Shirley Maclaine Filme Bilder von Shirley MacLaine
Shirley MacLaine ist eine US-amerikanische Schauspielerin, Tänzerin und esoterische Bestseller-Autorin. Sie wurde im Laufe ihrer mehr als jährigen Filmkarriere mit zahlreichen Preisen ausgezeichnet; so erhielt sie unter anderem für Zeit. Shirley MacLaine (* April als Shirley MacLean Beaty in Richmond, Virginia) ist eine US-amerikanische Schauspielerin, Tänzerin und esoterische Bestseller-Autorin. Sie wurde im Laufe ihrer mehr als jährigen Filmkarriere mit zahlreichen einen Film: The Other Half of the Sky: A China Memoir, einen Dokumentarfilm. Alle Filme, in denen Shirley MacLaine mitspielt: Paramount, United Artists, MGM, United Artists, United Artists, Universal, Scotia, UIP, Columbia,, Buena Vista. Ist "Downton Abbey" einer der besten Serien von Shirley MacLaine? Entdecke die besten Serien von Shirley MacLaine. Shirley MacLaine. Schauspieler • Regisseur. Nach ihrem Filmdebüt in Alfred Hitchcocks „Immer Ärger mit Harry“ war die als Tänzerin ausgebildete Schwester.
Schon mit diesem ersten Filmauftritt entsprach sie nicht den üblichen, gleichzeitig bedrohlichen und anziehenden Hitchcock-Blondinnen. Dass der Film als. Shirley MacLaine ist eine US-amerikanische Schauspielerin, Tänzerin und esoterische Bestseller-Autorin. Sie wurde im Laufe ihrer mehr als jährigen Filmkarriere mit zahlreichen Preisen ausgezeichnet; so erhielt sie unter anderem für Zeit. Shirley MacLaine - Alle Bilder, Filme, TV Serien und Fakten finden Sie hier zum Star auf TV Spielfilm. Jetzt hier informieren!
But the film was internationally successful, as MGM had predicted. This story line consists of three episodes that are tied together by successive ownership of a superb yellow Rolls Royce, which figures prominently in all stories.
In route they encounter Stefano, a handsome young photographer played by Alaine Delou. George C. Scott was addicted to chess. He was very much in character, impeccable with his lines, but he only talked to his makeup man.
George would wander over to him after every camera setup to complete the chess move he must have decided on during our take.
Alaine Delon was a French heartthrob. He was prettier than most actresses I had worked with and took half the salary he could have made elsewhere in order to work with this cast in an American film.
He protested angrily when studio censors threatened to snip his hot love scenes with me, which were considered too hot for the screen… at that time.
He felt his romantic scenes would make him a star in the United States. They did not, although the scenes provoked the otherwise jaded Italian film crew to applaud at the end of our steamy takes.
After the picture was finished, Alaine asked me to take a drive with him in a new racecar — a formula something or other.
It became a surreal experience as we drove all night, from Italy to Monaco at miles per hour. He told me at the beginning of the trip not to speak, as it would break his concentration and warned me that if I did not adhere to these rules, he would stop the car and let me out.
We made the journey in record time. But, I flew back to Italy via airplane. Filming of The Yellow Royce became a lesson of silence.
Scott refused to talk, and the director was hard of hearing. This was my fantasy film! Every young girl has a fantasy about starring in a film that has lavish benefits.
I kept pinching myself to see if I would wake from this incredible dream but it was real! Thank heavens! And my leading men were certainly not chopped liver.
Once filming began my fantasy soon turned to reality! The filming became difficult… for me anyway. I had to adjust to a different leading man every two weeks and this was not easy for every good actor has his or her idiosyncrasies and that at times can become quite disconcerting and sometimes disruptive.
The give and take of the relationships have different boundaries and barriers that must be overcome to insure a compatible relationship, and in my circumstance, a good performance on the screen.
Everyone on the film felt that it would be a blockbuster! Unfortunately, we were all wrong.
The film was a dud. But, we would all bounce back. And some of us came back with a vengeance that could easily be interpreted as a personal commitment to work harder in better projects.
The other irony here is that this picture is now, almost 40 years later, considered a cult classic by many.
It was based on a highly successful Broadway musical about a Parisian prostitute. The film was to be directed by Billy Wilder, probably the hottest director in Hollywood at that time.
Both of those films had broken records for box office receipts for a comedy. Jack Lemmon was set and signed for the male lead, but Irma, it was reported, was to be played by Marilyn Monroe.
I felt the part would be disastrous for a Hollywood sex symbol like Monroe or Taylor. To me, Irma was more naive, wide-eyed and an innocent-looking, young thing, like I was in those days.
Then he asked when I could begin filming! I remember signing to do Irma without even reading the script because I believed in Jack and Billy.
Danielle spent hours with me. She explained the routines and skills required in her profession. I learned so much in those two days. There is an unbelievable sense of camaraderie and mutual respect among the girls, but there is also a sadness and spiritual emptiness in them.
The realization that Danielle and many of the others were hooked on dope and were working only to satisfy their drug habits had a profound impact on my life.
This experience reaffirmed my disdain for all forms of drugs and is still with me, even today. Filming took place at the Goldwyn Studios where the Les Halles district was reproduced on several sound stages.
The picture was released in June of and proved to be as controversial as expected. In some quarters it was criticized for its boldness and in others chastised for not going far enough.
Still the picture had a healthy domestic gross and I received my third Academy Award nomination for Best Actress.
During the ceremonies I was accepting the award and telling the television audience how moved I was during my sojourn among the Parisian streetwalkers.
Then I cracked a joke about how I had enjoyed my research so much that I nearly gave up acting. Well, it was funny to those in the house audience, but not considered at all humorous for television.
They pulled the plug on me! The movie version was originally prepared as a vehicle for Elizabeth Taylor and Paul Newman, but when casting was impossible to arrange, I was signed to play Gittel Mosca, a Jewish girl from the Bronx who lives a lonely life in Greenwich Village.
Producer Walter Mirisch considered several actors for the part of Jerry, including Henry Fonda whom they considered too old at the time.
This Hollywood age thing does affect men, too. Life is full of little mysteries and Robert was one of them. I had always had a crush on this man and it began to surface when the cameras began to roll.
Wise often displayed his displeasure. But, this thing between Mitchum and I had started and it was too late to turn back.
Mitchum, a gentle giant of a man who seemed to have no ambition, no dreams to fulfill and no drive to prove anything to anyone, fascinated me.
I loved working with Bob. He was considerate and kind. He was never late and he always knew his lines as well as the lines of the other actors.
He smoked his cigarettes, drank anything he could pour, and judged scripts by how many days he would have off. Yet, I believe he really cared about his craft.
And about me but was to embarrassed to let anyone know we had fun together. We had a way of telling jokes and laughing right up until the time Wise called action.
We enjoyed making the sudden, one hundred eighty degree transition from the light side into the depth of emotion that was required in any particular scene.
And what a party it was. It was the beginning of a three-year relationship. The film got mixed critical notices, but it did respectable business.
It would be my last picture under contract with Mr. I was tired of being a slave. I bought out my contract and headed for freedom in the land of make believe… Hollywood.
It was produced by my husband, Steve Parker, filmed in Japan, featured my young daughter, Sachi in a small part and was in some respects, almost autobiographical.
What I thought would be a vacation with pay suddenly turned into a ritual study of the Geisha… not an easy task for a westerner.
Although no westerner had ever been allowed to even enter the Geisha training school, I was granted permission to live with the Geishas for two weeks, learning the intricacies of the delicate tea ceremony, the Japanese dance and how to play the stringed instrument.
I can remember the hardest part was the Japanese dance, an art so subtle that at times the movements were barely discernible. Learning to act like a Geisha was easy for me, but what I had to go through to look like one — well, that was another matter.
First, I had to wear contact lenses to change my eye color from blue to brown. Next, my eyes were pulled back with adhesive tape to form a slant and then I had to don a Zolb wig and 25 pound costume to complete the transition.
I had to wear a steel corset for four weeks. Attaching gauze, spirit gum and liquid adhesive to the corners of my eyes made them look slanted.
Strings were then attached to the gauze and pulled tight around my head. Meanwhile the contact lenses were in my eyes grinding away, especially when — in the scene where I am singing on the hill — the smoke made my eyes tear and my throat burn.
I would do a picture any time, any place with him. Films were fun with Dino. You were laughing and playing gin right until the camera rolled.
There was only one Dino! God bless him. So, one night after work I stopped by his house to talk. It was mayhem.
The air was thick with family interplay, as I waited on the couch while Jeanne called Dean. He came down stairs, saw me, walked over, and embraced me.
You came to see me? Well, sweetheart, how can I help you? I swallowed hard wondering if he knew what I was feeling, but the reality of what I was doing hit me full force and I responded in a truly mundane manner.
I think you are brilliant. I felt like an idiot. I like this! Do you like the music? Do you like Cole Porter?
In fact, I had my notice in my pocket when I arrived at the theater and was informed that Carol had gone down due to an ankle injury and, as her understudy, I was immediately thrust into the starring role.
I knew Can-Can front and backwards. I knew the Adam and Eve ballet, the French Lido numbers and I knew that there were two separate parts to the story, so Can-Can meant a lot to me.
I will do it! How much time do we have to get ready? He immediately called up Buddy Addler, head of the studio and told him that I would do it, but they would have to combine the two parts for me.
So the writers only had two weeks to get it together. I went into the rehearsal studio and it was pure murder trying to get back into shape.
Frank was a night person and would never shoot before noon, which was fine with me. It worked out well, except during the World Series when we would all sit around the set wondering where Frank was and then we would spot him on television sitting in box seats at the fall classic.
Whatever Frank wanted, Frank got. When the series was over we worked on French hours… twelve noon to PM, which was great because if afforded me a life outside films.
I introduced Frank to Juliet Prowse, a beautiful, tall and fabulous dancer from South Africa and watched that love affair blossom on set and pretty soon they were engaged.
Frank never rehearsed, never shot a scene twice and rarely ever did more than one or two takes. So you had to be prepared when you did a scene with Francis Albert Sinatra, otherwise you might only get one chance.
But, Frank was fun — on and off the set. During filming I chewed gum excessively and I was always searching for a place to put my gum before I did a scene.
Very few people knew that Frank had been a forceps baby and had a large graphic scar behind one ear and was subject to makeup before his close ups.
So the gum would serve a dual purpose and nobody was any wiser. Russian Premier Nikita Khrushchev came on set with tons of bodyguards… his and ours and a slew of politicians, US officials and studio heads who had already ordered us to do an entire can-can number for these elite guests.
There was only one problem. The costumes were genuine French velvet and weighed a ton. We had to do these splits, turns and jumps in one full take with no breaks in between.
I thought I would die! I was sure my heart would give out, so I can easily say that it was indeed a work of will. The press asked me what I thought of his comment and I said that I thought he was just jealous and mad because we were wearing panties.
Skouras was head of 20th Century Fox and he was honoring Khrushchev. Both were from the Ukraine and they got into a heated discussion as to who was the better Russian.
The abbreviated part would pay no money, and I would have no billing… but they would give me a new car for less than five minutes of work.
I was making The Apartment for Billy Wilder at the time. So I took a brief break, long enough to fly to Vegas to do the cameo, not for the car, but to be with old friends, Frank, Dean and Sammy.
It was also a chance to catch their ongoing show at the Sands Hotel. This was always the hottest show in town and it changed every night because they were all masters of improvisation.
Not only did they improvise their stage show night after night, but they also daily improvised most of the filming script. Their energy and stamina was uncanny.
How they managed all of this is still a mystery to me, even though I was a part of it and could keep up with their hectic pace.
These great talents thrived and manifested all that intense creativity with only a few hours of sleep. Their work ethics were honorable and dedicated and — somehow — they pulled it off, not only the film but the Las Vegas shows as well.
We started filming The Apartment with twenty-nine pages of script and Jack Lemmon and I had no idea how the film would end and neither did Billy Wilder, the director.
So he just watched our relationship to see how the chemistry would evolve. Everything was evolving.
At the time I was hanging with Frank and Dean, learning how to play gin Rummy. Billy could do a film on the phone book and studios and actors would stand in line to be part of the project.
The Apartment was great… a wonderful shoot and it was one of the first pictures where we mixed comedy and drama together.
And many of the people at the screening seemed confused as to whether it was comedy or drama. I remember Marilyn Monroe was at the screening.
She had no makeup on and was wrapped up in a mink coat. She got it! Jack Lemmon was terrific and such a nice guy.
And Jack was a pro in every theatrical sense of the word. The chemistry between the two was a joy to watch. In fact it was such a wonderful experience that I would come to the set on my days off just observe two masters at work.
Billy would have Jack do ten, twelve, seventeen takes of a scene to just watch him improve each scene.
One day we were at lunch in the commissary and I was depressed about something. He got up from the table and went back to the set and rebuilt it with that commissary scene.
Billy Wilder would never shoot a master shot. We never had a rehearsal with a master shot. So we never knew what we were actually doing.
In the scene from The Apartment, where Jack socks the guy… the brother, to get the shock on my face he cracked a 2 x 4 piece of wood, which startled me and gave Billy the shot he wanted.
Yes, all reviews are subjective. However, I suspect that some folks who have berated the movie on the IMDb boards and on other websites may have become confused by thinking that Shirley MacLaine in the title role means the film should be judged for Oscar-worthiness.
To that, I respond with a resounding NO! The first time I sat down to watch "Coco Chanel," I knew to hook up the coffeemaker and have a plate of my favorite store-brand cookies on hand, as there's no patisserie nearby where I can grab a flaky pain au chocolat.
And I'm glad that Lifetime tackled the project. I pass out on the network's dime-a-dozen, women-in-peril movies; only to be outdone by my tabby, who hurls fur balls at the sound of the first cello chord.
Seriously, what I love about Lifetime are the quirky, chick-lit-style romances "Cake" immediately comes to mind and the historical romances.
That the iconoclastic MacLaine portrays the title character makes for a riveting character study accentuated with progressive statements about femininity in male-dominated society France, in this movie and about the courage for disenfranchised people of male or female persuasion to be independent-minded as they strive for success.
Besides MacLaine, perhaps only Fanny Ardant could have masterfully "mistressfully"? I mention Ardant's name because I recently watched her in two previously released movies -- "Nathalie," opposite Emmanuelle Beart, and "Paris Je T'aime," the multi-directed cinematic kiss to the city's erotic magnetism.
But it is MacLaine in the role, and we get to watch wide-eyed as she magnifies Chanelisms on the small screen. Through MacLaine's haunting performance of a mature Coco circa and Barbora Bobulova's vulnerable delivery playing a young Coco, we are transported back-and-forth in time.
The flashbacks are employed effectively, enabling us viewers to sympathize with the mature Coco's regrets about the past, beginning with MacLaine batting her sparkling eyes over a demitasse of espresso or whatever.
And she had a custom-designed quip for any man -- or woman, for that matter -- who challenged her unconventional ways. You go, Coco!
Ahem, back to my review. Tonight is my third time watching the movie in just as many days. Every time I watch the biopic, I am enthralled by its three-pronged approach.
To illustrate: 1 Without Mademoiselle Chanel's trailblazing contributions to the history of fashion, where, oh where, would we gals be without our costume jewelry and little black dress?
Still, Chanel may have been the first one to say "Accessorize, accessorize, accessorize" -- albeit in French.
Against obstacles endemic to social-class prejudice, she bravely struggles between pursuing her art hat making, her first love and earning her bread-and-butter seamstress work.
Ironically, today when many of us think of the Chanel name, the couture fragrance intermingled with Catherine Deneuve's face and platinum blonde hair may come to mind instead of Coco's groundbreaking signature fashions.
Lifetime's "Coco Chanel" seems to indicate that the visionary entrepreneur ventured into the olfactory branch of the fashion world reluctantly, and much later in life.
It's apropos, though, for a dab here and there of Chanel No. And that, my friends, is an exquisite ode to Coco Chanel's lingering legacy.
Well, that and being able to have an extended stay at the Hotel Ritz in Paris. Sign In. Keep track of everything you watch; tell your friends.
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Crazy Credits. Alternate Versions. Rate This. The life story of legendary fashion designer Coco Chanel. Director: Christian Duguay. Available on Amazon.
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Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Golden Globe. Young Coco Chanel Brigitte Boucher Madame de Rochefort Emilie Caillon Bette Alice Cambournac Francine Valentina Carnelutti Gabrielle Dorziat Carla CassolaNatürlich liegt da die Vermutung nahe: Hier geht es ums Erbe! Möchte ich sehen. Bewerte : 0. Die erkennt den Mann als battlestar galactica Ehemann Harry wieder. Jim Knopf und Lukas der Lokomotivführer.