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Authors: David Thomson
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the movie of The X-Files (98, Rob Bowman); Playing by Heart (98, Willard Carroll). And then Lily Bart, with an exceptional command of class, passion, bad luck, and despair. In fact, the reception given The House of Mirth seemed to prove one principle behind The X Files —there are a lot of dead heads out there.
She is based in Britain now, and cares for three children. As to work, nearly everything she does is out of the ordinary: to Ireland for The Mighty Celt (05, Pearse Elliott); both herself and the Widow Wadman in A Cock and Bull Story (05, Michael Winterbottom); as Lady Dedlock on TV in Bleak House (05, Justin Chadwick and Susanna White); The Last King of Scotland (06, Kevin Macdonald); Straightheads (07, Dan Reed); The X-Files: I Want to Believe (08, Chris Carter); How to Lose Friends & Alienate People (08, Robert B. Weide); Boogie Woogie (09, Duncan Ward).
Dame Judith (Frances Margaret) Anderson (1897–1992), b. Adelaide, Australia.
Mrs. Danvers is made of certainty. That is her prison, and what makes her so much stronger than the two leading figures in Rebecca (40, Alfred Hitchcock). But she is not free. She has a terrible job—the housekeeper—and she exercises it in the shape of a staircase and in the folded suggestiveness of her mistress’s underwear in a drawer. It is because she is the housekeeper that she has to die with the house. And so she carries herself like an immense tragic actress, and it is her humiliation in Rebecca that her house and authority have been intruded on by two feeble people. She was nominated for the supporting part (Jane Darwell won in The Grapes of Wrath! ), yet she shouldn’t have won—because she knows hers is the leading part.
She went to America in the 1930s and commanded several classic roles on Broadway—Gertrude to Gielgud’s Hamlet, Medea, Lady Macbeth, and Mourning Becomes Electra . But she was never a female attraction, and over the years that surely limited her work and may have bred a certain lack of humor. It was the brilliant Kay Brown who proposed Anderson for Mrs. Danvers—but it was the actress who insisted on $1,000 a week and all expenses paid. The authority shows—but it kept Anderson from so many other parts.
In fact, she had made one film before— Blood Money (33, Rowland Brown). But then nothing until Manderley. After that she worked steadily in Hollywood for ten years, often in the most unexpected projects: with Eddie Cantor in 40 Little Mothers (40, Busby Berkeley); Free and Easy (41, George Sidney); in a B-picture crime movie, Lady Scarface (41, Frank Woodruff); All Through the Night (42, Vincent Sherman); King’s Row (42, Sam Wood); Edge of Darkness (43, Lewis Milestone); Laura (44, Otto Preminger); And Then There Were None (45, René Clair); The Diary of a Chambermaid (46, Jean Renoir).
She was in Specter of the Rose (46, Ben Hecht); The Strange Love of Martha Ivers (46, Milestone); Pursued (47, Raoul Walsh); The Red House (47, Delmer Daves); Tycoon (47, Richard Wallace); The Furies (50, Anthony Mann).
After that, she worked a lot on TV and she did The Silver Cord (51, Lawrence Carra) for the small screen. In addition, she was Herodias in Salome (53, William Dieterle); The Ten Commandments (56, Cecil B. DeMille); Big Momma in Cat on a Hot Tin Roof (58, Richard Brooks); on TV again for Medea (59, Wes Kenney); The Moon and Sixpence (59, Robert Mulligan); Cinderfella (60, Frank Tashlin), with Jerry Lewis; Don’t Bother to Knock (61, Cyril Frankel).
She lived a long time, and in old age she made A Man Called Horse (70, Elliot Silverstein); Star Trek III: The Search for Spock (89, Leonard Nimoy); and several years on the daytime TV show Santa Barbara .
Lindsay Anderson , (1923–94), b. Bangalore, India
1948: Meet the Pioneers (d). 1949: Idlers That Work (d). 1951: Three Installations (d). 1952: Wakefield Express (d). 1953: Thursday’s Child (codirected with Guy Brenton) (d); O Dreamland (d). 1954: Trunk Conveyor (d). 1955: Foot and Mouth
She is based in Britain now, and cares for three children. As to work, nearly everything she does is out of the ordinary: to Ireland for The Mighty Celt (05, Pearse Elliott); both herself and the Widow Wadman in A Cock and Bull Story (05, Michael Winterbottom); as Lady Dedlock on TV in Bleak House (05, Justin Chadwick and Susanna White); The Last King of Scotland (06, Kevin Macdonald); Straightheads (07, Dan Reed); The X-Files: I Want to Believe (08, Chris Carter); How to Lose Friends & Alienate People (08, Robert B. Weide); Boogie Woogie (09, Duncan Ward).
Dame Judith (Frances Margaret) Anderson (1897–1992), b. Adelaide, Australia.
Mrs. Danvers is made of certainty. That is her prison, and what makes her so much stronger than the two leading figures in Rebecca (40, Alfred Hitchcock). But she is not free. She has a terrible job—the housekeeper—and she exercises it in the shape of a staircase and in the folded suggestiveness of her mistress’s underwear in a drawer. It is because she is the housekeeper that she has to die with the house. And so she carries herself like an immense tragic actress, and it is her humiliation in Rebecca that her house and authority have been intruded on by two feeble people. She was nominated for the supporting part (Jane Darwell won in The Grapes of Wrath! ), yet she shouldn’t have won—because she knows hers is the leading part.
She went to America in the 1930s and commanded several classic roles on Broadway—Gertrude to Gielgud’s Hamlet, Medea, Lady Macbeth, and Mourning Becomes Electra . But she was never a female attraction, and over the years that surely limited her work and may have bred a certain lack of humor. It was the brilliant Kay Brown who proposed Anderson for Mrs. Danvers—but it was the actress who insisted on $1,000 a week and all expenses paid. The authority shows—but it kept Anderson from so many other parts.
In fact, she had made one film before— Blood Money (33, Rowland Brown). But then nothing until Manderley. After that she worked steadily in Hollywood for ten years, often in the most unexpected projects: with Eddie Cantor in 40 Little Mothers (40, Busby Berkeley); Free and Easy (41, George Sidney); in a B-picture crime movie, Lady Scarface (41, Frank Woodruff); All Through the Night (42, Vincent Sherman); King’s Row (42, Sam Wood); Edge of Darkness (43, Lewis Milestone); Laura (44, Otto Preminger); And Then There Were None (45, René Clair); The Diary of a Chambermaid (46, Jean Renoir).
She was in Specter of the Rose (46, Ben Hecht); The Strange Love of Martha Ivers (46, Milestone); Pursued (47, Raoul Walsh); The Red House (47, Delmer Daves); Tycoon (47, Richard Wallace); The Furies (50, Anthony Mann).
After that, she worked a lot on TV and she did The Silver Cord (51, Lawrence Carra) for the small screen. In addition, she was Herodias in Salome (53, William Dieterle); The Ten Commandments (56, Cecil B. DeMille); Big Momma in Cat on a Hot Tin Roof (58, Richard Brooks); on TV again for Medea (59, Wes Kenney); The Moon and Sixpence (59, Robert Mulligan); Cinderfella (60, Frank Tashlin), with Jerry Lewis; Don’t Bother to Knock (61, Cyril Frankel).
She lived a long time, and in old age she made A Man Called Horse (70, Elliot Silverstein); Star Trek III: The Search for Spock (89, Leonard Nimoy); and several years on the daytime TV show Santa Barbara .
Lindsay Anderson , (1923–94), b. Bangalore, India
1948: Meet the Pioneers (d). 1949: Idlers That Work (d). 1951: Three Installations (d). 1952: Wakefield Express (d). 1953: Thursday’s Child (codirected with Guy Brenton) (d); O Dreamland (d). 1954: Trunk Conveyor (d). 1955: Foot and Mouth
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