), and I’m posting it today.
Unfortunately, no one seems to know what the song is called. As I said it’s not on the soundtrack LP, and as far as I can tell isn’t listed in the credits to the film. It may very well be something the Dudley Moore Trio recorded on a studio album, but if that’s the case, I don’t have it.
If anyone knows what it is I’d love to know. Until then, it remains the “unknown song” from ’30 Is a Dangerous Age Cynthia’.
The “known” commodity in today’s post, is the aforementioned ‘Real Stuff’. Moore starts things off in a comedy style, with a tip of the hat to 1920s English pop, taking a sharp left turn into New Orlean-style piano and wild vocals.
I hope you dig both tunes, and I’ll be back later in the week with something even more unsual.
Peace
Larry
PS Head over to Funky16Corners for something spiritual from Louis Armstrong (Yes, Louis Armstrong…)
|
||
26157
|
yago
|
3
| 78
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https://www.famousfix.com/list/celebrities-with-first-name-suzy
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en
|
List of Celebrities with first name: Suzy
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The list "Celebrities with first name: Suzy" has been viewed 294 times.
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Bae Suzy South Korean singer and actress (born 1994)
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Bae Su-ji (Hangul: 배수지; born October 10, 1994), better known by the mononym Suzy, is a South Korean singer and actress. She was a member of the girl group Miss A under JYP Entertainment.
Musicians from Gwangju · 29T
Actors from Gwangju · 34T
South Korean web series actresses · 227T
Suzy Kendall Actress
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Suzy Kendall (born Freda Harriet Harrison, 1 January 1944; some sources indicate 1937) is a retired British actress best known for her film roles in the late 1960s and early 1970s.
English film actresses · 2,039T
People from Belper · 41T
1944 births · 12,642T
Suzy Parker actress and model
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Suzy Parker (born Cecilia Ann Renee Parker; October 28, 1932 – May 3, 2003) was an American model and actress active from 1947 into the early 1960s. Her modeling career reached its zenith during the 1950s, when she appeared on the covers of dozens of magazines and in advertisements and movie and television roles.
People from Long Island City, Queens · 51T
Burials at Santa Barbara Cemetery · 44T
Actresses from San Antonio, Texas · 39T
Suzy Bogguss American singer-songwriter (born 1956)
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Susan Kay Bogguss (born December 30, 1956) is an American country music singer and songwriter. She began her career in the 1980s as a solo singer. In the 1990s, six of her songs were Top 10 hits, three albums were certified gold, and one album received a platinum certification. She won Top New Female Vocalist from the Academy of Country Music and the Horizon Award from the Country Music Association.
Proper Records artists · 57T
20th-century American women guitarists · 83T
20th-century American women musicians · 816T
Suzy Kolber American football sideline reporter, co-producer, and sportscaster
0 0
Suzy Kolber (born 1963 or 1964) is an American football sideline reporter, co-producer, and sportscaster, best known for her work with ESPN. She was one of the original anchors of ESPN2 when it launched in 1993. Three years later, she left ESPN2 to join Fox Sports, and rejoined ESPN in late 1999.
Television personalities from Philadelphia · 59T
ESPN people · 369T
American women television journalists · 730T
Suzy Chaffee Former Olympic alpine ski racer
0 0
Suzanne Stevia "Suzy" Chaffee (born November 29, 1946) is a former Olympic alpine ski racer and actress. Following her racing career, she modeled in New York with Ford Models and then became the pre-eminent freestyle ballet skier of the early 1970s. She is perhaps best known by the nickname, Suzy Chapstick, from the 1970s, when she was a spokesperson for ChapStick lip balm.
American female freestyle skiers · 65T
Actresses from Vermont · 26T
People from Rutland (city), Vermont · 48T
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New Movies: Suzy’s Two: Cynthia & Junction
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A line in one of her films describes her as "34, 21, 35, no visible scars," which is like calling the Thames moist. Suzy Kendall has the kind of legs microskirts were made for. Her...
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A line in one of her films describes her as “34, 21, 35, no visible scars,” which is like calling the Thames moist. Suzy Kendall has the kind of legs microskirts were made for. Her angular, wide-eyed face nourishes a secret smile and a sensuality that can express itself in a dozen minor keys. Like so many other bright, blonde British birds, she invites comparison with Julie Christie; but in nine films so far, Suzy, now 30, has begun to shape a screen personality all her own. She first drew U.S. viewers’ notice as Sidney Poitier’s admiring teacher friend in To Sir, with Love, then as the terrorized hostage of The Penthouse. In her two latest films, she displays a widening range, an ability to mix comedy, glamour and poignancy, that eerily evokes memories of her late namesake, Kay Kendall.*
Thirty Is a Dangerous Age, Cynthia is a vanity fair devoted to showing off the talents of Comic-Pianist Dudley Moore, the bedeviled star of Bedazzled and Beyond the Fringe (and Suzy’s offscreen escort). This time he plays a 29-year-old jazzman born under the sign of Virgo who worries that “if you don’t make it by the time you’re 30, you’ll never make it.” Before reaching that climacteric, he resolves to write a hit musical and get married. Moore manages to do both—and do them comically—thanks in large part to Suzy Kendall’s role as the straight girl next door who alters his horoscope.
In such a plotless exercise, the film relies much too heavily on the hero’s gnomish appearance and musical abilities: at one point the camera stands still while Moore’s trio swings through a long and not very interesting jazz number. Miss Kendall’s absurd composure seems more daft and deft than the muggings and pratfalls of the near-hysterical comedians around her.
Up the Junction shouts the ancient news that the rich are different from the poor: they have more money. Into broken-down Battersea comes the classy Kendall, searching for herself. In a few days she finds a factory job, a frowzy flat and a blond boy friend. The appalling squalor of the slums appeals to Kendall, largely because it seems to have the beat of life that was missing from her deadly home across the river in wealthy Chelsea.
Suzy soon gets an acrid whiff of reality when a new-found girl friend at the factory finds herself pregnant. The girl nearly dies at the hands of a drunken abortionist, then recovers and gets engaged to the boy responsible for her trouble. The night of their engagement party, he is knocked off his motorcycle by a lorry and dies in the street; a tragedy has its echo in Kendall’s life when her own lover steals a car for their vacation and gets sent down for six months. “I’d much rather have taken the bus,” she pleads, lending dignity to a line that, spoken by another actress, might have seemed only maudlin.
Junction is stained with the sooty slum aura that marks much of Poor Cow (TIME, Feb. 9), and with good reason. Both films were adapted from books by Novelist Nell Dunn. Though the story too often has the quality of pulpy sociology, Junction is saved from indistinction by Director Peter Collinson’s extraordinary spirit of place, and by Suzy Kendall’s chameleonlike ability to look and sound like ten different women in the course of a single film.
*No kin; Suzy’s real name is Freda Harriet Harrison.
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Dangerous affairs, violent attacks and boozing - Minder legend Dennis Waterman's wild life in his own words
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[
"The Sun"
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2022-05-09T22:04:13+01:00
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DENNIS WATERMAN lived his life in showbiz – and what a life it was.The youngest of nine kids growing up on a council estate in Putney, South London,
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en
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The Sun
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https://www.thesun.co.uk/tv/18513440/dennis-waterman-affair-attack-booze/
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DENNIS WATERMAN lived his life in showbiz – and what a life it was.
The youngest of nine kids growing up on a council estate in Putney, South London, he went from child actor to national treasure, playing tough guys in two of Britain’s most successful TV series – The Sweeney, alongside John Thaw, and Minder, with George Cole as Arthur Daley.
Dennis, who died on Sunday aged 74, spent 12 years on crime drama New Tricks, as retired cop Gerry Standing.
Away from the cameras, the headlines revolved around Dennis’s affair and turbulent relationship with his Minder co-star Rula Lenska in the Eighties.
Here, using his own words, we bid a fond farewell to a telly great.
ON PARENTS ROSE AND HARRY
DENNIS’S mum Rose made curtains for a living, while Harry was an upholsterer who became a ticket collector at Clapham Junction station.
The youngest of nine, Dennis said: “I was a big surprise.
"I was spoiled rotten. I was golden b*****ks.
"I remember looking at other people’s mothers, thinking, ‘She’s tasty’ as they were 30 years younger than mine.”
ON BEING A CHILD ACTOR
“WE became 30-year-olds before we were 12.
"You’d hear kids say, ‘Oh I’ve got a wonderful part in . . . ’ and I’d think, ‘You should be talking about football’, which I was.
“I did a year in (stage musical) The Music Man.
"I went to school in the daytime, then straight to the theatre and back home on my own about 11pm.
"It was a long leafy black lane before we got to our flats.
“My sister said she knew how frightened I was by how loud I whistled.”
ON DATING DUD’S GIRL
AT 19 Dennis secretly dated Dudley Moore’s girlfriend, actress Suzy Kendall — his co-star in 1968 film Up The Junction.
He said: “We met up everywhere, sometimes risking meeting in the flat she shared with Dudley.
“One afternoon I had the effrontery to be playing Dudley’s piano when he walked in. I don’t think he suspected anything.
"He was the hottest thing in London — why should he fear a callow 19-year-old working with his bird?”
ON MEETING HELEN MIRREN
THE two met while acting at the Royal Court theatre, between 1965 and 1968.
Dennis recalled: “Oh God, she was tasty. It was like Marilyn Monroe walking into the room.”
As for his acting abilities, he said: “Well, The Sweeney and Minder, one has to say, I could have done in my sleep.
"Although I hate saying that because it is harder than people think to make yourself look like a normal person.
"They were very successful programmes and at that time, if you were popular, you were considered to be not very good.”
ON GETTING THE ACTING BUG
“MY oldest sister, Joy, ran her own amateur dramatics society and dragged us all in.
"My mother played piano a bit, the East End knees-up job, but I don’t really know where it all came from.
"I’d failed my 11-plus — I don’t know how, I wasn’t stupid, but obviously didn’t think it was that important.
" Another one of my sisters met some people who went to Corona (the West London theatre school where he trained) and suggested I have a go at that.
"I went along and had a smashing time."
WHAT HE TOLD HANNAH AT 14
HIS daughter Hannah played Laura Beale in EastEnders from 2000 to 2004.
When she was 14, Dennis gave her some worldly advice and recalled: “I was worried I wasn’t much of a role model.
“I said, ‘You’ve seen how I live — the drinking, the smoking and the various other things I get up to.
“Well, you don’t have to be the same. In fact, it might be a very good idea not to drink as much as I do, to smoke as much as I do — to do anything I do, as much as I do!”
ON FALLING FOR RULA LENSKA
DENNIS fell in love with Rula Lenska, who went on to become his third wife, while he was married to actress Patricia Maynard and she was married to actor Brian Deacon.
He said: “It happened so suddenly and it was total. I can only compare it to being hit in the stomach by a ten-ton bag of cement.
“We didn’t know what to do. We did try to part in an attempt to save our marriages, but it was hopeless.
"It was horrible and we were so unhappy.
“I knew that in the public eye we were cast as the villains.
"But we just felt we were caught in a situation and we tried to make it as painless as we could."
... AND ADMITTING HE HIT HER
“SHE certainly wasn’t a beaten wife. She was hit, and that’s different.
"It’s not difficult for a woman to make a man hit her.
“The problem with strong, intelligent women is that they can argue well.
“And if there is a time when you can’t get a word in . . . I lashed out, when frustration builds up and you can’t think of a way out.
"It happened, and I’m very, very ashamed of it.”
ON THE SWEENEY
THE Sweeney ran from 1975 to 1978, starring John Thaw as Met Police Flying Squad Detective Inspector Jack Regan and Dennis as Detective Sergeant George Carter.
Dennis recalled: “We certainly had an impact on the police.
"When we started, they didn’t want anything to do with us, but then they realised it was quite healthy for the public to see that the police were as tough as the villains.
"Then they got worried that their wives would realise what they were up to.”
ON JOHN THAW
“WE shot only in the seedier sides of London. We filmed in more gutters and derelict pubs than you’d believe.
“We were surrounded by villains.
"At lunchtime, John and I would go into the pub as we occasionally liked a half to relax, and someone would go, ‘Oi!’
"We thought, ‘Here we go. It’s all going to be off in a minute’, and they would say, ‘You’re exactly like the geezer who nicked me’.
"And we’d think, ‘Thank Christ for that’.
“A couple of times, at the end of the day, John said, ‘Let’s go up to the Serpentine and get a boat out’.
"It was a strange thing to do, but great fun.”
ON WORKING WITH GEORGE COLE ON MINDER
“I WAS cast first and I was told George Cole was going to do it, and he had done a wonderful serial called A Man Of Our Times, about a middle-aged man who is made redundant and his whole life is shattered by it all.
“I thought he was much too nice and too posh to play Arthur Daley. I obviously underrated his expertise a great deal.
“We were both from South London, we were both child actors who had made it through to adults and he had a wicked sense of humour.
"We just, after two or three days, realised how much we liked working with each other.
"I went to a party he threw commemorating the 40th year of his first job and I was amazed at the galaxy of famous people there, all laughing.
"He had that magical quality, you just looked at George and you smiled.
“He was a complete dream, he was the most professional person and just about the nicest person.
"He was loved by everybody who worked with him.”
ON RETIRING TO SPAIN
IN 2015, Dennis began a sunshine retirement with his fourth wife Pam Flint.
He said: “I’m not rushing about looking for work — I’ll see how far the money goes.
“I have found out a remarkable thing about myself is that I’m really, really good at doing f*** all.”
ON BEING FAMOUS
“I QUITE enjoy it. The lucky thing about my image is people firmly believe they know me.
“I get asked a lot of time, because I usually play a hard man, ‘Did you ever have any trouble?’ and I didn’t — apart from the occasional photographer you’ve got to whack out of conscience.
“People say, ‘Come and meet my mum’.
"I get treated like one of the family. If it has to happen, I’ve had it the nicest way — it can get a bit intrusive but it doesn’t go on for ever.
“It’s lucky I’ve been successful, because I can’t do anything else.”
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yago
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https://www.latimes.com/archives/la-xpm-2002-mar-28-me-moore28-story.html
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en
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Dudley Moore, 66; Comic Actor, Musician
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https://ca-times.brightspotcdn.com/dims4/default/64e287b/2147483647/strip/true/crop/2400x1260+0+0/resize/1200x630!/quality/75/?url=https%3A%2F%2Fcalifornia-times-brightspot.s3.amazonaws.com%2Fdf%2F45%2F57d858144a2a88575fa2b03080bb%2Flatlogo-ss.jpg
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[
""
] | null |
[
"SUSAN KING",
"ROBERT W. WELKOS",
"www.latimes.com"
] |
2002-03-28T00:00:00
|
Dudley Moore, the elfin, Oxford-educated comic actor who used biting wit, physical pratfalls and on-screen vulnerability to tap into the good-natured debauchery of the times in hit films such as "10" and "Arthur," died Wednesday at his home in Plainfield, N.J., after a long, debilitating illness.
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en
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/apple-touch-icon.png
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Los Angeles Times
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https://www.latimes.com/archives/la-xpm-2002-mar-28-me-moore28-story.html
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Dudley Moore, the elfin, Oxford-educated comic actor who used biting wit, physical pratfalls and on-screen vulnerability to tap into the good-natured debauchery of the times in hit films such as “10” and “Arthur,” died Wednesday at his home in Plainfield, N.J., after a long, debilitating illness. He was 66.
The 5-foot, 21/2-inch, British-born funny man died of pneumonia as a complication of progressive supranuclear palsy, according to his publicist in Los Angeles.
Moore had been diagnosed with the degenerative, Parkinson’s-like disease in 1997. The rare brain disorder causes severe problems with walking and balance, and is triggered by the death of cells in a small area of the brain stem. Although the disease is not fatal, sufferers such as Moore are predisposed to develop illnesses such as pneumonia.
In recent months, Moore, a composer and accomplished pianist who early in his career found fame on stage by teaming with the late Peter Cook for a comedy revue called “Beyond the Fringe,” had trouble communicating.
His last public appearance was in November at London’s Buckingham Palace as Queen Elizabeth conferred upon him one of the United Kingdom’s highest honors for entertainment, the insignia of Commander of the Most Excellent Order of the British Empire.
But while his mind was ever alert, Moore’s body had been robbed of its vitality.
“He had a very debilitating disease,” said his friend Tony Bill, who had directed the actor in one of his rare dramas, “Six Weeks,” and the comedy “Crazy People.” Bill said Moore’s “mental powers had not been affected,” but he was forced to watch himself “wasting away.”
“That was the tough thing,” said Lou Pitt, Moore’s agent of more than 25 years. “He could receive all the information ... but couldn’t express it.”
Divorced four times, Moore had been living with his friends pianist Rena Fruchter and her husband, Brian Dallow.
During his heyday in the early 1980s, Moore commanded $2 million a picture, an impressive fee in those days. But by 1999, he was forced to sell his beloved house in Marina del Rey.
With his shaggy mane, sly grin and even a pixieish twinkle in his eyes, Moore became an unlikely movie sex symbol.
“He was physically funny and adorable and kind of sexy,” said Rita Rudner, who co-wrote and starred with Moore in his last movie, “Weekend in the Country” in 1996.
It was Blake Edwards who turned Moore into a comic giant by casting him in the hit 1979 film “10.” Moore played a successful composer suffering a midlife crisis who, driving through Beverly Hills one day, spots a perfect vision of beauty on her way to her wedding. He then follows the blond-braided beauty played by Bo Derek to Mexico on her honeymoon.
On Wednesday, Derek said, “He was wonderful to work with, and when he wasn’t making you laugh with his comedy, he was making you cry with his music,” she said. The last time she saw him was at a tribute concert to him last April at Carnegie Hall.
In a statement issued by Edwards and his wife and Moore’s “10” co-star Julie Andrews, they expressed sadness over the passing of the comedian, who they described as a “rare human being who brought warmth and joy to all who knew him.”
Two years after he found international stardom in “10,” Moore received his first and only Oscar nomination for best actor in the blockbuster comedy “Arthur.” He played a rich, lovable lush opposite Liza Minnelli’s stable but poor Italian waitress and Sir John Gielgud in his Oscar-winning role for best supporting actor as his faithful manservant.
Minnelli said in a statement Wednesday that she was deeply saddened by her co-star’s death. “He was a unique individual who was multitalented,” she said. “He could make the world laugh and brought joy to millions.”
But Moore was unable to sustain his box office appeal because of a series of misfires, including “Unfaithfully Yours” and “Blame it on the Bellboy.” And in the early 1990s, he made two unsuccessful attempts at his own TV series, with “Dudley” in 1993 and “Daddy’s Girl” in 1994.
Throughout his film and TV work, however, he never abandoned his musical career, performing as a guest artist with several symphonies, including the Los Angeles Philharmonic, and developing and co-hosting with conductor Sir Georg Solti the Showtime series “Orchestra!” He even issued a CD of his music titled “Dudley Moore--Live from an Airplane Hangar” in 2000 to raise money for research on his debilitating disease.
Dudley Stuart John Moore was born April 19, 1935, in less than affluence in Dagenham, Essex, England, to a railway engineer father and a Christian Scientist typist mother. Born with a club foot and withered right leg, Moore eventually underwent a series of corrective operations.
Pitt said he doubted Moore ever got over his childhood feelings of inadequacy over his early physical woes, saying they lingered with him like an “albatross” that he kept private for years.
Music freed him, however. At the age of 6, Moore began studying piano and later the violin, harpsichord and organ. After graduating from Dagaenham County High School, he attended Guidhall School of Music and Drama in London and then vaulted over his lowly station by gaining entrance to Magdalen College at the University of Oxford in Oxford, England, on an organ scholarship. By the time he left in 1958, he was a composer for local cabarets.
He also was an excellent jazz pianist and recorded an album with the great jazz singer Cleo Laine. In his later years, Moore performed at the Hollywood Bowl, appearing in groups with top jazz players such as bassist Ray Brown.
Fame came in 1961, when Moore teamed on the London stage with three other Oxford graduates--Cook, Jonathan Miller and Alan Bennett--in the antic but sophisticated musical and comedy revue “Beyond the Fringe.”
The show was an instant hit, playing for four years, first in London and then on Broadway. Afterward, Moore and Cook became a popular team doing a TV series and five movies, including their outrageous 1967 spin on the Faust legend, “Bedazzled,” which featured Raquel Welch as Lust (and remade in 2000 with Brendan Fraser and Elizabeth Hurley).
They returned to the Broadway stage in the mid-’70s with their award-winning comedy revue “Good Evening,” which featured the famous sketch about an eatery that only served frogs and peaches.
Moore recalled his relationship with Cook as “stormy.”
“We always got along well together when we were alone, but sometimes when other people were around, there was competition,” Moore said in a 1983 interview. “He was bored with my desire to please, and I scorned his relentless and perverse cynicism.”
In 1977, they parted company and Moore headed west to Hollywood to star in the Goldie Hawn-Chevy Chase comedy “Foul Play,” in which he played a randy opera conductor.
Moore’s private life was a turbulent series of broken relationships and marriages. His former wives included British actress and model Suzy Kendall, American film star Tuesday Weld, Brogan Lane and Nicole Rothschild.
In 1994, Moore was arrested on suspicion of domestic abuse after Rothschild claimed that he struck her. He was investigated but charges were never lodged and they married a month later. They separated in May 1986, reconciled briefly, then in 1997 separated again and eventually divorced.
In the mid-1990s, Moore began to suffer severe memory lapses and was fired from Barbra Streisand’s film “The Mirror Has Two Faces.”
In his last film, “Weekend in the Country,” Rudner said she knew there was something terribly wrong with Moore. “He had problems remembering things and we used to go through scenes over and over.”
On a concert tour of Australia in 1996, Moore was criticized in the media for appearing drunk, staggering and speaking incoherently. The next year, he was admitted to the Mayo Clinic for neurological tests, but while there the doctors found a hole in his heart that required surgery. The doctors then diagnosed him with PSP.
“It’s totally mysterious the way this illness attacks and eats you up and spits you out,” Moore said in a December 2000 interview. “I did get angry, but there’s not much point in being angry. There’s always a feeling, ‘Why did it hit me?’ And I can’t make peace with it because I know I’m going to die from it.”
Arthur Hiller, who directed Moore in the 1983 film “Romantic Comedy,” recalled the last time he saw his friend.
“It was a year or two ago that he came out here [to L.A.] to close things up, and Lou Pitt, his agent, had a Sunday afternoon get-together,” Hiller said. “There were about 40 or 50 of us and we were just saying hi and goodbye. We were happy to see him, but it was so sad to see this warm and talented ... person having difficulty even communicating.”
Moore is survived by two sons, Patrick, by Weld, and Nicholas, by Rothschild; and his sister, Barbara Stevens. Funeral and memorial services were pending.
Donations in Moore’s memory can be made to Music for All Seasons and the Dudley Moore Research Fund for PSP.
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yago
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2
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https://www.tumblr.com/tcm/188605557642/the-short-lived-career-of-kay-kendall-by-susan
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en
|
The Short Lived Career of Kay Kendall by Susan King
|
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2019-10-26T14:00:31+00:00
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The 60th anniversary of the brilliant comic actress Kay Kendall’s death in September came and went very quietly. It saddened me. Kendall was a real breath of fresh air. A British version of Carole Lo…
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en
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https://assets.tumblr.com/pop/manifest/favicon-0e3d244a.ico
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Tumblr
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https://www.tumblr.com/tcm/188605557642/the-short-lived-career-of-kay-kendall-by-susan
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The 60th anniversary of the brilliant comic actress Kay Kendall’s death in September came and went very quietly. It saddened me. Kendall was a real breath of fresh air. A British version of Carole Lombard, Kendall was a beautiful, sophisticated and capable dramatic actress who turned into a slapstick goofball with the right material. And just like Lombard, who was 33 when she died in a plane crash in 1942, Kendall died young at just 32, after succumbing to myeloid leukemia.
“Miss Kendall was that stage and screen rarity, a beautiful clown,” the New York Times obit stated. “The talents of a superb comedienne are so seldom conjoined with statuesque, classic beauty that producers along with Miss Kendall’s hard road to the top tended to distrust her qualities as mutually exclusive.”
In fact, the self-deprecating, often insecure Kendall proclaimed after the release of her best film, 1957’s LES GIRLS, that she looked like a “female impersonator with these long skinny legs. I’m 5 feet [sic] 9. I eat like a horse and I couldn’t become a ballet dancer because I got too big. When I rose up on my toes, I was 10 feet 6 and my feet collapsed.”
Kendall affected those whom she knew and worked with including Mitzi Gaynor, who starred with her in LES GIRLS. In 2018, I was doing a Q&A with Gaynor at the TCL Chinese Theatre in Hollywood for the 60th anniversary of SOUTH PACIFIC and asked her about Kendall. She started to gush about how great Kendall was, but started getting misty-eyed thinking about her, so I quickly went back to the Rodgers and Hammerstein musical.
And I recall one time during an interview, a rather prickly Stanley Donen became effusive when I brought up Kendall, whom he directed in her last film ONCE MORE, WITH FEELING! (’60).
Kendall, who appeared in revues and variety shows as a teenager, got her first big movie role in 1946’s lavish LONDON TOWN, which was one of the British film industry's most expensive flops of the time. She was told by a film executive that she was “ugly, you have no talent. You’re too tall and you photograph badly. Go marry some nice man, settle down and have a nice family.”
She finally got the perfect role in the classic award-winning comedy GENEVIEVE, which was released in England in 1953. The comedy revolved around two young couples who participate annually in a vintage car rally from London to Brighton. John Gregson and Dinah Sheridan were the main stars with Kenneth More and Kendall as the supporting players.
Kendall stole the whole film as Rosalind Peters, More’s high-fashioned overly coiffed model girlfriend who is accompanied by her St. Bernard named Susie. The inventiveness of Kendall's performance, especially when a drunk Rosalind plays a trumpet at a nightclub, is as fresh and funny it was 66 years ago.
Her life changed forever when she made THE CONSTANT HUSBAND with Rex Harrison and released in 1955. And of course, there was a scandal. Though Harrison was married to Lili Palmer at the time, he had a notorious reputation as a womanizer (his affair with Carole Landis in the late 1940s lead to her committing suicide). But the two married in 1957 shortly after Harrison learned from Kendall’s doctor that she had two years to live. Harrison decided not to tell her she was dying, giving her the excuse that she had anemia. Kendall’s own prognosis was never revealed to her, as was common with patients of mortal illnesses in the 1950s. Harrison did tell some of her friends, however, but did not tell her family.
Kendall came to Hollywood to make the Cole Porter musical LES GIRLS, directed by George Cukor and starring Gene Kelly, Gaynor and Taina Elg. Kendall won a Golden Globe for her hysterical performance as the British performer who is being sued for libel by another chorus girl. Kendall and Harrison then starred together in a delightful bit of fluff, THE RELUCTANT DEBUTANTE (’58), directed by Vincente Minnelli. Though sometimes real-life couples have no chemistry together on screen, that wasn’t the case with Kendall and Harrison. Not only do they have chemistry to spare, Harrison even seems to take a back seat in the proceedings and let his wife shine.
In the biography, The Brief, Madcap Life of Kay Kendall by Eve Golden and Kim Kendall, Minnelli’s wife Lee remembered that Kendall and Harrison “were wonderful together. He adored her. You could see when he looked at her, his eyes lit up. They balanced each other perfectly – they played off of each together.” She also noted, “if [Kay] came into a room, she had all laughing in five minutes. Even if you felt a little down, you talked to Kay and by the time you left you were floating, you were up in the air.”
According to the book, by 1958 Kendall was “finding it more difficult to play innocent about her physical condition…Kay was not a stupid woman, and no one can be that sick for that long without knowing something is seriously wrong.” She even told her good friend Dirk Bogarde, who knew she was ill. “Diggy, I think I am dying. I've some terrible disease and they won’t tell me. I think I’ve got cancer.” Bogarde kept his promise to Harrison and tried to laugh off her fears.
By the time she filmed ONCE MORE, WITH FEELING! with Yul Brynner, she was frail. She eventually collapsed during filming and was hospitalized, with Harrison stating that she had a lung infection and anemia. After she sufficiently recovered, Kendall managed to finish the film. After going on a vacation with Harrison, she returned to London and entered a clinic where she died a week later. Even on her death bed, Harrison never told of the leukemia. According to to her biography, Kendall looked at Harrison and asked, “Mousey, you would tell me if I was dying?” To which he replied, “Don’t be stupid, of course I would. You’re not dying.” Shortly after, she sank into a coma. The press account of her last moments was highly romantic, with Kay sighing to Harrison, “’I love you very much, darling’ with her last breath.” ONCE MORE, WITH FEELING! opened in February 1960. And Bosley Crowther in the New York Times was disappointed Kendall’s swan song wasn’t better. “As for poor Miss Kendall (who has died since this picture was made), she works hard to be disagreeable, to virtually no avail. She screeches and fluffs up her feathers, throws things and breaks television sets, but only succeeds in being feverish. Lacking that obvious essential, she is merely fragile and sad. It is certainly too bad her last picture has to be as vapid as this.” But nearly 60 years after the film release, Kendall’s performance still has traces of manic brilliance and leaves you wondering what she would have done had she had lived.
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26157
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https://m.facebook.com/groups/celebratingbritishandirish/posts/299889713151426/
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Fehler
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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26157
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https://www.funtrivia.com/quiz/celebrities/dudley-moore-we-miss-you-71685.html
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en
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Dudley Moore, We Miss You Quiz
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"rossian"
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Comic genius Dudley Moore passed away in March 2002. This quiz covers his life and career. - test your knowledge in this quiz! (Author rossian)
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en
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https://www.funtrivia.com/quiz/celebrities/dudley-moore-we-miss-you-71685.html
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Quiz Answer Key and Fun Facts
1. Dudley Moore grew up in which region of eastern London?
Answer: Barking and Dagenham
Dudley Moore was born on 19 April 1935 in Charing Cross and was raised on the Becontree estate, a huge housing estate in the eastern part of London. He had physical problems with club feet, which could only partly be fixed and was also short in stature, at only five feet two inches in height, or 1.57 metres if you prefer metric.
In later years he was nicknamed 'the sex thimble' to reflect his lack of height, which did not hinder his popularity with the ladies.
2. Which university did Dudley attend, bringing him into contact with Alan Bennett?
Answer: Oxford
Dudley won a scholarship to Oxford, based on his musical ability, where he attended Magdalen College. He met Alan Bennett and the two of them became members of the Oxford Revue, a comedy group set up by students from the various Oxford colleges. This set Dudley on a career path of combining his musical ability with comedy and performing.
The Oxford Revue has spawned so much talent, I can mention only a few. Alan Bennett himself became a successful playwright and other former members include Dame Maggie Smith, Rowan Atkinson and both Michael Palin and Terry Jones, of Monty Python fame.
3. With Alan Bennett, Peter Cook and Jonathan Miller, Dudley created a revue called 'Beyond the Fringe' which they first performed where in 1960?
Answer: Edinburgh Festival
Often cited as the start of the satirical humour which became a mainstay of later comedy, this combination of the talents of Oxford (Moore and Bennett) and Cambridge (Miller and Cook) first hit the stage in Scotland, at the Edinburgh Festival. The idea of caricaturing the 'establishment', such as Members of Parliament and other leading figures, was controversial at the time.
The revue established the quartet as entertainers, with all of them going on to become very well known. Bennett, as already mentioned, made his name as a playwright and Miller became a renowned theatre director. Moore and Cook formed a partnership which lasted until the latter part of the 1970s.
4. Dudley Moore was an accomplished pianist. Which form of music did he primarily play?
Answer: Jazz
His music scholarship to Oxford had been on another keyboard, the organ, but Dudley developed an interest in jazz while at university. He played with John Dankworth and Cleo Laine and released several albums. He performed regularly in cabaret as a trio with a bass player and drummer.
As if his talents as comedian, musician and actor weren't enough, Dudley also wrote the scores for several films, with 'Bedazzled' from 1967 probably the best known. It's worth searching out some of his musical works on the internet to help understand what a multi-talented man he was.
5. This television show was commonly known as 'Not Only...But Also'. Dudley appeared in it between 1964 and 1970 with which of these partners?
Answer: Peter Cook
Moore was originally going to do this as a solo project, with the name 'Not Only Dudley Moore, But Also His Guests'. He invited Peter Cook along as one of his guests for the pilot and the duo worked so well together Cook became a permanent fixture. The show was usually referred to by the shortened version mentioned in the question. Guests included John Lennon who enjoyed the opportunity to show his comedic skills.
The duologues between Moore and Cook were a mainstay of the show, a feature picked up by later comedians like Ronnies Barker and Corbett and Mel Smith and Griff Rhys Jones.
Dudley and Peter also created Derek and Clive whose duologues were littered with crudities and pushed the boundaries of good taste way beyond anything I could quote in this quiz.
6. Dudley appeared in which 1979 film alongside Bo Derek and Julie Andrews?
Answer: 10
Directed by Blake Edwards, '10' involved George Webber (Moore) becoming besotted with the bride (Bo Derek) he sees on her wedding day, despite already having a girlfriend (Andrews). Having tracked her down on her honeymoon, he manages to spend time with her before realising that he is just a fling to her. George returns to his girlfriend having, belatedly, grown up.
The film was popular at the time and Bo Derek's beaded hairstyle was even more of a trendsetter.
All the options listed are real films featuring numbers, but Dudley Moore only appeared in one of them.
7. Married four times, Dudley fathered two sons. Which of his wives, his second, was the mother of his first son?
Answer: Tuesday Weld
Sadly, none of his marriages lasted long. Dudley married actress Suzy Kendall in 1968 with the marriage ending in divorce in 1972. Moore remained friends with Suzy and became a family friend when she re-married, becoming godfather to her daughter. Tuesday Weld, an American actress, was his second wife, with their marriage lasting from 1975 until 1980. Their son, named Patrick, was born in 1976.
The marriage to Brogan Lane took place in 1988 with divorce ending it only three years later. Dudley's final marriage came in 1994 when he married Nicole Rothschild, a turbulent liaison which ended in 1998. The couple had one son, Nicholas, born in 1995. Nicole was the only ex-wife with whom Dudley could not maintain a friendship.
8. In which film did Dudley star in 1981, for which he received an Oscar nomination?
Answer: Arthur
Dudley portrays the title character, a millionaire named Arthur Bach who lives in luxury and an alcoholic haze. He is cared for, physically and emotionally, by his valet, Hobson, portrayed by John Gielgud. Arthur is about to go through an arranged marriage to ensure his inheritance when he falls in love with a lower class girl (Liza Minnelli). Eventually Arthur follows his heart, finds some maturity (there seems to be a theme of this in his films) and still retains his riches.
The film was extremely successful with Gielgud winning the Best Supporting Actor Oscar for his role and the theme song winning the Oscar for Best Original Song. This was 'Arthur's Theme (Best That You Can Do)', which had an impeccable pedigree - Burt Bacharach composed the music and Carole Bayer Sager, Peter Allen and Christopher Cross, who also sang it, provided the lyrics. Moore's nomination was the closest he got to an Oscar.
9. What degenerative disease took his life on 27th March, 2002?
Answer: Progressive supranuclear palsy
Progressive supranuclear palsy is a rare brain disorder caused by a build up of proteins. The symptoms include problems with balance, and Dudley was assumed to be drunk on occasions when he was actually ill. He also had difficulty in retaining information, and was fired from a film when he couldn't remember his lines, which he described as 'devastating'. Even his ability as a pianist was taken from him.
Dudley eventually disclosed his condition in 1999 to end public speculation.
10. Where did Dudley live during his final days?
Answer: New Jersey
Dudley lived in California, mainly in Los Angeles, for much of his time in America, but his illness and a messy divorce from Nicole Rothschild meant he needed an escape. As well as the disease which would eventually kill him, heart problems, requiring bypass surgery, and strokes had left him debilitated.
He was 'rescued' by Rena Fruchter and her husband Brian Dallow, classical musicians and long term friends who had helped him when Dudley decided to focus on his music again. He asked if he could stay with them in New Jersey when life was becoming too difficult to cope with, and they opened their home to him. Dudley later bought the neighbouring bungalow where he eventually died.
A journey which began in a working class borough ended in suburban USA, in Plainfield, New Jersey, where he is buried.
Source: Author rossian
This quiz was reviewed by FunTrivia editor skunkee before going online.
Any errors found in FunTrivia content are routinely corrected through our feedback system.
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correct_starring_00056
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FactBench
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2
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https://www.rogerebert.com/reviews/great-movie-a-hard-days-night-1964
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en
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A Hard Day's Night movie review (1964)
|
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[
"Roger Ebert"
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When it opened in September, 1964, "A Hard Day's
|
en
|
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https://www.rogerebert.com/
|
https://www.rogerebert.com/reviews/great-movie-a-hard-days-night-1964
|
In 1964, what we think of as "The '60s” had not yet really emerged from the embers of the 1950s. Perhaps this was the movie that sounded the first note of the new decade--the opening chord on George Harrison's new 12-string guitar. The film was so influential in its androgynous imagery that untold thousands of young men walked into the theater with short haircuts, and their hair started growing during the movie and didn't get cut again until the 1970s.
It was clear from the outset that "A Hard Day's Night" was in a different category from the rock musicals that had starred Elvis and his imitators. It was smart, it was irreverent, it didn't take itself seriously, and it was shot and edited by Richard Lester in an electrifying black-and-white, semi-documentary style that seemed to follow the boys during a day in their lives. And it was charged with the personalities of the Beatles, whose one-liners dismissed the very process of stardom they were undergoing. “Are you a mod or a rocker?” Ringo is asked at a press conference. “I'm a mocker,” he says.
Musically, the Beatles represented a liberating breakthrough just when the original rock impetus from the 1950s was growing thin. The film is wall to wall with great songs, including "I Should Have Known Better," "Can't Buy Me Love," "I Wanna Be Your Man," "All My Loving," "Happy Just to Dance With You," "She Loves You," and others, including the title song, inspired by a remark dropped by Starr and written overnight by Lennon and McCartney.
The Beatles were obviously not housebroken. The American rock stars who preceded them had been trained by their managers; Presley dutifully answered interview questions like a good boy. The Beatles had a clone look--matching hair and clothes--but they belied it with the individuality of their dialogue, and there was no doubt which one was John, Paul, George and Ringo. The original version of Alun Owen's Oscar-nominated screenplay supplied them with short one-liners (in case they couldn't act), but they were naturals, and new material was written to exploit that. They were the real thing.
The most powerful quality evoked by "A Hard Day's Night" is liberation. The long hair was just the superficial sign of that. An underlying theme is the difficulty establishment types have in getting the Beatles to follow orders. (For "establishment,” read uptight conventional middle-class 1950s values.) Although their manager (Norman Rossington) tries to control them and their TV director (Victor Spinetti) goes berserk because of their improvisations during a live TV broadcast, they act according to the way they feel.
When Ringo grows thoughtful, he wanders away from the studio, and a recording session has to wait until he returns. When the boys are freed from their "job,” they run like children in an open field, and it is possible that scene (during "Can't Buy Me Love”) snowballed into all the love-ins, be-ins and happenings in the park of the later '60s. The notion of doing your own thing lurks within every scene.
When a film is strikingly original, its influence shapes so many others that you sometimes can't see the newness in the first one. Godard's jump cuts in "Breathless" (1960) turned up in every TV ad. Truffaut's freeze frame at the end of "The 400 Blows" (1959) became a cliche. Richard Lester's innovations in "A Hard Day's Night" have become familiar; because the style, the subject and the stars are so suited to one another, the movie hasn't become dated. It's filled with the exhilaration of four musicians who were having fun and creating at the top of their form and knew it.
Movies were tamer in 1964. Big Hollywood productions used crews of 100 people and Mitchell cameras the size of motorcycles. Directors used the traditional grammar of master shot, alternating closeups, insert shots, re-establishing shots, dissolves and fades. Actors were placed in careful compositions. But the cat was already out of the bag; directors like John Cassavetes had started making movies that played like dramas but looked like documentaries. They used light 16mm cameras, hand-held shots, messy compositions that looked like they might have been snatched during moments of real life.
That was the tradition Lester drew on. In 1959 he'd directed "The Running, Jumping and Standing Still Film," starring Peter Sellers and Spike Milligan among others: It was hand-held, anarchic, goofy, and contains the same spirit that infects "A Hard Day's Night." Lester had shot documentaries and TV commercials, could work quick and dirty, and knew he had to, because his budget was $500,000 for "A Hard Day's Night.”
In his opening sequence, which shows the Beatles mobbed at a station as they try to board a train, Lester achieves an incredible energy level: We feel the hysteria of the fans and the excitement of the Beatles, intercut with the title song (the first time movie titles had done that), implying that the songs and the adulation were sides of the same coin. Other scenes borrow the same documentary look; a lot feels improvised, although only a few scenes actually were.
Lester did not invent the techniques used in "A Hard Day's Night," but he brought them together into a grammar so persuasive that he influenced many other films. Today when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of "A Hard Day's Night."
The film is so tightly cut, there's hardly a down moment, but even with so many riches, it's easy to pick the best scene: The concert footage as the Beatles sing "She Loves You.” This is one of the most sustained orgasmic sequences in the movies. As the Beatles perform, Lester shows them clearly having a lot of fun--grinning as they sing--and then intercuts them with quick shots of the audience, mostly girls, who scream without pause for the entire length of the song, cry, jump up and down, call out the names of their favorites, and create a frenzy so passionate that it still, after all these years, has the power to excite. (My favorite audience member is the tearful young blond, beside herself with ecstasy, tears running down her cheeks, crying out "George!”)
The innocence of the Beatles and "A Hard Day's Night" was of course not to last. Ahead was the crushing pressure of being the most popular musical group of all time, and the dalliance with the mystic east, and the breakup, and the druggy fallout from the '60s, and the death of John Lennon. The Beatles would go through a long summer, a disillusioned fall, a tragic winter. But, oh, what a lovely springtime. And it's all in a movie.
|
||||
correct_starring_00056
|
FactBench
|
0
| 14
|
https://www.rogerebert.com/reviews/great-movie-a-hard-days-night-1964
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en
|
A Hard Day's Night movie review (1964)
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[
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When it opened in September, 1964, "A Hard Day's
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en
|
/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png
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https://www.rogerebert.com/
|
https://www.rogerebert.com/reviews/great-movie-a-hard-days-night-1964
|
In 1964, what we think of as "The '60s” had not yet really emerged from the embers of the 1950s. Perhaps this was the movie that sounded the first note of the new decade--the opening chord on George Harrison's new 12-string guitar. The film was so influential in its androgynous imagery that untold thousands of young men walked into the theater with short haircuts, and their hair started growing during the movie and didn't get cut again until the 1970s.
It was clear from the outset that "A Hard Day's Night" was in a different category from the rock musicals that had starred Elvis and his imitators. It was smart, it was irreverent, it didn't take itself seriously, and it was shot and edited by Richard Lester in an electrifying black-and-white, semi-documentary style that seemed to follow the boys during a day in their lives. And it was charged with the personalities of the Beatles, whose one-liners dismissed the very process of stardom they were undergoing. “Are you a mod or a rocker?” Ringo is asked at a press conference. “I'm a mocker,” he says.
Musically, the Beatles represented a liberating breakthrough just when the original rock impetus from the 1950s was growing thin. The film is wall to wall with great songs, including "I Should Have Known Better," "Can't Buy Me Love," "I Wanna Be Your Man," "All My Loving," "Happy Just to Dance With You," "She Loves You," and others, including the title song, inspired by a remark dropped by Starr and written overnight by Lennon and McCartney.
The Beatles were obviously not housebroken. The American rock stars who preceded them had been trained by their managers; Presley dutifully answered interview questions like a good boy. The Beatles had a clone look--matching hair and clothes--but they belied it with the individuality of their dialogue, and there was no doubt which one was John, Paul, George and Ringo. The original version of Alun Owen's Oscar-nominated screenplay supplied them with short one-liners (in case they couldn't act), but they were naturals, and new material was written to exploit that. They were the real thing.
The most powerful quality evoked by "A Hard Day's Night" is liberation. The long hair was just the superficial sign of that. An underlying theme is the difficulty establishment types have in getting the Beatles to follow orders. (For "establishment,” read uptight conventional middle-class 1950s values.) Although their manager (Norman Rossington) tries to control them and their TV director (Victor Spinetti) goes berserk because of their improvisations during a live TV broadcast, they act according to the way they feel.
When Ringo grows thoughtful, he wanders away from the studio, and a recording session has to wait until he returns. When the boys are freed from their "job,” they run like children in an open field, and it is possible that scene (during "Can't Buy Me Love”) snowballed into all the love-ins, be-ins and happenings in the park of the later '60s. The notion of doing your own thing lurks within every scene.
When a film is strikingly original, its influence shapes so many others that you sometimes can't see the newness in the first one. Godard's jump cuts in "Breathless" (1960) turned up in every TV ad. Truffaut's freeze frame at the end of "The 400 Blows" (1959) became a cliche. Richard Lester's innovations in "A Hard Day's Night" have become familiar; because the style, the subject and the stars are so suited to one another, the movie hasn't become dated. It's filled with the exhilaration of four musicians who were having fun and creating at the top of their form and knew it.
Movies were tamer in 1964. Big Hollywood productions used crews of 100 people and Mitchell cameras the size of motorcycles. Directors used the traditional grammar of master shot, alternating closeups, insert shots, re-establishing shots, dissolves and fades. Actors were placed in careful compositions. But the cat was already out of the bag; directors like John Cassavetes had started making movies that played like dramas but looked like documentaries. They used light 16mm cameras, hand-held shots, messy compositions that looked like they might have been snatched during moments of real life.
That was the tradition Lester drew on. In 1959 he'd directed "The Running, Jumping and Standing Still Film," starring Peter Sellers and Spike Milligan among others: It was hand-held, anarchic, goofy, and contains the same spirit that infects "A Hard Day's Night." Lester had shot documentaries and TV commercials, could work quick and dirty, and knew he had to, because his budget was $500,000 for "A Hard Day's Night.”
In his opening sequence, which shows the Beatles mobbed at a station as they try to board a train, Lester achieves an incredible energy level: We feel the hysteria of the fans and the excitement of the Beatles, intercut with the title song (the first time movie titles had done that), implying that the songs and the adulation were sides of the same coin. Other scenes borrow the same documentary look; a lot feels improvised, although only a few scenes actually were.
Lester did not invent the techniques used in "A Hard Day's Night," but he brought them together into a grammar so persuasive that he influenced many other films. Today when we watch TV and see quick cutting, hand-held cameras, interviews conducted on the run with moving targets, quickly intercut snatches of dialogue, music under documentary action and all the other trademarks of the modern style, we are looking at the children of "A Hard Day's Night."
The film is so tightly cut, there's hardly a down moment, but even with so many riches, it's easy to pick the best scene: The concert footage as the Beatles sing "She Loves You.” This is one of the most sustained orgasmic sequences in the movies. As the Beatles perform, Lester shows them clearly having a lot of fun--grinning as they sing--and then intercuts them with quick shots of the audience, mostly girls, who scream without pause for the entire length of the song, cry, jump up and down, call out the names of their favorites, and create a frenzy so passionate that it still, after all these years, has the power to excite. (My favorite audience member is the tearful young blond, beside herself with ecstasy, tears running down her cheeks, crying out "George!”)
The innocence of the Beatles and "A Hard Day's Night" was of course not to last. Ahead was the crushing pressure of being the most popular musical group of all time, and the dalliance with the mystic east, and the breakup, and the druggy fallout from the '60s, and the death of John Lennon. The Beatles would go through a long summer, a disillusioned fall, a tragic winter. But, oh, what a lovely springtime. And it's all in a movie.
|
||||
correct_starring_00056
|
FactBench
|
1
| 19
|
https://ultimateclassicrock.com/paul-mccartney-movie-to-explore-transition-from-beatles-to-wings/
|
en
|
Paul McCartney Movie to Explore Transition from Beatles to Wings
|
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[
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"man on the run",
"documentary",
"movie",
"beatles",
"wings",
"linda mccartney",
"news"
] | null |
[
"Martin Kielty"
] |
2023-02-05T13:53:07+00:00
|
A documentary movie about Paul McCartney's transition from the Beatles to Wings, titled ‘Man on the Run,’ was announced in February 2023.
|
en
|
Ultimate Classic Rock
|
https://ultimateclassicrock.com/paul-mccartney-movie-to-explore-transition-from-beatles-to-wings/
|
MPL and Polygram Entertainment and Tremelo Productions have announced a documentary movie exploring Paul McCartney’s transition from the Beatles to Wings.
Currently titled Man on the Run, it’s to be directed by Oscar and Grammy winner Morgan Neville, and will feature unseen archive material along with new interviews. Production and release details were not announced.
A statement reported that the film will track “Paul McCartney’s extraordinary life following the breakup of the Beatles, and how the love he shared with Linda McCartney influenced a journey that would lead to the formation of Wings and more of the greatest music ever created.”
It noted: “The documentary chronicles the arc of Paul’s peerless solo career: from the one-man-band lo-fi recording prototype of his self-titled solo debut, to the pastoral bliss of Ram, to the formation of Wings and its classic albums… The result is an intimate and personal behind-the-scenes account of how Paul progressed from the Beatles’ 1966 retirement from live concerts to the Wings tours that would set the standard for 1970s arena rock shows.”
Neville commented: “As a lifelong obsessive of all things McCartney, I’ve always felt that the 1970s were the great under-examined part of his story. I’m thrilled to have the chance to explore and reappraise this crucial moment in a great artist’s life and work.”
Co-producer Michele Anthony added: “At its heart, this is a story of Linda and Paul’s enduring love and an artist finding his own voice after being in the most historic music group ever. Our film traces one of the most incredibly creative periods of Paul’s life which spawned a vital and legendary body of work that continues to impact people and culture in every corner of the globe. We are honored to present this story with unprecedented access to a treasure trove of material from Paul and Linda’s personal archive.”
|
|||||
correct_starring_00056
|
FactBench
|
0
| 55
|
https://www.reelstreets.com/films/hard-days-night-a/
|
en
|
Hard Day’s Night, A
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[] |
[] |
[
""
] | null |
[
"Silver Monkey"
] | null |
en
|
https://www.reelstreets.com/films/hard-days-night-a/
|
Additional Information:
Screen captures uploaded by Phil Wilkinson
Parts of the train sequence in the first 15 minutes of the film were shot on the Taunton to Minehead line, now the West Somerset Railway. Tim King has written an article here www.wsr.org.uk/beatles.htm which has a nice photo gallery.
Can you help:
If you have any information regarding this production, the locations or, even better, some comparison shots please contact us. Images submitted must be in Landscape orientation, as would be seen on the cinema screen, not Portrait.
We are aware that there are films on the site that were added when the criteria for the inclusion of locations was very different from today and, as a result, there may be scenes missing from some productions. Please do not forward additional screen captures to us but bring the detail to our attention, for we do, and are, 're-addressing' these older entries as time allows.
|
|||||||
correct_starring_00056
|
FactBench
|
3
| 57
|
https://www.irishstar.com/culture/entertainment/paul-mescal-beatles-biopic-cast-32902379
|
en
|
Paul Mescal slated to play one of The Beatles in upcoming biopics
|
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[] |
[] |
[
"Paul Mescal",
"Film"
] | null |
[
"Travel",
"(Image: Jeff Spicer",
"Getty Images for Gucci)",
"Brian Dillon",
"www.facebook.com"
] |
2024-05-27T15:35:29+00:00
|
Paul Mescal could be taking on the most iconic role of his career in a new Beatles biopic
|
en
|
https://s2-prod.irishstar.com/@trinitymirrordigital/chameleon-branding/publications/irishstar/img/favicon.b03212d16673d081.ico
|
Irish Star
|
https://www.irishstar.com/culture/entertainment/paul-mescal-beatles-biopic-cast-32902379
|
Paul Mescal is rumored to be taking on the role of a Beatle in new biopics by Oscar-winning director Sam Mendes. The director is set to be at the helm of four different films, one dedicated to each member of The Beatles.
All films are slated to be released in 2027 and according to reports, Mendes is eyeing up Co Kildare native Paul Mescal for one of the roles. It has not been reported which of The Beatles he is set to play.
The four films have all been given the blessing of Paul McCartney, Ringo Starr, and the families of John Lennon and George Harrison. For the first time, The Beatles and their company Apple Corps have granted full life story and music rights for a scripted film.
Daisy Edgar-Jones 'fell in love' with Paul Mescal working on Normal People
Ayo Edebiri hints at rom-com with Paul Mescal on one particular condition
A recent profile from The Hollywood Reporter, which highlighted ten young movie stars who are taking over the movie industry, reported that Mendes was eyeing up Mescal for one of the roles. Mescal has become a huge name in Hollywood since starring in 2020's Normal People alongside Daisy Edgar-Jones.
Since then, he has gone on to become an Oscar nominee for his performance in 2022's Aftersun. He also blew critics away with his emotional performance in All of Us Strangers beside Andrew Scott.
There are some major projects in the pipeline for Mescal as he is set to star in the highly anticipated Gladiator sequel. The film is expected to do well at the box office when it is released later this year.
For all the latest news straight to your inbox, sign up for our FREE newsletters here.
The actor has also signed on for an impressive 20-year film project which will showcase his singing abilities, something audiences saw with his stand-out performance in Carmen. The Irish heartthrob is all geared up for his role in Merrily We Roll Along, the silver screen adaptation of the 1981 Stephen Sondheim musical, which itself was inspired by the 1934 play penned by George S. Kaufman and Moss Hart.
But there's a bit of a wait for Mescal's fans eager to hear him croon, as Merrily We Roll Along won't hit the big screens until 2039.
|
||||
correct_starring_00056
|
FactBench
|
0
| 5
|
https://www.goldradiouk.com/artists/the-beatles/hard-days-night-film-trivia-facts/
|
en
|
A Hard Day's Night: 10 amazing facts about The Beatles' classic movie
|
https://imgs.goldradiouk.com/images/561680?width=1200&crop=16_9&signature=NQrF3HnkitHs218S6lFUJA1Vnv0=
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https://imgs.goldradiouk.com/images/561680?width=1200&crop=16_9&signature=NQrF3HnkitHs218S6lFUJA1Vnv0=
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2024-07-11T09:13:39.697000+01:00
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The Beatles' A Hard Day's Night isn't just a great music movie – it's one of the greatest films of all time full stop. Here are some amazing facts and trivial you may not have known about it.
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en
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/assets_v4r/gold/img/favicon-16x16.png
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Gold
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https://www.goldradiouk.com/artists/the-beatles/hard-days-night-film-trivia-facts/
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The Beatles' A Hard Day's Night isn't just a great music movie – it's one of the greatest films of all time full stop.
Pop music and movies have been intertwined since the very beginning.
Blackboard Jungle brought Bill Haley to the masses in 1955, while Elvis was as big a movie star as he was a music icon in his early days.
Listen to the Gold At The Movies Live Playlist on Global Player
'All You Need Is Love' by The Beatles: The making of the era-defining Summer of Love anthem
'Glass Onion': The surreal Beatles song that gave Daniel Craig's Netflix movie its name
After some initial critical success, pop films seemed to dip massively in quality – Elvis churning out three roles a year probably didn't help – but The Beatles bucked that trend with their debut film A Hard Day's Night in 1964.
Written by Alun Owen and directed by Richard Lester, the film charted 36 fictional hours in the life of John Lennon, Paul McCartney, George Harrison and Ringo Starr at that crucial moment in history when Beatlemania was about to go supernova.
But do you know which Beatle met his future wife on the set of the film, or which future 1970s/'80s pop superstar had his tiny role unceremoniously cut from the film? Read on for ten remarkable facts about A Hard Day's Night.
1. The first Beatles film was very nearly something called The Yellow Teddy Bears without any Beatles songs
Really.
"We didn't even want to make a movie that was going to be bad, and we insisted on having a real writer to write it," John said.
Paul added: "We were offered one early on called The Yellow Teddy Bears. We were excited but it turned out that the fella involved was going to write all the songs, and we couldn't have that."
They absolutely could not.
Instead, Brian Epstein suggested experimental filmmaker Richard "Dick" Lester, who had come up with Spike Milligan/Peter Sellers short The Running, Jumping & Standing Still Film, which The Beatles had all loved
"Dick came round to see us and we found that he was also a musician," said Paul. "He could play a bit of jazz piano, which made him even more interesting.
"He was an American but had been working in England; he'd worked with The Goons, that was enough for us."
2. "A Hard Day's Night" was one of Ringo's infamous Ringoisms
The working titles for the film were apparently the less-than-inspiring The Beatles and Beatlemania, but what on earth is "a hard day's night" anyway?
"I had used it in In His Own Write," John said, "but it was an off-the-cuff remark by Ringo, one of those malapropisms – a Ringosm – said not to be funny, just said."
Ringo explained: "Once when we were working all day and then into the night and came out thinking it was still day and said, 'It's been a hard day', and looked around and noticing it was dark, '...'s night!'."
Other classic Ringoisms? "I'll have you back in your safely-beds", "Slight bread" and "Tomorrow Never Knows".
3. John Lennon wrote 'A Hard Day's Night' for the film to order in one evening
By 1964, John and Paul were getting quite competitive with each other about getting the next big Beatles hit.
Paul had notched up the chart-topping 'Can't By Me Love', so once the film's title was confirmed on April 13, 1964, John raced home to get started the song – which would be the seventh and final track written for the movie.
"Dick Lester said, 'We are going to use that title'," John said, "and the next morning I brought in the song."
Easy.
4. Paul's "very clean" grandfather was a massive Steptoe & Son in-joke
Paul's mischievous grandfather was played by Wilfrid Brambell, who was already well-known to audiences in 1964 as Albert Steptoe in the classic sitcom Steptoe & Son.
The show had been airing since 1962 and would run for four black & white series till 1965, before returning for another four in colour from 1970 to 1974.
A constant refrain from the younger Harold Steptoe (Harry H Corbett) in the show? "You dirty old man".
In A Hard Day's Night, that well-worn phrase is neatly turned on its head.
"He's a nice old man, isn't he?... He's very clean."
At its peak, Steptoe & Son was attracting a whopping 20 million viewers – around 40% of the population.
This isn't a gag that would have gone over anyone's head... in the UK at least. We can imagine a few Americans scratching their heads at the time.
It's worth noting that Wilfrid Bambell was only about 30 years older than Paul McCartney, making him a remarkably young grandfather.
5. George Harrison coined the word "grotty", which didn't exist before the film.
Okay, technically it was writer Alun Owen who seemingly invented the word, but it was George who said it on screen in one of the very best scenes in the movie.
After being pounced on by an adman called Simon to endorse some horrible shirts, the fictional George Harrison explains why that just isn't going to happen.
"I wouldn't be seen dead in them," he said as part of a scene that rips up influencer culture nearly half a century before anyone had heard of Instagram. "They're dead grotty."
Think that word has been around forever? It turns out the 1964 novelisation of A Hard Day's Night was the first time the word was ever used in print.
"Alun Owen made that up; I didn’t," George said later.
"People have used that word for years now. It was a new expression: grotty – grotesque."
6. John Lennon wrote down something INCREDIBLY cheeky when a reporter asked him what his hobbies were?
Some of A Hard Day's Night's best moments come when The Beatles' are interacting with the press.
The Fab Four were renowned in real life for their witty responses to intrusive, impertinent or just plain weird questions from journalists, and one memorable scene is packed with these quips.
"Tell me, how did you find America?" "Turn left at Greenland." "Has success changed your life?" "Yes." "Are you a mod or a rocker?" "Um, no. I'm a mocker." "What do you call that collar?" "Oh, a collar." "Do you often see your father?" "No, actually we're just good friends."
One moment finds John Lennon being quizzed by a reporter who asks him in perfectly clipped Queen's English "Have you any hobbies?".
John doesn't answer out loud, but just grabs another journalist's pen and notebook to scrawl something down, showing it to the first reporter, who just gawps in response.
The word John wrote? Tits.
7. A young Phil Collins was in the crowd for the band's performance scene – but was cut out of the final edit
You may have heard that a 13-year-old Phil Collins is in A Hard Day's Night, but that's not quite true.
A Beatlemaniac himself, Phil was there in the crowd for the bands' performance scene shot at The Scala Theatre in London, on March 31, 1964, but he ended up on the cutting room floor.
Phil knew he was there, but never saw himself on film in the crowd – until the producers made a 30th anniversary documentary You Can't Do That! The Making of A Hard Day's Night in 1996, which Collins narrated.
"They actually cut 'You Can't Do That', The Beatles' song, out of the movie," Phil told Conan O'Brien years later.
"They gave me this and I was freeze-framing it, and I suddenly saw someone that I recognised, and behind this person, was this little round-faced blonde-haired boy with a red tie with a diamond in the middle, and that was me!"
Most of the outtakes for the film were actually sadly destroyed, and this historical snippet was only saved because it appeared on an episode of The Ed Sullivan Show at the time.
8. George Harrison met his future wife Pattie Boyd on the set of the film
Paul remembered: "In the film, there were little schoolgirls in gym slips who were actually models, and we were quite fascinated with them – George even married one."
Yep, in that that hilarious (if somewhat inappropriate scene) with the schoolgirls on the train (George: Ey, look at the talent! John: Let’s give ’em a pull....), who is the wide-eyed schoolgirl who says "prisoners?!" when warned off by Paul's grandfather?
It's a very young Pattie Boyd, who went on to marry George in 1966, when she was just 22 and he was 23.
"George and I were very young when we met," Pattie recalled years later.
"In a way it was wonderful because we were growing up together, we still had so much to learn."
The couple stayed married for over a decade before eventually divorcing in June 1977.
Pattie went on to marry and divorce George's friend Eric Clapton, before settling down with property developer Rod Weston.
9. The film is packed with other future superstars – including a Bond girl and Lionel Blair
Pattie Boyd and Phil Collins are maybe the most stand-out names today, but they weren't the only future famous names that featured in A Hard Day's Night.
If you recognise the (ahem) "great swimmer" at the casino, that's because it's Bond girl Margaret Nolan. She played Bond's masseuse Dink in the same year's Goldfinger.
More than that, it's Nolan who was painted gold for that memorable 007 title sequence, with her image all over the adverts and soundtrack cover for the film.
That TV choreographer strutting his stuff to a piano-led instrumental version of 'I'm Happy Just To Dance With You'? That's Lionel Blair. The dancer at the nightclub? Charlotte Rampling. Another dancer? future Are You Being Served? and 'Allo 'Allo! creator Jeremy Lloyd.
The snotty police officer? Future Please Sir! and Sykes actor Deryck Guyler. Adman Simon Marshall we mentioned above? He was played by an uncredited Kenneth Haigh, who had previously originated Jimmy Porter in the era-defining Look Back in Anger on the stage.
10. A Hard Day's Night is positively littered with James Bond connections
The Beatles and James Bond are two of the most quintessentially British global cultural touchstones, and the 007 connections in A Hard Day's Night don't just start and end with Margaret Nolan.
Both films were released by United Artists, and the Le Cercle gambling club Ringo is invited to play Chemin de Fer and Baccarat (two of Bond's favourite card games) shares its name with the club 007 made his first appearance at in Dr No two years earlier.
Speaking of Dr No, the instrumental version of 'This Boy', also known as 'Ringo's Theme', was performed by guitarist Vic Flick, who played on 'The Jame Bond Theme' from that film.
That snarky city gent in the early scene who uses that train regularly (twice a week!) is played by Richard Vernon, who was also in Goldfinger as Colonel Smithers.
It's not the first time the worlds of Beatles and Bond have crossed paths
"My dear girl, there are some things that just aren't done, such as drinking Dom Perignon '53 above the temperature of 38 degrees Fahrenheit," said Sean Connery's Bond in Goldfinger, teeing himself up for a one-liner that's aged as badly as anything in the history of Bond.
"That's just as bad as listening to The Beatles without earmuffs!"
For shame 007, for shame.
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https://www.hotpress.com/film-tv/paul-mccartney-and-ringo-starr-attend-abbey-road-documentary-premiere-22943331
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Paul McCartney and Ringo Starr attend Abbey Road documentary premiere
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] | null |
[
"Sandra Black"
] |
2022-12-13T16:18:07+00:00
|
If These Walls Could Sing will be available to stream from 6th January 2023 via Disney+.
|
Hotpress
|
https://www.hotpress.com/film-tv/paul-mccartney-and-ringo-starr-attend-abbey-road-documentary-premiere-22943331
|
Legendary Beatles’ members Ringo Starr and Paul McCartney were among last night’s audience members of the new documentary on iconic recording studio, Abbey Road.
If These Walls Could Sing, which is directed by Pauls’s daughter, Mary, has debuted as the world’s "first feature-length documentary" on the iconic recording venue.
The Beatles are one of many world-renowned artists to have utilised the studio, where they recorded most of their music. Their 11th album Abbey Road, was named after the venue, with the album’s cover becoming a popular tourist attraction, and countless fans having recreated the crossing photo over the years. Since then, the Abbey Road's zebra crossing was given Grade II-listed status in 2010.
The documentary which is being streamed via Disney+, explores the "breadth, diversity and ingenuity" of the studios across its nine decades of existence.
“Intimate interviews" revealing how "artists, producers, composers and the dedicated engineers and staff of Abbey Road all found their musical language and community, while vivid archive footage and session tapes give exclusive access to these famously private studios" are set to feature in the documentary.
Fans can look forward to special appearances by Paul, Ringo, Elton John, Pink Floyd’s Roger Waters, and Liam Gallagher- to name a few.
Advertisement
Accompanied by his wife Nancy Shevall, and daughter Stella, Paul McCartney was one attendee of the night’s star-studded event. Also in attendance were Spice Girl Melanie Chisholm, known as Mel C, singer Sharleen Spiteri and cellist Sheku Kanneh-Mason.
Abbey Roads began its life as a recording studio in 1931 after Edward Elgar conducted a performance there. Over the years the studio has played recording host to some of the biggest names in the the industry such as Radiohead, Amy Winehouse and Adele.
|
||||||
correct_starring_00056
|
FactBench
|
3
| 82
|
https://wjla.com/news/entertainment/beatles-fab-four-biopics-with-movie-each-for-paul-mccartney-john-lennon-george-harrison-and-ringo-star-spotlight-sony-pictures-mendes-quartet-cinematic-experience-hard-days-night-abbey-road-now-and-then-yellow-submarine
|
en
|
Beatles to get a Fab Four of biopics, with a movie each for Paul, John, George and Ringo
|
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"Sam Mendes",
"Sony",
"Films",
"Paul McCartney",
"John Lennon",
"George Harrison",
"Ringo Starr"
] | null |
[
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2024-02-20T09:53:52+00:00
|
The Beatles are getting the big-screen biopic treatment in not just one film, but a Fab Four of movies that will give each band member their own spotlight — all
|
en
|
/resources/assets/wjla/images/logos/favicon-32x32.png
|
WJLA
|
https://wjla.com/news/entertainment/beatles-fab-four-biopics-with-movie-each-for-paul-mccartney-john-lennon-george-harrison-and-ringo-star-spotlight-sony-pictures-mendes-quartet-cinematic-experience-hard-days-night-abbey-road-now-and-then-yellow-submarine
|
The Beatles are getting the big-screen biopic treatment in not just one film, but a Fab Four of movies that will give each band member their own spotlight — all of which are to be directed by Sam Mendes.
For the first time, the Beatles, long among the stingiest rights granters, are giving full life and music rights to a movie project. Sony Pictures announced Monday a deal that may dwarf all music biopics that have come before it, with the stories of Paul McCartney, John Lennon, George Harrison and Ringo Starr spread out over a quartet of films.
The films, conceived by Mendes, are expected to roll out theatrically in innovative fashion, with the movies potentially coexisting or intersecting in theaters. Precise release plans will be announced at a later date. Sony is targeting 2027 for their release.
McCartney, Starr and the families of John Lennon and George Harrison have all signed off on the project through the band's Apple Corps. Ltd. Sony Music Publishing controls the rights to the majority of Beatles songs.
“I’m honored to be telling the story of the greatest rock band of all time, and excited to challenge the notion of what constitutes a trip to the movies,” Mendes said in a statement.
Each film will be from the perspective of a Beatle.
“We intend this to be a uniquely thrilling, and epic cinematic experience: four films, told from four different perspectives which tell a single story about the most celebrated band of all time,” said producer Pippa Harris. “To have The Beatles’ and Apple Corps’ blessing to do this is an immense privilege.”
The Beatles' most famous forays into film were in their early years. Between 1964 and 1970, they appeared in five movies, including “A Hard Day’s Night” (1964) and the animated “Yellow Submarine” (1968). They’ve, of course, been the subject of many documentaries, most recently Peter Jackson’s 2021 “The Beatles: Get Back.”
In 2023, the Beatles reunited with the aid of artificial intelligence in the The recording was made possible by technology used by Jackson on “Get Back,” and featured a music video made by the New Zealand director.
Attempts to dramatize the Beatles’ story have been more sporadic and less impactful. A 1979 biopic, made when Lennon was still alive, called “The Birth of the Beatles” was produced with Beatles original drummer Pete Best as an adviser. The 1994 indie drama “Backbeat” chronicled Lennon’s relationship with Stuart Sutcliffe before the Beatles were famous. “Nowhere Boy” (2009) starred Aaron Taylor-Johnson as a teenage Lennon.
But in the last decade, music biopics have become big business. Box-office hits like “Bohemian Rhapsody,”“Rocketman” and “Elvis” have sent Hollywood executives chasing the next jukebox blockbuster. Over Presidents Day weekend, “Bob Marley: One Love,” produced with the Marley estate, was the No. 1 movie in theaters. A Michael Jackson biopic is in production.
“Theatrical movie events today must be culturally seismic. Sam’s daring, large-scale idea is that and then some," said Tom Rothman, chair and chief executive of Sony Pictures’ Motion Picture Group.
The combination of Mendes' team “with the music and the stories of four young men who changed the world, will rock audiences all over the globe,” Rothman said. "We are deeply grateful to all parties and look forward ourselves to breaking some rules with Sam’s uniquely artistic vision.”
|
||||
correct_starring_00056
|
FactBench
|
1
| 74
|
https://digitalfilms.wordpress.com/2020/04/30/paul-mccartneys-who-cares/
|
en
|
Paul McCartney’s “Who Cares”
|
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2020-04-30T00:00:00
|
Paul McCartney hasn't been the type of rock star to rest on his past. Many McCartney-related projects have embraced new technologies, such as the 360VR. The music video for Who Cares - McCartney's musical answer to bullying - was filmed in both 16mm and 65mm film. And it was edited using Final Cut Pro X.…
|
en
|
https://s1.wp.com/i/favicon.ico
|
digitalfilms
|
https://digitalfilms.wordpress.com/2020/04/30/paul-mccartneys-who-cares/
|
Paul McCartney hasn’t been the type of rock star to rest on his past. Many McCartney-related projects have embraced new technologies, such as the 360VR. The music video for Who Cares – McCartney’s musical answer to bullying – was filmed in both 16mm and 65mm film. And it was edited using Final Cut Pro X.
Who Cares features Paul McCartney and actress Emma Stone in a stylized, surreal song and dance number filmed in 65mm, which is bookended by a reality-based 16mm segment. The video was directed by Brantley Gutierrez, choreographed by Ryan Heffington, and produced through LA production company Subtractive.
Gutierrez has collaborated for over 14 years with Santa Monica-based editor Ryan P. Adams on a range of projects, including commercials, concerts, and music videos. Adams also did a stint with Nitro Circus, cutting action sports documentaries for NBC and NBCSN. In that time he’s used the various NLEs, including Premiere Pro, Media Composer, and Final Cut Pro 7. But it was the demands of concert videos that really brought about his shift to Final Cut Pro X.
___________________________________
[OP] Please tell me a bit about what style you were aiming for in Who Cares. Why the choice to shoot in both 16mm and 65mm film?
[Brantley Gutierrez] In this video, I was going for an homage to vaudevillian theater acts and old Beatles-style psychedelia. My background is working with a lot of photography. I was working in film labs when I was pretty young. So my DP and friend, Linus Sandgren, suggested film and had the idea, “What if we shot 65mm?” I was open to it, but it came down to asking the folks at Kodak. They’re the ones that made that happen for us, because they saw it as an opportunity to try out their new Ektachrome 16mm motion film stock.
They facilitated us getting the 65mm at a very reasonable price and getting the unreleased Ektachrome 16mm film. The reason for the two stocks was the separation of the reality of the opening scene – kind of grainy and hand-held – with the song portion. It was almost dreamlike in its own way. This was in contrast to the 65mm psychedelic part, which was all on crane, starkly lit, and with very controlled choreography. The Ektachrome had this hazy effect with its grain. We wanted something that would jump as you went between these worlds and 16 to 65 was about as big of a jump as we could get in film formats.
[OP] What challenges did you face with this combination of film stocks? Was it just a digital transfer and then you were only dealing with video files? Or was the process different than that?
[BG] The film went to London where they could process and scan the 65mm film. It actually went in with Star Wars. Lucafilm had all of the services tied up, but they were kind enough put our film in with The Rise of Skywalker and help us get it processed and scanned. But we had to wait a couple of extra days, so it was a bit of a nervous time. I have full faith in Linus, so I knew we had it. However, it’s a little strange these days to wait eight or nine days to see what you had shot.
We were a guinea pig for Kodak for the 16mm stock. When we got it back, it looked crazy! We were like, “Oh crap.” It looked like it had been cross-processed – super grainy and super contrasty. It did have a cool look, but more like a Tony Scott style of craziness. When we showed it to Kodak they agreed that it didn’t look right. Then we had Tom Poole, our colorist at Company 3 in New York, rescan the 16mm and it looked beautiful.
[Ryan P. Adams] Ektachrome is a positive stock, which hasn’t been used in a while. So the person in London scanning it just wasn’t familiar with it.
[BG] They just didn’t have the right color profile built for that stock yet, since it hadn’t been released yet. Of course, someone with a more experienced eye would know that wasn’t correct.
[OP] How did this delay impact your editing?
[BG] It was originally scanned and we started cutting with the incorrect version. In the meantime, the film was being rescanned by Poole. He didn’t really have to do any additional color correction to it once he had rescanned it. This was probably our quickest color correction session for any music video – probably 15 minutes total.
[RPA] One of the amazing things I learned, is that all you have to do is give it some minor contrast and then it is done. What it does give you is perfect skin tones. Once we got the proper scan and sat in the color session, that’s what really jumped out.
[OP] So then, what was the workflow like with Final Cut Pro X?
[RPA] The scans came in as DPX files. Here at Subtractive, we took those into DaVinci Resolve and spit out ProRes 422 HQ QuickTime files to edit with. To make things easy for Company 3, we did the final conform in-house using Resolve. An FCPXML file was imported into Resolve, we linked back to the DPX files, and then sent a Resolve project file to Company 3 for the final grade. This way we could make sure everything was working. There were a few effects shots that came in and we set all of that up so Tom could just jump on it and grade. Since he’s in New York, the LA and New York locations for Company 3 worked through a remote, supervised grading session.
[OP] The video features a number of effects, especially speed effects. Were those shot in-camera or added in post?
[RPA] The speed effects were done in post. The surreal world was very well choreographed, which just plays out. We had a lot of fun with the opening sequence in figuring out the timing. Especially in the transitional moment where Emma is staring into the hypnotic wheel. We were able to mock up a lot of the effects that we wanted to do in Final Cut. We would freeze-frame these little characters called “the idiots” that would jump into Emma’s head. I would do a loose rotoscope in Final Cut and then get the motion down to figure out the timing. Our effects people then remade that in After Effects.
[OP] How involved was Paul McCartney in the edit and in review-and-approval?
[BG] I’ve know Paul for about 13 years and we have a good relationship. I feel lucky that he’s very trusting of me and goes along with ideas like this. The record label didn’t even know this video was happening until the day of production. It was clandestine in a lot of ways, but you can get away with that when it’s Paul McCartney. If I had tried that with some other artist, I would have been in trouble. But Paul just said, “We’re going to do it ourselves.”
We showed him the cut once we had picture lock, before final color. He called on the phone, “Great. I don’t have any notes. It’s cool. I love it and will sign off.” That was literally it for Paul. It’s one of the few music videos where there was no going back and forth between the management, the artist, and the record label. Once Paul signed off on it, the record label was fine with it.
[OP] How did you manage to get Emma Stone to be a part of this video?
[BG] Emma is a really close friend of mine. Independently of each other, we both know Paul. Their paths have crossed over the years. We’ve all hung out together and talked about wanting to do something. When Paul’s album came out, I hit them both up with the idea for the music video and they both said yes.
The hardest part of the whole process was getting schedules to align. We finally had an open date in October with only a week and a half to get ready. That’s not a lot of time when you have to build sets and arrange the choreography. It was a bit of a mad dash. The total time was about six weeks from prep through to color.
Because of the nature of this music video, we only filmed two takes for Paul’s performance to the song. I had timed out each set-up so that we knew how long each scene would be. The car sequence was going to be “x” amount of seconds, the camera sequence would be “x” amount, and so on. As a result, we were able to tackle the edit pretty quickly. Since we were shooting 65mm film, we only had two or three takes max of everything. We didn’t have to spend a lot of time looking through hours of footage – just pick the best take for each. It was very old school in that way, which was fun.
[OP] Ryan, what’s your approach to organizing a project like this in Final Cut Pro X?
[RPA] I labelled every set-up and then just picked the best take. The first pass was just a rough to see what was the best version of this video. Then there were a few moments that we could just put in later, like when the group of idiots sings, “Who cares.”
My usual approach is to lay in the sections of synced song segments to the timeline first. We’ll go through that first to find the best performance moments and cut those into the video, which is our baseline. Then I’ll build on top of that. I like to organize that in the timeline rather than the browser so that I can watch it play against the music. But I will keyword each individual set-up or scene.
I also work that way when I cut commercials. I can manage this for a :30 commercial. When it’s a much bigger project, that’s where the organization needs to be a little more detailed. I will always break things down to the individual set-ups so I can reference them quickly. If we are doing something like a concert film, that organization may be broken up by the multiple days of the event. A great feature of Final Cut Pro X is the skim tool and that you can look at clips like a filmstrip. It’s very easy to keyword the angles for a scene and quickly go through it.
[OP] Brantley, I’m sure you’ve sat over the shoulder of the editor in many sessions. From a director’s point of view, what do you think about working with Final Cut Pro X?
[BG] This particular project was pretty well laid out in my head and it didn’t have a lot of footage, so it was already streamlined. On more complex projects, like a multi-cam edit, FCPX is great for me, because I get to look at it like a moving contact sheet from photography. I get to see my choices and I really respond to that. That feels very intuitive and it blows me away that every system isn’t like that.
[OP] Ryan, what attracted you about Final Cut Pro X in order to use it whenever possible?
[RPA] I started with Final Cut Pro X when they added multi-cam. At that time we were doing more concert productions. We had a lot of photographers who would fill in on camera and Canon 5Ds were prevalent. I like to call them “trigger-happy filmers,” because they wouldn’t let it roll all the way through.
FCPX came up with the solution to sync cameras with the audio on the back end. So I could label each photographer’s clips. Each clip might only be a few seconds long. I could then build the concert by letting FCPX sync the clips to audio even without proper timecode. That’s when I jumped on, because FCPX solved a problem that was very painful in Final Cut Pro 7 and a lot of other editing systems. That was an interesting moment in time when photographic cameras could shoot video and we hired a lot of those shooters. Final Cut Pro X solved the problem in a very cool way and it helped me tremendously.
We did this Tom Petty music video, which really illustrates why Final Cut Pro X is a go-to tool. After Tom had passed, we had to take a lot of archival footage as part of a music video, called Gainesville, that we did for his boxed set. Brantley shot a lot of video around Tom’s hometown of Gainesville [Florida], but they also brought us a box with a massive amount of footage that we put into the system. A mix of old films and tapes, some of Tom’s personal footage, all this archival stuff. It gave the video a wonderful feeling.
[BG] It’s very nostalgic from the point of view of Tom and the band. A lot of it was stuff they had shot in their 20s and had a real home movie feel. I shot Super 8mm footage around Tom’s original home and places where they grew up to match that tone. I was trying to capture the love his hometown has for him.
[RPA] That’s a situation where FCPX blows the competition out of the water. It’s easy to use the strip view to hunt for those emotional moments. So the skimmer and the strip view were ways for us to cull all of this hodge-podge of footage for those moments and to hit beats and moments in the music for a song that had been unreleased at that time. We had one week to turn that around. It’s a complicated situation to look through box of footage on a very tight deadline and put a story to it and make it feel correct for the song. That’s where all of those tools in Final Cut shine. When I have to build a montage, that’s when I love Final Cut Pro X the most.
[OP] You’ve worked with the various NLEs. You know DaVinci Resolve and Blackmagic is working hard to make it the best all-in-one tool on the market. When you look at this type of application, what features would you love to see added to Final Cut Pro X?
[RPA] If I had a wishlist, I would love to see if FCPX could be scaled up for multiple seats and multiple editors. I wish some focus was being put on that. I still go to Resolve for color. I look at compositing as just mocking something up so we can figure out timing and what it is generally going to look like. However, I don’t see a situation currently where I do everything in the editor. To me, DaVinci Resolve is kind of like a Smoke system and I tip my hat to them.
I find that Final Cut still edits faster than a lot of other systems, but speed is not the most important thing. If you can do things quickly, then you can try more things out. That helps creatively. But I think that typically things take about as long from one system to the next. If an edit takes me a week in Adobe it still takes me a week in FCPX. But if I can try more things out creatively, then that’s beneficial to any project.
Originally written for FCP.co.
©2020 Oliver Peters
|
||||
correct_starring_00056
|
FactBench
|
0
| 38
|
https://www.usatoday.com/story/life/movies/2014/07/02/hard-days-night-50th-anniversary/11366769/
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en
|
USA TODAY
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[
"Claudia Puig, USA TODAY",
"Claudia Puig"
] |
2014-07-02T00:00:00
|
The irreverent, madcap film, now 50 years old, was truly transformative.
|
en
|
USA TODAY
|
https://www.usatoday.com/story/life/movies/2014/07/02/hard-days-night-50th-anniversary/11366769/
|
The Beatles' 'A Hard Day's Night' is still fresh at 50
It's been a long and winding road in the half-century since the jaunty joyousness of A Hard Day's Night hit screens.
As the fourth iteration of Transformers rakes in millions for its insipid retooling, it's worth reflecting on a 50-year-old film that was truly transformative.
Hard Day's Night is that rare film that brilliantly captures a specific phenomenon and is also timeless.
John Lennon, Paul McCartney, George Harrison and Ringo Starr were much more than mods, rockers or mockers. Audiences first met the film-star Beatles in A Hard Day's Night in 1964 as they mischievously navigated the insanity of screaming fans, neurotic producers and voracious press. From the first frame, who didn't yearn to be immersed in their madcap world eight days a week?
"You don't just want to watch it; you want to be in it," says director Steven Soderbergh, who co-wrote Getting Away With It with Hard Day's Night director Richard Lester. "You want to be one of them. You want to climb inside of it and be surrounded by that kind of energy."
From all accounts, the filmed ebullience of the four lads from Liverpool captured their real-life charisma.
"That specific kind of exuberance is very difficult, if not impossible, to fake," Soderbergh says. He ought to know: He says his 1998 fast-paced Out of Sight was inspired by it.
The film's blend of indelibly engaging Beatles music, wacky shenanigans and anarchic humor made it thoroughly infectious.
Nothing like the films of Elvis Presley, Cliff Richard or other music stars before The Beatles, A Hard Day's Night was so witty, stylish and joyously unrestrained that it influenced a spate of later comedies and created a template for contemporary music videos. Its style of rapid pacing, zig-zag cutting and playful one-liners remains inventive today.
"It's still fresh because it was done with so much energy," says Giles Martin, who produced Paul McCartney's 2013 album New and collaborated with his father, longtime Beatles producer George Martin, on the soundscape of Love, the Cirque du Soleil show that incorporates Beatles music. "They were parodying themselves in a tongue-in-cheek way. They had a huge ability to be irreverent and flippant, but with meaning."
Lester conveyed the magic and mystery of a rare phenomenon when he re-created what it was like to be one of the Fab Four at that seminal moment.
"It was sort of happenstance, the planets lining up with the perfect filmmaker to capture it," Soderbergh says. "That's really what's happening: He's capturing something as opposed to staging it."
As the black-and-white film celebrates its 50th anniversary with Criterion Collection's release of the Blu-Ray and DVD versions, and opens for a special summer engagement starting Friday at more than 100 theaters nationwide, it's an optimum time to examine the massive cinematic contribution of The Beatles and the filmmakers involved in A Hard Day's Night.
The quartet began working on the film just a month after their legendary appearance on The Ed Sullivan Show in February 1964. The movie opened on July 6, 1964.
Lester let The Beatles' youthful irreverence shine through and raucously communicated the whirlwind of being the world's biggest musical stars.
Not only was it massively entertaining and brilliantly directed, the movie hugely expanded The Beatles' fan base in the United States and spread across the universe in a big way.
"At the time the film was contracted, The Beatles had not yet broken America," says biographer Mark Lewisohn, who wrote Tune In: The Beatles: All these Years. "It was made with the hope that it might help their popularity in America, but it was made pretty much on their strength in Britain. ... It was made to amuse but was also made as a vehicle for a pop group.
"Those kinds of films hadn't always been comedies. They'd been light with maybe funny moments, or attempts to be funny. It was a complete send-up of all the pop musicals before. The jukebox musical was the genre they were mining. And they just completely revolutionized it."
Lester intrinsically understood what an extraordinary phenomenon he was depicting.
"The Beatles knew Lester and he knew them," Soderbergh says. "They roped in (screenwriter) Alun Owen, who had an incredible ear for the kind of one-liners they were pretty good at coming up with on their own. Lester has such a great visual sense of humor and was able to put visual jokes on top of the verbal jokes."
Lester has said there was never any discussion about an alternative way of approaching the film.
"They were almost entirely asked to do what they normally did: to go to a club, to go to a rehearsal room," Lester, 82, said in a previously published interview included in a booklet that accompanies the anniversary collection DVD. He was not available to be interviewed for this story.
Lester cleverly incorporated improvisation. The memorable scene in which the four moptops attend a news conference and give hilariously goofy responses to journalists was unscripted, developed as they filmed.
"They couldn't shoot on the street anymore," Soderbergh says. "They were creating so much chaos because crowds were showing up. So Lester said, 'Get me a room and get me a bunch of journalists and they started writing up these questions.' "
Each of The Beatles provided impromptu answers. When a reporter asked John Lennon "How do you find America?" the famously irreverent Lennon popped back with: "Turn left at Greenland."
The film is worth rewatching for those who haven't seen it in a while, to catch those improvised moments. Plus, new observations jump out. George Harrison emerges as the best actor of the quartet, with a natural gift for underplaying scenes.
Viewers gets a mounting sense of four musician pals held captive — or at least hemmed in — by their escalating fame. When they run onto an empty field (and sing Can't Buy Me Love), their sense of release is palpable.
Deftly conveying the surrealistic adventure of the Liverpool lads (without ever mentioning the name The Beatles in the film), Lester juxtaposed their impudence with the taciturn weirdness of veteran British actor Wilfrid Brambell, who played Paul's oh-so-clean grandfather. Lester has said he capitalized on the four pals' "private idiom" along with a faux sense of cinema verité, heightened in black and white. Flourishes of the Marx Brothers, Buster Keaton, Jacques Tati and Britain's The Goon Show infuse the film.
The blend of fast-paced visual antics and witty wordplay in A Hard Day's Night left a legacy evident in the Monty Python movies and mockumentaries like This is Spinal Tap, and it still resonates in comedies today.
As Soderbergh puts it: "Even for all its frantic feeling, it's still a beautifully crafted movie. Prior to that, films with music in them tended to be more staged and much more formal in their cinematic approach. This thing looks like it was shot tomorrow."
|
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correct_starring_00056
|
FactBench
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0
| 9
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https://lens.blogs.nytimes.com/2016/09/12/a-behind-the-scenes-look-at-the-beatles-a-hard-days-night/
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en
|
A Behind-the-Scenes Look at the Beatles and 'A Hard Day's Night'
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[
"Buckley William F Jr",
"Harrison George",
"Lennon John",
"McCartney Paul",
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"Pop and Rock Music",
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"A Hard Day's Night (Movie)",
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] | null |
[
"Jonathan Blaustein"
] |
2016-09-12T00:00:00
|
A new book on the making of the Beatles’ debut film offers previously unseen images and new insights on their ascent to global superstardom.
|
en
|
Lens Blog
|
https://archive.nytimes.com/lens.blogs.nytimes.com/2016/09/12/a-behind-the-scenes-look-at-the-beatles-a-hard-days-night/
|
William F. Buckley may have been a guru of conservative ideology, but when it came to pop music criticism … perhaps he should have stuck to politics. In a column on Beatlemania, he made John, Paul, George and Ringo look like the Four Horsemen of the Cultural Apocalypse. In his florid opinion, “They are so unbelievably horrible, so appallingly unmusical, so dogmatically insensitive to the magic of the art, that they qualify as crowned heads of anti-music. …”
That fascinating revelation is among the tidbits in “The Beatles A Hard Day’s Night: A Private Archive,” a newly released photobook by Phaidon that features a trove of previously unseen publicity stills from the Fab Four’s 1964 debut movie of the same name, as well as collected ephemera from their ascent to the global cultural pantheon.
The movie, directed by Richard Lester, starred John Lennon, Paul McCartney, George Harrison and Ringo Starr as they take the train to London for a night of clubbing and a promotional television appearance the next day. Although scripted, the film took inspiration from the musicians’ real lives, and its title from their affable drummer, whose “Ringoisms” rivaled Yogi Berra’s penchant for malapropisms.
“A Hard Day’s Night” was released shortly after the Beatles entranced the United States on “The Ed Sullivan Show,” but they were already superstars in England. In his introduction to the book, the Beatles historian Mark Lewisohn writes, “No adjective can adequately convey how huge they were in their homeland.”
For the rest of the world, the film gave the first glimpse into the group’s distinct personalities, as well the inscrutable lingo from Liverpool, the northern English city whence the lads came. Outside of England, people might not have known what “stroppy” or “grotty” meant, or why “swine” might be used as a term of endearment, but they couldn’t possibly miss the film’s subtext: Longhaired, working-class young people were leading an insurrection against traditional values.
And they would not be denied.
Early on, John and Paul challenge the inherent privilege claimed by a war veteran in a first-class rail car. Later, George taunts an uptight advertising executive. Ringo calls a London policeman “Southerner” as an epithet and then tells a pretentious television employee: “There you go. Hiding behind a smokescreen of bourgeois clichés.” According to Mr. Lewisohn, this was no accident, as the self-confident musicians believed themselves anyone’s equals.
“They had no inferiority complex of any kind, in any company,” he said. “But recognize they were existing in a world that could look down upon them for not speaking in BBC English. This was Britain in those days. And it was part of the Beatles’ immense charm that they were able to just surf all of that, and not be bothered with it in real life.”
The movie handles this sense of rebellion with a zany touch, as the loose narrative periodically gives way to the pleasure of catchy tunes like “Can’t Buy Me Love,” “If I Fell” and, of course, the title track. It also allowed the bandmates to display their comic talents, with each Beatle getting at least one opportunity to mug for the camera.
Paul comes across as earnest; John a bit cynical; George possessed of a grounded cool; and Ringo, by the end, is the star. He provides the film’s dramatic tension by leaving the group to go “parading” with a Pentax 35-millimeter camera, after Wilfred Brambell, the actor playing Paul’s rascal grandfather, persuades him to walk out on the impending TV concert. (Don’t worry, he comes back just in time.)
According to Mr. Lewisohn, the Pentax was real: All of the band members were interested in photography, and Ringo even had a photo book published in 1964, too.
The Phaidon book’s images capture the linear action, as well as behind-the-scenes moments that will excite any Beatles fan. And the film’s mocking tone toward the conservative establishment presaged how history would not be kind to Mr. Buckley’s opinion, as the Beatles evolved as trailblazing musicians.
Mr. Lewisohn, who has devoted his career to chronicling the band and is currently writing a definitive three-volume history, referred to the Beatles as “the pumping heartbeat of the ’60s.” While he admits that the same musicians, playing the same songs, could never have an identical effect on today’s striated, market-surveyed micro-audiences, he insists it’s no accident they became the most influential musical group to date.
“I think if you set out to consciously try to effect cultural change, you’ll probably fall at the first hurdle,” he said. “But if you just set out to please yourself, and it happens to be something that delights millions, then you’ve got the perfect combination.”
Jonathan Blaustein is an artist and writer based in New Mexico. He contributes regularly to the blog A Photo Editor.
|
|||||
correct_starring_00056
|
FactBench
|
0
| 75
|
https://www.independent.co.uk/arts-entertainment/films/reviews/a-hard-day-s-night-film-review-9582605.html
|
en
|
A Hard Day’s Night, film review
|
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[
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] | null |
[
"Geoffrey Macnab"
] |
2014-07-03T15:57:14+00:00
|
A Hard Day’s Night (U). Dir. Richard Lester. Starring: John Lennon, Paul McCartney, George Harrison, Ringo Starr, Wilfrid Brambell. 89 mins
|
en
|
/img/shortcut-icons/favicon.ico
|
The Independent
|
https://www.independent.co.uk/arts-entertainment/films/reviews/a-hard-day-s-night-film-review-9582605.html
|
As invigorating and funny now as it was on its original release half a century ago, A Hard Day’s Night offers both a perfect showcase for the Beatles and an intriguing snapshot of fast-changing, early-1960s British society. Richard Lester, the director, was a master of dynamic and zany film-making, full of running and jumping.
One of the first shots we see is of the Beatles fleeing their teenage fans; from there, Lester never lets the tempo slip. He is helped by Alun Owen’s irreverent and self-reflexive screenplay, which sees John, Paul, Ringo and George heading down from Liverpool to London to appear on a concert on a TV show.
Accompanying them, and blissfully trying to steal scenes from under their noses, is Wilfrid Brambell, of Steptoe and Son fame, as Paul’s “very clean” and mischievous grandfather. The film, re-released in a new 4K digital restoration, can’t help but have tremendous poignance given everything that has happened, for better or worse, to the band members in the intervening 50 years.
|
||||
correct_starring_00056
|
FactBench
|
3
| 20
|
https://www.facebook.com/PaulMcCartney/posts/980766266747374/
|
en
|
Paul McCartney
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
At last… See The Beatles in the 1970 film, Let It Be, fully restored for the first time, streaming May 8 only on Disney+.
Read the full story on https://www.thebeatles.com/let-it-be-last
#letitbe
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/PaulMcCartney/posts/980766266747374/
| ||||||
correct_starring_00056
|
FactBench
|
0
| 22
|
https://www.dailymotion.com/video/x3xa5m9
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en
|
Dailymotion
|
[] |
[] |
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en
|
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https://www.dailymotion.com/video/x3xa5m9
| |||||||
correct_starring_00056
|
FactBench
|
3
| 77
|
https://americansongwriter.com/paul-mccartneys-animated-film-project-high-in-the-clouds-gets-new-director-eyeing-2026-premiere/
|
en
|
Paul McCartney’s Animated Film Project ‘High in the Clouds’ Gets New Director, Eyeing 2026 Premiere
|
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2023-10-27T15:25:59+00:00
|
An animated film based on 'High in the Clouds,' a children’s book co-written by Paul McCartney, is moving forward with some new contributors.
|
en
|
American Songwriter
|
https://americansongwriter.com/paul-mccartneys-animated-film-project-high-in-the-clouds-gets-new-director-eyeing-2026-premiere/
|
A long-in-the-works animated film based on High in the Clouds, a 2005 children’s adventure novel co-written by Paul McCartney, is moving forward with some new contributors.
Variety reports that McCartney and the French film company Gaumont, who is co-producing the movie, have unveiled a new creative team for the project, which is slated to begin production in early 2024 and is expected to be completed by the first quarter of 2026.
A post on the Gaumont Instagram page describes High in the Clouds as “a timeless 3D animated film, about the power of family and freedom of expression through music, set in a world of animals.”
[RELATED: Paul McCartney, Hozier, and More Contributing Songs to Auction Benefitting War Child Charity]
Toby Genkel, whose previous credits include The Amazing Maurice, will direct the film, while Oscar-winning composer Michael Giacchino (Up) will compose the score. Writer Jon Croker (Paddington 2), who has been attached to the project for several years, is penning the screenplay.
The movie will feature six original McCartney songs, and the project has a budget of about 28 million euros (about $30 million).
McCartney will voice a character in the film, while Variety reports that “two other major music stars” are in discussions to take part in the project.
In 2019, it was announced that the High in the Clouds film was being produced to air on Netflix, with Timothy Reckart tapped to direct, and at one point the movie was scheduled for a 2023 release. However, it was reported in June that Netflix was no longer attached to the project.
High in the Clouds, the book, was co-written by McCartney and children’s author Philip Ardagh, with illustrations by Geoff Dunbar. It tells the story of a teenage squirrel named Wirral who lives in a city called Gretschville, where an evil singing owl named Gretsch has banned music. Wirral goes on a quest to bring music back to the city, enlisting a band of musicians who are in hiding in a secret place called Harmonia, located high in the clouds.
McCartney has been involved in a variety of projects geared toward children over the years, including a pair of illustrated books, Hey Grandude! and Grandude’s Green Submarine, which were published in 2018 and 2021, respectively.
The former Beatles star is currently on tour in Australia. His next concert is scheduled for October 28 in Sydney. Visit PaulMcCartney.com for a full list of his upcoming shows.
Photo by J.Tregidgo/WireImage
|
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correct_starring_00056
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FactBench
|
1
| 81
|
https://nypost.com/2024/02/20/entertainment/sam-mendes-beatles-biopic-in-works-in-four-separate-movies/
|
en
|
An epic Beatles biopic is coming — but you’ll have to watch four separate movies
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] |
[] |
[] |
[
"Movies",
"Entertainment",
"Music",
"films",
"george harrison",
"john lennon",
"paul mccartney",
"ringo starr",
"sam mendes",
"the beatles"
] | null |
[
"Johnny Oleksinski"
] |
2024-02-20T00:00:00
|
Four interconnected movies about The Beatles, each focussing on a different band member, will hit theaters starting in 2027, Sony and Apple Corps, Ltd. announced on Tuesday. Sam Mendes, the ambitious director of “1917” and “Skyfall,” will helm the entire quartet of biopics that explore the lives of John Lennon, Paul McCartney, George Harrison and Ringo Starr.
|
en
|
New York Post
|
https://nypost.com/2024/02/20/entertainment/sam-mendes-beatles-biopic-in-works-in-four-separate-movies/
|
It’s a bona fide British Invasion.
Four interconnected movies about The Beatles, each focusing on a different band member, will hit theaters starting in 2027, Sony and Apple Corps (the Beatles’ media company) announced on Tuesday.
Sam Mendes, the ambitious director of “1917” and “Skyfall,” will helm the entire magical mystery tour of biopics that explore the lives of John Lennon, Paul McCartney, George Harrison and Ringo Starr.
“We intend this to be a uniquely thrilling and epic cinematic experience: four films, told from four different perspectives which tell a single story about the most celebrated band of all time,” producer Pippa Harris, of Neal Street Productions, said in a statement.
“To have The Beatles’ and Apple Corps’ blessing to do this is an immense privilege.”
McCartney, Starr and the families of the late Lennon and Harrison gave the effort the go-ahead through Apple Corps.
The order of the films’ releases, or whether they will hit theaters simultaneously, is unknown. Casting has not yet been announced.
Sony Music Publishing, conveniently, owns the vast majority of The Beatles’ song catalog.
Musician biopics have proved a mostly reliable genre at the box office.
The Queen story “Bohemian Rhapsody” raked in $910 million worldwide, while “Elvis” managed $288 million and the Elton John flick “Rocketman” did $195 million.
And just this past weekend, “Bob Marley: One Love” beat expectations and grossed $81 million worldwide.
Still, the Mendes project is unusual in that it will tell the story of the group’s ascent from four separate points of view. That tricky format is more common on television (Season 4 of “Arrested Development”) or in novels (“Midnight Sun,” Stephanie Meyer’s retread of her own “Twilight”).
Four movies will require four pricey ticket purchases.
The Beatles have endured in the culture since they first exploded in the early 1960s — even after the assassination of Lennon outside the Dakota in 1980 and the death of Harrison in 2001.
The British boy band has been back in a major way lately.
A single called “Now and Then” that was completed last year with the help of AI hit No. 7 on the Billboard Hot 100. It was featured extensively in the new action-comedy “Argylle.”
And director Peter Jackson’s 2021 documentary “The Beatles: Get Back” won the Emmy for Best Documentary series.
|
|||||
correct_starring_00056
|
FactBench
|
1
| 97
|
https://consequence.net/2018/09/10-paul-mccartney-songs-that-made-movies-better/
|
en
|
10 Paul McCartney Songs That Made Movies Better
|
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] |
[] |
[
""
] | null |
[
"Matt Melis",
"Doug Nunnally",
"Brian Coney"
] |
2018-09-10T00:00:00
|
Sometimes the right Macca song can turn a memorable scene into an instant classic.
|
en
|
Consequence
|
https://consequence.net/2018/09/10-paul-mccartney-songs-that-made-movies-better/
|
Paul McCartney. Macca. The most successful and influential songwriter in modern music history. His music is iconic by itself, able to project its own scenes and stories into your head without any prompting whatsoever. In that sense, it can be hard to fit his music into film. Songs as evocative and pictorial as his can often take the attention away from what a director or screenwriter might intend. But when used in the right context, it can enhance a piece of cinema past our wildest imaginations, making an iconic song even more indelible and letting a memorable scene become an instant classic.
From The Beatles to Wings, Ram to his newest work, Egypt Station, Hollywood has enough material to last a century of filmmaking, and judging by McCartney’s soundtrack contributions from the ’60s till now, it seems like they’re completely up to the challenge. Sure, most inclusions of McCartney’s music is haphazard, just thrown about in order to grab some attention for a struggling moment in desperate need of assistance. But there are plenty of moments in cinema where his music truly elevated the work, joining hand-in-hand with the story to provide insight into a character, depth to a story, or precision to a montage.
Related Video
To show you what we mean, we’ve gathered up 10 instances of McCartney popping up in a movie and making it instantly better, covering his sound from the legendary days of The Beatles through his prolific and diverse solo career. As many filmmakers will tell you, though, licensing music from McCartney and The Fab Four isn’t always easy and affordable. With that in mind, we opened up the list to include some memorable covers of McCartney’s music, ones that specifically carried on the meaning and themes of the originals without distancing itself from its source material. All in all, here are 10 songs by Macca himself that show just how inspiring and integral his songwriting has been to our world.
–Doug Nunnally
Contributing Writer
“When I’m Sixty-Four” – The World According to Garp (1982)
Renowned at the time for his cutting-edge credits for late-’70s big-hitters like Superman and Alien, Oscar-nominated title designer and motion-graphics pioneer Richard Alan Greenberg opted for a decidedly breezier approach for the opening to The World According to Garp, George Roy Hill’s 1982 comedy-drama featuring Robin Williams in the title role. As the credits roll and a beaming baby Garp is playfully flung into the air by his mother, played by Glenn Close, the singular vaudevillian jaunt of McCartney’s “When I’m Sixty-Four” takes center stage. Thanks in no small part to what McCartney himself would later call the song’s “rooty-tooty variety style,” a bittersweet tone is established, only to be recalled by the untimely murder of Williams’ Garp many years from then. –Brian Coney
“Yesterday” – Once Upon a Time in America (1984)
It’s no secret that Once Upon a Time in America featured Sergio Leone buddying up with his long-time musical go-to Ennio Morricone for one of their more iconic collaborations. But original score aside (and notwithstanding the sublime use of “St. James Infirmary Blues” during the Prohibition “funeral” scene), one of the film’s most pivotal scenes was defined by a Muzak version of McCartney’s stone-cold ode to lost love, “Yesterday”. Following the slow-building tension of Robert De Niro’s guilt-ridden character, Noodles, getting out of dodge, McCartney’s Help! centerpiece not only bridges the 1930s with Noodles’ return to New York in 1968, but it makes for a poignant rendition of a bona fide McCartney tearjerker that taps straight into the heart-pangs and pathos of Leone’s tale. –Brian Coney
“Twice in a Lifetime” – Twice in a Lifetime (1985)
Despite memorable performances by Amy Madigan and Gene Hackman, this 1985 film about the effect one man’s midlife crisis can have on his family has sadly fallen by the wayside in terms of anthologized ’80s cinema. But give it a watch today and you’ll find a special movie, one that’s bolstered by the addition of McCartney’s pensive theme. Playing over the credits after Harry (Hackman) has finally come to grips with the uneasy reality he selfishly forced onto himself and his family, there is Paul McCartney, one of history’s greatest songwriters, ready to unpack everything we just witnessed in classic ‘80s fashion with soulful saxophones and drums mixed liberally with gated reverb. Bittersweet, repentant, and still hopeful, it’s a befitting epilogue to the film and a heartfelt effort from McCartney that helps elevate this overlooked movie. –Doug Nunnally
“Vanilla Sky” – Vanilla Sky (2001)
Just like our Bob Dylan list, we’re not here to address the quality of Cameron Crowe’s cognitive mystery. But we will be more than happy to champion the film’s soundtrack and Crowe’s way of intertwining it with the story to make you wonder just how many clues are in each scene. McCartney’s contribution bookends the film, giving cinema sleuths another chance to decode the story. At the beginning, when all seems well and good, we faintly hear the guitar jaunt and McCartney’s cheeky vocal harmonizing in the background. But after we see Aames (Tom Cruise) open his eyes once more at the end, we’re greeted to the full song and its ambiguous lyrical ideas that seem to shift from feelings of carpe diem to anxiety over a five-course meal. Was the song a background noise amplified within his lucid dream? Or are the lyrics showing us that it’s been one long dream all along? The song provokes a multitude of queries, all of which bring more depth to a movie that seemed bottomless. –Doug Nunnally
“Hey Jude” – The Royal Tenenbaums (2001)
|
|||||
correct_starring_00056
|
FactBench
|
3
| 61
|
https://nypost.com/2023/11/01/entertainment/the-beatles-drop-short-film-for-new-song-now-and-then/
|
en
|
Paul McCartney reflects on The Beatles’ new song ‘Now and Then’: ‘John’s voice, crystal clear’
|
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[] |
[] |
[
"Music",
"Entertainment",
"george harrison",
"john lennon",
"paul mccartney",
"ringo starr",
"sean lennon",
"the beatles"
] | null |
[
"Chuck Arnold"
] |
2023-11-01T00:00:00
|
“Now and Then — The Last Beatles Song,” a short film that premiered on the Fab Four’s YouTube channel on Wednesday, previews the release of “Now and Then," the first new tune by the British band since 1996.
|
en
|
New York Post
|
https://nypost.com/2023/11/01/entertainment/the-beatles-drop-short-film-for-new-song-now-and-then/
|
When surviving Beatles Paul McCartney and Ringo Starr heard John Lennon singing anew on “Now and Then” — a brand-new Beatles song released this week — it was like their bandmate had miraculously come back to life four decades after he was murdered.
“And there it was — John’s voice, crystal clear,” says McCartney, 81, in the new short film “Now and Then — The Last Beatles Song,” which premiered on the Fab Four’s YouTube channel Wednesday.
“It’s like John’s there,” adds Starr, 83.
“Now and Then,” the first new Beatles tune since 1996’s “Real Love,” was written and first recorded by Lennon in the ’70s when he was living in the Dakota building on New York’s Central Park West — where he was murdered 43 years ago, on Dec. 8, 1980.
“I do remember living at the Dakota with Dad and Mom,” recalls Sean Ono Lennon, 48, in “Now and Then.”
“There’s this impression that my dad stopped doing music for a while to raise me,” Lennon says, “which I think is partially true in terms of him not touring and not fulfilling any major record-label obligations.
“But he was always playing music around the house. He was always making demos, and I do remember him recording into these tape-cassette recorders. Mom had this handful of songs that my dad hadn’t finished, and she gave them to the other Beatles.”
George Harrison, who died from lung cancer in 2001, was excited at the prospect of all four of The Beatles being reunited in song after receiving this musical gift from Ono in 1994.
“If we were to do something, the three of us, as interesting as it may be, to have John in it is the obvious thing,” he says of his late bandmate in the short film.
“To hear John’s voice — that’s the thing that we should cherish,” Harrison continues. “And I’m sure he would have really enjoyed that opportunity to be with us again.”
So Harrison, McCartney and Starr set out to bring “Now and Then” to life in 1995. But technological limitations didn’t allow them to clearly extricate Lennon’s voice from the demo.
That all changed after new technology allowed director Peter Jackson to isolate voices and instruments while making 2021’s “The Beatles: Get Back” documentary.
Then McCartney and Starr set out to complete “Now and Then” with their upgraded tool kit in 2022. In addition to Harrison’s guitar parts recorded in 1995, McCartney added bass and a slide guitar solo as “a tribute to George,” while Starr laid down drums.
“All of those memories come flooding back,” says McCartney in the short film.
“Like, how lucky was I to have those men in my life and to work with those men so intimately and to come up with such a body of music?” McCartney adds. “To still be working on Beatles music in 2023 — wow.
“‘Now and Then’ — it’s probably the last Beatles song, and we’ve all played on it. So it is a genuine Beatle recording.”
|
|||||
correct_starring_00056
|
FactBench
|
0
| 62
|
https://www.strutherslibrarytheatre.org/by-list/hard-days-night-d3ldt
|
en
|
A Hard Day's Night — Struthers Library Theatre
|
http://static1.squarespace.com/static/5df0107f7584f70822b2abe6/5e20ce0ef52b107943c856c5/6286983dc5aabe4ca1b61f2f/1652987984480/Beatles+-+A+Hard+Day%27s+Night+SQR-03.png?format=1500w
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http://static1.squarespace.com/static/5df0107f7584f70822b2abe6/5e20ce0ef52b107943c856c5/6286983dc5aabe4ca1b61f2f/1652987984480/Beatles+-+A+Hard+Day%27s+Night+SQR-03.png?format=1500w
|
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] |
[] |
[] |
[
""
] | null |
[] |
2022-08-19T00:00:00
|
Adults: $8 / Students & Seniors 62+: $6 G / 90 Minutes
|
en
|
https://images.squarespace-cdn.com/content/v1/5df0107f7584f70822b2abe6/1579966920111-DS86R884L7W1O2V1RQVI/favicon.ico?format=100w
|
Struthers Library Theatre
|
https://www.strutherslibrarytheatre.org/by-list/hard-days-night-d3ldt
|
The Beatles in their feature film debut, one of the greatest rock-and-roll comedy adventures ever. The film has a fully restored negative and digitally restored soundtrack. The film takes on the just-left-of-reality style of mock-documentary, following "a day in the life" of John, Paul, George, and Ringo as fame takes them by storm.
Starring: John Lennon, Paul McCartney, George Harrison, Ringo Starr
|
||
correct_starring_00056
|
FactBench
|
3
| 60
|
https://digitalfilms.wordpress.com/2020/04/30/paul-mccartneys-who-cares/
|
en
|
Paul McCartney’s “Who Cares”
|
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[] |
[] |
[
""
] | null |
[] |
2020-04-30T00:00:00
|
Paul McCartney hasn't been the type of rock star to rest on his past. Many McCartney-related projects have embraced new technologies, such as the 360VR. The music video for Who Cares - McCartney's musical answer to bullying - was filmed in both 16mm and 65mm film. And it was edited using Final Cut Pro X.…
|
en
|
https://s1.wp.com/i/favicon.ico
|
digitalfilms
|
https://digitalfilms.wordpress.com/2020/04/30/paul-mccartneys-who-cares/
|
Paul McCartney hasn’t been the type of rock star to rest on his past. Many McCartney-related projects have embraced new technologies, such as the 360VR. The music video for Who Cares – McCartney’s musical answer to bullying – was filmed in both 16mm and 65mm film. And it was edited using Final Cut Pro X.
Who Cares features Paul McCartney and actress Emma Stone in a stylized, surreal song and dance number filmed in 65mm, which is bookended by a reality-based 16mm segment. The video was directed by Brantley Gutierrez, choreographed by Ryan Heffington, and produced through LA production company Subtractive.
Gutierrez has collaborated for over 14 years with Santa Monica-based editor Ryan P. Adams on a range of projects, including commercials, concerts, and music videos. Adams also did a stint with Nitro Circus, cutting action sports documentaries for NBC and NBCSN. In that time he’s used the various NLEs, including Premiere Pro, Media Composer, and Final Cut Pro 7. But it was the demands of concert videos that really brought about his shift to Final Cut Pro X.
___________________________________
[OP] Please tell me a bit about what style you were aiming for in Who Cares. Why the choice to shoot in both 16mm and 65mm film?
[Brantley Gutierrez] In this video, I was going for an homage to vaudevillian theater acts and old Beatles-style psychedelia. My background is working with a lot of photography. I was working in film labs when I was pretty young. So my DP and friend, Linus Sandgren, suggested film and had the idea, “What if we shot 65mm?” I was open to it, but it came down to asking the folks at Kodak. They’re the ones that made that happen for us, because they saw it as an opportunity to try out their new Ektachrome 16mm motion film stock.
They facilitated us getting the 65mm at a very reasonable price and getting the unreleased Ektachrome 16mm film. The reason for the two stocks was the separation of the reality of the opening scene – kind of grainy and hand-held – with the song portion. It was almost dreamlike in its own way. This was in contrast to the 65mm psychedelic part, which was all on crane, starkly lit, and with very controlled choreography. The Ektachrome had this hazy effect with its grain. We wanted something that would jump as you went between these worlds and 16 to 65 was about as big of a jump as we could get in film formats.
[OP] What challenges did you face with this combination of film stocks? Was it just a digital transfer and then you were only dealing with video files? Or was the process different than that?
[BG] The film went to London where they could process and scan the 65mm film. It actually went in with Star Wars. Lucafilm had all of the services tied up, but they were kind enough put our film in with The Rise of Skywalker and help us get it processed and scanned. But we had to wait a couple of extra days, so it was a bit of a nervous time. I have full faith in Linus, so I knew we had it. However, it’s a little strange these days to wait eight or nine days to see what you had shot.
We were a guinea pig for Kodak for the 16mm stock. When we got it back, it looked crazy! We were like, “Oh crap.” It looked like it had been cross-processed – super grainy and super contrasty. It did have a cool look, but more like a Tony Scott style of craziness. When we showed it to Kodak they agreed that it didn’t look right. Then we had Tom Poole, our colorist at Company 3 in New York, rescan the 16mm and it looked beautiful.
[Ryan P. Adams] Ektachrome is a positive stock, which hasn’t been used in a while. So the person in London scanning it just wasn’t familiar with it.
[BG] They just didn’t have the right color profile built for that stock yet, since it hadn’t been released yet. Of course, someone with a more experienced eye would know that wasn’t correct.
[OP] How did this delay impact your editing?
[BG] It was originally scanned and we started cutting with the incorrect version. In the meantime, the film was being rescanned by Poole. He didn’t really have to do any additional color correction to it once he had rescanned it. This was probably our quickest color correction session for any music video – probably 15 minutes total.
[RPA] One of the amazing things I learned, is that all you have to do is give it some minor contrast and then it is done. What it does give you is perfect skin tones. Once we got the proper scan and sat in the color session, that’s what really jumped out.
[OP] So then, what was the workflow like with Final Cut Pro X?
[RPA] The scans came in as DPX files. Here at Subtractive, we took those into DaVinci Resolve and spit out ProRes 422 HQ QuickTime files to edit with. To make things easy for Company 3, we did the final conform in-house using Resolve. An FCPXML file was imported into Resolve, we linked back to the DPX files, and then sent a Resolve project file to Company 3 for the final grade. This way we could make sure everything was working. There were a few effects shots that came in and we set all of that up so Tom could just jump on it and grade. Since he’s in New York, the LA and New York locations for Company 3 worked through a remote, supervised grading session.
[OP] The video features a number of effects, especially speed effects. Were those shot in-camera or added in post?
[RPA] The speed effects were done in post. The surreal world was very well choreographed, which just plays out. We had a lot of fun with the opening sequence in figuring out the timing. Especially in the transitional moment where Emma is staring into the hypnotic wheel. We were able to mock up a lot of the effects that we wanted to do in Final Cut. We would freeze-frame these little characters called “the idiots” that would jump into Emma’s head. I would do a loose rotoscope in Final Cut and then get the motion down to figure out the timing. Our effects people then remade that in After Effects.
[OP] How involved was Paul McCartney in the edit and in review-and-approval?
[BG] I’ve know Paul for about 13 years and we have a good relationship. I feel lucky that he’s very trusting of me and goes along with ideas like this. The record label didn’t even know this video was happening until the day of production. It was clandestine in a lot of ways, but you can get away with that when it’s Paul McCartney. If I had tried that with some other artist, I would have been in trouble. But Paul just said, “We’re going to do it ourselves.”
We showed him the cut once we had picture lock, before final color. He called on the phone, “Great. I don’t have any notes. It’s cool. I love it and will sign off.” That was literally it for Paul. It’s one of the few music videos where there was no going back and forth between the management, the artist, and the record label. Once Paul signed off on it, the record label was fine with it.
[OP] How did you manage to get Emma Stone to be a part of this video?
[BG] Emma is a really close friend of mine. Independently of each other, we both know Paul. Their paths have crossed over the years. We’ve all hung out together and talked about wanting to do something. When Paul’s album came out, I hit them both up with the idea for the music video and they both said yes.
The hardest part of the whole process was getting schedules to align. We finally had an open date in October with only a week and a half to get ready. That’s not a lot of time when you have to build sets and arrange the choreography. It was a bit of a mad dash. The total time was about six weeks from prep through to color.
Because of the nature of this music video, we only filmed two takes for Paul’s performance to the song. I had timed out each set-up so that we knew how long each scene would be. The car sequence was going to be “x” amount of seconds, the camera sequence would be “x” amount, and so on. As a result, we were able to tackle the edit pretty quickly. Since we were shooting 65mm film, we only had two or three takes max of everything. We didn’t have to spend a lot of time looking through hours of footage – just pick the best take for each. It was very old school in that way, which was fun.
[OP] Ryan, what’s your approach to organizing a project like this in Final Cut Pro X?
[RPA] I labelled every set-up and then just picked the best take. The first pass was just a rough to see what was the best version of this video. Then there were a few moments that we could just put in later, like when the group of idiots sings, “Who cares.”
My usual approach is to lay in the sections of synced song segments to the timeline first. We’ll go through that first to find the best performance moments and cut those into the video, which is our baseline. Then I’ll build on top of that. I like to organize that in the timeline rather than the browser so that I can watch it play against the music. But I will keyword each individual set-up or scene.
I also work that way when I cut commercials. I can manage this for a :30 commercial. When it’s a much bigger project, that’s where the organization needs to be a little more detailed. I will always break things down to the individual set-ups so I can reference them quickly. If we are doing something like a concert film, that organization may be broken up by the multiple days of the event. A great feature of Final Cut Pro X is the skim tool and that you can look at clips like a filmstrip. It’s very easy to keyword the angles for a scene and quickly go through it.
[OP] Brantley, I’m sure you’ve sat over the shoulder of the editor in many sessions. From a director’s point of view, what do you think about working with Final Cut Pro X?
[BG] This particular project was pretty well laid out in my head and it didn’t have a lot of footage, so it was already streamlined. On more complex projects, like a multi-cam edit, FCPX is great for me, because I get to look at it like a moving contact sheet from photography. I get to see my choices and I really respond to that. That feels very intuitive and it blows me away that every system isn’t like that.
[OP] Ryan, what attracted you about Final Cut Pro X in order to use it whenever possible?
[RPA] I started with Final Cut Pro X when they added multi-cam. At that time we were doing more concert productions. We had a lot of photographers who would fill in on camera and Canon 5Ds were prevalent. I like to call them “trigger-happy filmers,” because they wouldn’t let it roll all the way through.
FCPX came up with the solution to sync cameras with the audio on the back end. So I could label each photographer’s clips. Each clip might only be a few seconds long. I could then build the concert by letting FCPX sync the clips to audio even without proper timecode. That’s when I jumped on, because FCPX solved a problem that was very painful in Final Cut Pro 7 and a lot of other editing systems. That was an interesting moment in time when photographic cameras could shoot video and we hired a lot of those shooters. Final Cut Pro X solved the problem in a very cool way and it helped me tremendously.
We did this Tom Petty music video, which really illustrates why Final Cut Pro X is a go-to tool. After Tom had passed, we had to take a lot of archival footage as part of a music video, called Gainesville, that we did for his boxed set. Brantley shot a lot of video around Tom’s hometown of Gainesville [Florida], but they also brought us a box with a massive amount of footage that we put into the system. A mix of old films and tapes, some of Tom’s personal footage, all this archival stuff. It gave the video a wonderful feeling.
[BG] It’s very nostalgic from the point of view of Tom and the band. A lot of it was stuff they had shot in their 20s and had a real home movie feel. I shot Super 8mm footage around Tom’s original home and places where they grew up to match that tone. I was trying to capture the love his hometown has for him.
[RPA] That’s a situation where FCPX blows the competition out of the water. It’s easy to use the strip view to hunt for those emotional moments. So the skimmer and the strip view were ways for us to cull all of this hodge-podge of footage for those moments and to hit beats and moments in the music for a song that had been unreleased at that time. We had one week to turn that around. It’s a complicated situation to look through box of footage on a very tight deadline and put a story to it and make it feel correct for the song. That’s where all of those tools in Final Cut shine. When I have to build a montage, that’s when I love Final Cut Pro X the most.
[OP] You’ve worked with the various NLEs. You know DaVinci Resolve and Blackmagic is working hard to make it the best all-in-one tool on the market. When you look at this type of application, what features would you love to see added to Final Cut Pro X?
[RPA] If I had a wishlist, I would love to see if FCPX could be scaled up for multiple seats and multiple editors. I wish some focus was being put on that. I still go to Resolve for color. I look at compositing as just mocking something up so we can figure out timing and what it is generally going to look like. However, I don’t see a situation currently where I do everything in the editor. To me, DaVinci Resolve is kind of like a Smoke system and I tip my hat to them.
I find that Final Cut still edits faster than a lot of other systems, but speed is not the most important thing. If you can do things quickly, then you can try more things out. That helps creatively. But I think that typically things take about as long from one system to the next. If an edit takes me a week in Adobe it still takes me a week in FCPX. But if I can try more things out creatively, then that’s beneficial to any project.
Originally written for FCP.co.
©2020 Oliver Peters
|
||||
correct_starring_00056
|
FactBench
|
1
| 79
|
https://beatles.fandom.com/wiki/Let_It_Be_(film)
|
en
|
Let It Be (film)
|
https://static.wikia.nocookie.net/beatles/images/e/e4/Let_It_Be_%28movie%29.jpg/revision/latest?cb=20090928121332
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https://static.wikia.nocookie.net/beatles/images/e/e4/Let_It_Be_%28movie%29.jpg/revision/latest?cb=20090928121332
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[] |
[] |
[
""
] | null |
[
"Contributors to The Beatles Wiki"
] |
2024-07-03T16:38:30+00:00
|
Let It Be is a film starring The Beatles, showing them recording their two albums, Let It Be, and Abbey Road, although Abbey Road was released before both the movie and album that would go by the name of Let It Be. The film was filmed in 1969 during the recording of the aforementioned albums. It...
|
en
|
https://static.wikia.nocookie.net/beatles/images/4/4a/Site-favicon.ico/revision/latest?cb=20080606171039
|
The Beatles Wiki
|
https://beatles.fandom.com/wiki/Let_It_Be_(film)
|
Let It Be is a film starring The Beatles, showing them recording their two albums, Let It Be, and Abbey Road, although Abbey Road was released before both the movie and album that would go by the name of Let It Be.
The film was filmed in 1969 during the recording of the aforementioned albums. It has been kept from being distributed on DVD by Paul McCartney, Ringo Starr, and the estates of John Lennon and George Harrison, as it shows the Beatles getting on each others' nerves and arguing. However, it has survived as a bootleg that is available to download or buy from various sources.
But it isn't all just conflicts of opinions. We get to see the Beatles getting back to basics and having fun. Playing songs they hadn't done since the very early sixties, such as Besame Mucho, and trying out random songs, such as Suzy Parker.
The film ends with the last concert the Beatles would ever perform as a four-person group; the momentous Rooftop Concert that took place on the roof of 3 Savile Row (the then Apple Building), located in the business district of London. The Beatles played songs from the new albums (Abbey Road and Let It Be) as well as older hits, such as While My Guitar Gently Weeps.
Eventually, the local law enforcement put an end to the performance when they cut the power, forcing the Beatles to stop as they were 'disrupting local businesses'. The last song they played was Get Back, and towards the end of the song, with the London Police officers standing behind him, Paul ad-libbed to the beat;
"Yeah, get back. You been out too long Loretta. You been playin' on the roofs again, and that's no good, you know your mommy doesn't like that. Ohh she gets angry, she gonna have you arrested! Get back!"
- Get Back (version available on the Anthology 3 two disc set)
The show finished, and the Apple staff who were allowed onto the roof applauded, and the Beatles walked away to start their separate lives.
Original Movie Trailer[]
Disney+ re-release[]
On April 16th, 2024, Walt Disney Pictures had announced that Let it Be would be made available on the streaming service Disney+ on May 8th, 2024. This marks the first time it had been broadcast publicly screened since its original release.
|
||
correct_starring_00056
|
FactBench
|
0
| 35
|
https://www.commonsensemedia.org/movie-reviews/a-hard-days-night
|
en
|
A Hard Day's Night Movie Review
|
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[] |
[] |
[
""
] | null |
[
"Nell Minow"
] |
2005-01-10T00:00:00
|
Beatles classic is Fab-ulous, but expect lots of smoking. Read Common Sense Media's A Hard Day's Night review, age rating, and parents guide.
|
en
|
/themes/custom/common_sense/images/favicons/favicon-16x16.png
|
Common Sense Media
|
https://www.commonsensemedia.org/movie-reviews/a-hard-days-night
|
The documentary style of this movie masks its tight construction, clever script, and sublime anarchy second only to the Marx brothers. It portrays the Beatles sympathetically -- like the heroine of It Happened One Night, they are constantly told what to do and smothered by all they have.
Part of the humor of A Hard Day's Night is that it is not the members of the Beatles but Paul's grandfather who causes most of the trouble. Musical numbers include "Can't Buy Me Love" and "Should Have Known Better" as well as the title song, its title taken from Ringo's warped syntax after a long recording session.
|
||||
correct_starring_00056
|
FactBench
|
3
| 76
|
https://www.pastemagazine.com/music/the-beatles/get-back-paul-mccartney
|
en
|
The Beatles: Get Back and the Arrogant, Tragic Genius of Paul McCartney’s Leadership
|
[
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] |
[] |
[] |
[
""
] | null |
[
"Matt Mitchell"
] |
2021-12-03T15:16:00+00:00
|
The clear protagonist of Peter Jackson's Disney+ docuseries, McCartney's complicated greatness still wasn't enough to save…
|
en
|
Paste Magazine
|
https://www.pastemagazine.com/music/the-beatles/get-back-paul-mccartney
|
In 2001, George Harrison passed away after a battle with lung cancer, after the 20th anniversary of John Lennon’s murder had already come and gone. The Beatles’ greatest hits compilation, 1, was released the year prior. In less than a decade, The Beatles accumulated 20 #1s, and—30 years after their highly publicized break-up—Apple/Parlophone Records released them for the first time in CD format. I was only a toddler when the early-aughts Beatlemania surged across America, but 1 was presented to me as a stocking stuffer, tucked beneath a half-dozen chocolate Santa Claus bars, to go along with the small CD/tape player my folks gifted me that same Christmas. My dad technically lived through the entirety of The Beatles’ American success, but my mom was born six months after the band broke up. Still, they fed into the long-standing institution of passing The Beatles’ music down between generations, symbolic of how you didn’t have to be present for their greatness to fall in love with it.
And from a young age, it was Paul McCartney’s contributions to the band that I gravitated towards. “Hey Jude” was my first favorite song; I had a Wings poster on my wall; “I Will” was my and my first girlfriend’s “song”; one of my first tattoos was McCartney’s Yellow Submarine character. In the band’s early years, McCartney’s work didn’t stand out as much from that of the other three, aside from him being relegated to the role of the token acoustic love song writer (“I’ll Follow the Sun,” “And I Love Her”). And while Harrison’s and Lennon’s songs fell into urgency, slowly shifting their gazes towards introspective, sometimes socio-political songs, it was McCartney who ascended higher into the pop stratosphere. When the Indian classical influences grew too avant-garde for me (or at least that’s how I would’ve naively phrased it in 2013), I often retreated to the warmth of McCartney’s lovable gospel of charm—and it’s a haven I still return to, as suggested by “Rocky Raccoon” living in my year-end Apple Music Replay, though I might lie about that if I’m cornered.
But what does remain true is this: for every “Tomorrow Never Knows,” there is a “For No One” nearby to match. On Sgt. Pepper’s Lonely Hearts Club Band, Harrison’s meditative “Within You Without You” is juxtaposed brilliantly with the horn-driven, jazzy “When I’m Sixty-Four.” Lennon and company notoriously hated McCartney’s light-hearted compositions, like “Ob-La-Di, Ob-La-Da,” “Martha, My Dear” and “Maxwell’s Silver Hammer,” despite them writing their own songs about pigs, octopi and forthright monkeys. Each member had their own niche, but each member disdained the rest of the band’s niches.
When The Beatles’ manager Brian Epstein died of a drug overdose in 1967, the band’s future was in limbo, but McCartney emerged as a surrogate managerial replacement and pushed everyone to keep up with projects, which led to the other three members becoming angry at his apparent domination and direction. Lennon later said that McCartney’s leadership kept The Beatles alive after Epstein’s death, but it was a sentiment juxtaposed with him also claiming that McCartney’s intentions were self-serving—that his apprehension about pursuing a solo career correlated with him trying to save the group.
But McCartney’s leadership of The Beatles can be traced as far back as after the release of Rubber Soul in 1965—though a lot of people will probably disagree, claiming that the band were a solid foursome with no head. It’s painstakingly clear, however, that Rubber Soul signaled a shift in power. Lennon dominated the first set of Beatles records, even to the point where he stood under his own spotlight during the band’s appearance on the Ed Sullivan Show. The breakdown of lead vocal ownership on songs goes like this: Lennon at 110 and McCartney at 106, with each total accounting for songs in which both vocalists sang. Most of Lennon’s leads came before 1966, whereas most of McCartney’s came after. And despite the band wanting to cease all touring after the exhausting fallout of Beatlemania and Lennon’s “more popular than Jesus” quote in 1966, McCartney remained in favor of performing, but he was outnumbered on it by everyone else. After the success of performing “Hey Jude” and “Revolution” in front of an audience in 1968, he was able to convince the group to return to the studio and make an album specifically for live shows.
That’s where Peter Jackson’s new Beatles documentary, Get Back, greets us. The three-episode docuseries hit Disney+ on Thanksgiving weekend, and while the doc aims at the band wholly during the rehearsals and recordings of what would become Let It Be and part of Abbey Road, McCartney is clearly its protagonist. He dominates the runtime, but that’s no surprise. Those two records were his masterpieces, and his compositions of “She Came in Through the Bathroom Window,” “Get Back,” “I’ve Got a Feeling,” “Golden Slumbers” and “The Long and Winding Road” are given plenty of detailed attention onscreen. They’re only rivaled by a focus on Lennon’s “Don’t Let Me Down,” which never even made it onto an official Beatles LP.
Though the band’s last two records feature some of the other members’ best songs (Harrison’s “Something,” Lennon’s “Across the Universe,” Ringo Starr’s “Octopus’s Garden”), they are such vivid victory laps on McCartney’s resumé. In a little over one year’s time, he wrote “Hey Jude,” “Let It Be,” “The Long and Winding Road” and most of the Abbey Road medley, all of which are foundational and everlasting parts of The Beatles’ history. He somehow carried that momentum into 1970 and recorded “Maybe I’m Amazed,” arguably his greatest balladic work, for his new wife, Linda Eastman, who so beautifully helped photograph and archive the Get Back sessions.
Even though Get Back showcases how McCartney tried to keep the band together during the sessions that would eventually become the final crumbs of their generational greatness, the documentary doesn’t shy away from his persistent attitude at rehearsals and his dominating ego that casts a new shadow over the two records. Starr and Harrison had quit the band multiple times before Get Back; Lennon’s presence in the group became hot and cold once he placed his devotion to political songwriting with his new wife Yoko Ono above his interests in The Beatles—a collaboration similar to what McCartney would have with Eastman in their band Wings. But it was McCartney turning Get Back into his own songwriting workshop that helped push the band into a fracture, along with watching his longtime collaborator gravitate towards a new songwriting partner. At times in the documentary, there is a lingering vibe that McCartney treats his bandmates like they are hired session players helping him create his own opus, as if the only way he could fix the looming breakage was by trying way too hard to make his songs perfect.
Beatlemania made the band household names forever, but “Hey Jude” made McCartney a superstar—and offered him an opportunity to capitalize on the guaranteed successes of piano-heavy anthems, which, of course, wouldn’t come without repercussions. His leaving the band on April 10, 1970, resulted in public vilification—seemingly because he did so with an accompanying press release for his debut solo record, McCartney. While Get Back does what it can to fill in the gaps between Epstein’s death and the band’s eventual disintegration, McCartney’s departure announcement gets thrown to the wolves, despite it arising from his dissatisfaction with Phil Spector for ruining the final mix of “The Long and Winding Road” and Lennon’s decision to “divorce” the group months earlier—which was kept private due to ongoing contract renegotiations with Capitol Records occurring simultaneously. The other three members purportedly felt betrayed by McCartney making a solo record—even though McCartney was a product of the songwriter feeling betrayed himself and retreating to his High Park farm in Campbeltown, Scotland, amidst the American-made rumors that he was dead and the band’s breakup about to come to a head. It’s important to note that every member of The Beatles released a solo record that same year, despite their reported displeasure with McCartney’s.
McCartney was the only member to officially quit the group, and I hold onto that. Because by the time captured in Get Back, his charming, lovestruck ethos had turned into a patronizing act of arrogance and control—most visible in how he and Lennon so quickly dismissed Harrison’s “All Things Must Pass.” But let’s be real: Let It Be was never going to get finished. Lennon was knee-deep in a heroin addiction; Harrison spent a lot of time with Bob Dylan and Eric Clapton, and wanted to make music like them; Starr was taking on movie roles. The charming quirks of McCartney’s songwriting on The Beatles and Abbey Road feel like experiments in the context of what he would eventually do with Wings. Though he’d return to that playfulness in his solo career on songs like “Nineteen-Hundred and Eighty-Five” and “Temporary Secretary,” Get Back is, more or less, a clear, poignant soundcheck for McCartney’s future solo endeavors: emotional, arena-sized balladry and sexy rock riffs.
After the release of episode one, a clip of McCartney turning gibberish rumblings into the bridge of “Get Back” made its rounds on Twitter. A handful of users marveled at how he “magically pulled the song out of thin air”; others quickly pointed out that what he did is a basic act of songwriting, that musicians all over the world undergo the same exact process when creating. Maybe he did pull it out of thin air. I mean, this is the same guy who said that the melody for “Yesterday” came to him in a dream. But while McCartney used the Get Back sessions to workshop his own slush pile without pushback, he reportedly disliked Lennon’s “Give Peace a Chance” and “Cold Turkey,” and some Beatles fans have, in the past, taken to YouTube comment sections to proclaim that both compositions would’ve been incredible Beatle songs. The band’s creative space was never going to be a place where Lennon’s political musings could thrive, just as Harrison’s interests were better tailored to his own solo endeavors.
When Rolling Stone famously called The Beatles “four solo albums under one roof” and Lennon said that the Beatles’ break-up could be heard on the record, it’s because there is no other project in the band’s discography that better showcases how each member was so deeply positioned in their own respective bag—and everything that came afterwards was a haphazard attempt to somehow pull it all back together. Watching eight hours of beautiful footage of the greatest rock band jamming, hanging out, making fun of Glyn Johns and talking about eating Heather McCartney’s kittens is very cool, but it’s also very, very sad. Seeing the four lads’ goofy personalities quickly get outmuscled by their obvious desires to be doing anything else when the music starts is where Get Back becomes a looming tempest—or a character study of McCartney, who was witnessing the only life he’d known since he was a teenager falling apart.
Going into the documentary, knowing that McCartney’s successes playing solo and with Wings sometimes outweigh the legacy of what he did with The Beatles, it’s like watching an immensely well-documented overthrow of a self-installed dictator. These days, McCartney is still as close to the forefront of popular culture as he was in 1969: a humble grandfather who toured relentlessly pre-COVID and considers the non-celebrity part of him to be the same boy who grew up in Liverpool, England. “Band on the Run” is still a perfect rock concerto, and McCartney is still one of the greatest purveyors of pop music we have, given his finger-on-the-pulse collaborations with stars like Stevie Wonder and Kanye West. His song “Let Me Roll It” is even featured in the soundtrack of Paul Thomas Anderson’s new film Licorice Pizza. But 50 years ago, he did make himself the patriarch of the biggest band in the world, and his ego and self-imposed savior complex did help catalyze their dissolution. But let me be clear: McCartney is not the villain of Get Back, he just tragically tried to take the reins when everyone else was content with hanging the whole thing up. I wouldn’t expect four geniuses, all under the age of 30, to handle a highly publicized split in any way that didn’t include rich, melodramatic bitterness—most evident in how Lennon couldn’t be bothered to return to the studio one last time to help the band finish Harrison’s “I Me Mine” right before their breakup went public.
Let It Be came out after Abbey Road, despite the albums being recorded in the opposite order. That fact, which I didn’t learn until high school, absolutely fucked up my worldview. It once made sense that Let It Be was the last Beatles LP, since it arrived in a much more disjointed way than any of their previous 11 albums. The project exuded dysfunction, as if it was recorded by a band on the brink of falling apart—and it certainly was. But still, the quartet reunited once again in the summer of 1969 and put together the greatest rock record ever made. It used to be so easy, considering the last thing The Beatles ever made to be an unapproved mix of “The Long and Winding Road,” a ballad about returning to your loved one after many years apart. There was something romantic living there, inside the hope that this macabre finale somehow left a door cracked open for the future. Instead, the last song Lennon, McCartney, Harrison and Starr all recorded together was, quite literally, “The End,” a fitting conclusion that, poetically, attacked each of their egos. Maybe McCartney took too much from his bandmates near the end—but if we are to believe that Peter Jackson’s cut of Get Back is unmanipulated, authentic footage of what transpired at Apple Studios, then it’s clear McCartney gave just as much, too.
Two parts of Get Back remain with me. First, when the band decide to relocate to their Apple studio from Twickenham Film Studios, two women waiting outside admit to the cameraman that they don’t mind if the group breaks up, because they only came to see McCartney. Second, at the 10-minute mark in the second episode, not long after Harrison quit the band, Lennon is late for rehearsal. McCartney and Starr are discussing the possibility of The Beatles breaking up. A noticeably choked-up McCartney says, “And then there was two.” Both moments perfectly encapsulate the duality of McCartney at the band’s end. He was so clearly the band’s biggest star, but he also loved the band so much and wanted them to see it through. It’s been 52 years since the Get Back footage was filmed, and how Shakespearean all of this has become—that we are still tasked with both understanding and untangling McCartney’s greatness while somehow making sense of why it wasn’t enough to save The Beatles. He was always going to be bigger than the band, we know this. But at the same time, he was never going to be big enough to stop them from falling apart.
Matt Mitchell is a writer living in Columbus, Ohio. His writing can be found now, or soon, in Pitchfork, Bandcamp, Paste, LitHub and elsewhere. Find him on Twitter @matt_mitchell48.
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correct_starring_00056
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FactBench
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1
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https://92moose.fm/paul-mccartney-pirates-of-the-caribbean/
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en
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Paul McCartney to Star in ‘Pirates of the Caribbean: Dead Men Tell No Tales’
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2016-03-25T05:00:00+00:00
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Paul McCartney reportedly signed on to appear in 'Pirates of the Caribbean 5' in March 2016.
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en
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92 Moose
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https://ultimateclassicrock.com/paul-mccartney-pirates-of-the-caribbean/
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