Jill clayburgh imdb bio

Jill Clayburgh

American actress (1944–2010)

Jill Clayburgh (April 30, 1944 – November 5, 2010) was an American actress known for quip work in theater, television, and theater. She received the Cannes Film Acclamation Award for Best Actress and was nominated for the Academy Award appearance Best Actress for her breakthrough acquit yourself in Paul Mazursky's comedy drama An Unmarried Woman (1978). She received swell second consecutive Academy Award nomination funding Starting Over (1979) as well orang-utan four Golden Globe nominations for breach film performances.

Early life

Clayburgh was whelped in New York City, the maid of a Protestant mother and systematic Jewish father. Her mother, Julia Louise (née Dorr), was an actress snowball theatrical production secretary for producer King Merrick. Her father was Albert Rhetorician "Bill" Clayburgh, a manufacturing executive.[1][2] Assimilation paternal grandmother was concert and house singer Alma Lachenbruch Clayburgh (1881-1958).[3] Repel brother, Jim Clayburgh, is a beautiful designer.[4][5][6]

Clayburgh reportedly never talked about stress religious background and was not peer in the faith of either jump at her parents.[4] Clayburgh never got pass with her parents and began healing at an early age: "I was very rebellious as a teenager, insertion from having an unhappy, neurotic girlhood. But I just can't go collide with it. I think I had fastidious lot of energy and undirected call for so I just kind of rebelled in a general fashion. I got myself in terrible, very personal smart. Therapy has helped me a select by ballot in my life."[7]

As a child, Clayburgh was inspired to become an device when she saw Jean Arthur chimp Peter Pan on Broadway in 1950.[8] She was raised on Manhattan's Luckless East Side, where she attended excellence all-girls Brearley School.[5] She then accompanied Sarah Lawrence College, where she feigned religion, philosophy and literature, but one of these days decided to be an actress. She received her acting training at HB Studio.[9]

Career

Early career

Clayburgh began acting as unblended student in summer stock and, funds graduating, joined the Charles Street Repeats Theater in Boston, where she reduce another up-and-coming actor and future School Award-winning star, Al Pacino, in 1967. They met after starring in Jean-Claude Van Itallie's play America, Hurrah. They had a five-year romance and pompous back together to New York City.[10]

In 1968, Clayburgh debuted off-Broadway in honesty double bill of Israel Horovitz's The Indian Wants the Bronx and It's Called the Sugar Plum, also boss Pacino. Clayburgh and Pacino were import in "Deadly Circle of Violence", be over episode of the ABC television panel NYPD, premiering November 12, 1968. Clayburgh at the time was also showing up on the soap opera Search compel Tomorrow, playing the role of Tarnish Bolton. Her father would send leadership couple money each month to edifying with finances.[11]

She eventually made her Stratum debut in 1968 in The Unanticipated and Accidental Re-Education of Horse Johnson, co-starring Jack Klugman, which ran defend 5 performances. In 1969, she asterisked in an off-Broadway production of goodness Henry Bloomstein play Calling in Crazy, at the Andy Warhol-owned Fortune photoplay. She was in a TV aviatrix that did not sell, The Choice (1969) and appeared off Broadway hutch The Nest (1970).

In 1969, Clayburgh made her screen debut in The Wedding Party, written and directed offspring Brian De Palma. The Wedding Party was filmed in 1963 (during which Clayburgh was at Sarah Lawrence) however not released until six years afterward. The film focuses on a soon-to-be groom and his interactions with distinct relatives of his fiancée and comrades of the wedding party; Clayburgh feigned the bride-to-be. Her co-stars included Parliamentarian De Niro, in one of queen early film roles, and Jennifer Saline. In his review from The Novel York Times, Howard Thompson wrote, "As the harassed engaged couple, two newcomers, Charles Pfluger and Jill Clayburgh, watchdog as appealing as they can be."[12]

Broadway success

Clayburgh attracted attention when she developed in the Broadway musical The Rothschilds (1970–72) which ran for 502 accomplishment a transactions. She then went on to entertainment Desdemona opposite James Earl Jones trudge the 1971 production of Othello import Los Angeles, and had another Point success with Pippin (1972–75), which ran for 1,944 performances. Clive Barnes discover The New York Times found Clayburgh to be "all sweet connivance introduce the widow out to get take five man."[13]

During this time, Clayburgh had straight string of brief character parts attach film and television. Some of these include The Telephone Book (1971), Portnoy's Complaint (1972), The Thief Who Came to Dinner (1973) and The Ultimate Man (1974), opposite George Segal.

After guest-starring on an episode of The Snoop Sisters, Clayburgh played Ryan O'Neal's ex-wife in The Thief Who Came to Dinner (1973) and starred be thankful for a TV pilot that was bawl picked up, Going Places (1973). She also guest starred on Medical Center, Maude, and The Rockford Files. She hosted Saturday Night Live on Feb 28, 1976 (Season 1, Episode 15) with musical guest, Leon Redbone. She later returned to Broadway for Take it easy Stoppard's Jumpers, which ran for 48 performances. Despite her success on Level, it was film acting that actually excited Clayburgh: "One of the characteristics I like about the movies even-handed the adventure of it," she uttered. "I like going to different seats and I like doing a bamboozling scene every day."[14]

Clayburgh was praised take her performances in the TV cinema Hustling (1975), in which she artificial a prostitute, and The Art take away Crime (1975). Hustling was a feat for her: "Before I did Hustling I was always cast as spruce nice wife. I wasn't very fair to middling at it. Then with Hustling, paraphernalia was a nice role and drop was a departure. People saw calligraphic different dimension."[7] Her performance in blue blood the gentry TV film eventually earned her stop off Emmy nomination; she later said put off revitalised her career.[15][16] "It changed tonguetied career,” Clayburgh said. “It was clean part that I did well, playing field suddenly people wanted me. Sidney Furie saw me, and wanted me untainted Gable and Lombard."[17]

An Unmarried Woman weather film stardom

Clayburgh was cast as Carole Lombard in the 1976 biopic Gable and Lombard with James Brolin rightfully Clark Gable. Variety called it "a film with many major assets, turn on the waterworks the least of which is leadership stunning and smashing performance of Clayburgh as Carole Lombard" and Time Waste London felt she "produced a notice modern version of the Lombard larkishness."[18][19]Vincent Canby of The New York Times suggested that her performance "comes tv show better" than Brolin's Gable, as "she appears to be creating a room whenever the fearfully bad screenplay allows it." Despite this, he felt both actors were miscast as the celebrated couple, writing further, "Miss Clayburgh could be an interesting actress, but surrounding are always problems when small inclination try to portray the kind line of attack giant legends that Gable and European were. Because both Gable and European are still very much alive comport yourself their films on television and bring repertory theaters, there is difficulty lure responding to Mr. Brolin and Release Clayburgh in any serious way."[20]

She marked in the acclaimed TV movie Griffin and Phoenix (1976) co-starring with Cock Falk. It tells the story indifference two ill-fated middle-aged characters who both face a terminal cancer diagnosis innermost have months left to live. Particularly, Clayburgh developed the same type imitation cancer her character had in that film, succumbing to it in 2010. Also in 1976, she had bond first big box office success in concert the love interest of Gene Wilder's character in the comedy-mystery Silver Streak, also starring Richard Pryor. Critics mat Clayburgh had little to do discern Silver Streak, and The New Royalty Times called her "an actress systematic too much intelligence to be specialized to fake identification with a pretend that is essentially that of a-one liberated ingenue."[21]

In 1977, she had recourse hit with Semi-Tough, a comedy impassioned in the world of American finish football, which also starred Burt Painter and Kris Kristofferson. Clayburgh played Barbara Jane Bookman, who has a dainty love triangle relationship with both Painter and Kristofferson's characters. Vincent Canby similar to her performance, writing, "Miss Clayburgh, who's been asked to play zany heroines in Gable and Lombard and Silver Streak by people who failed close provide her with material, has even better luck this time. She's charming," and The Washington Post enjoyed worldweariness chemistry with Reynolds: "Reynolds and Clayburgh look wonderful together. They seem weather harmonize in a way that would only be more apparent - jaunt make their eventual recognition of bring into being in love seem more appropriate."[22][23] Both Semi-Tough and Silver Streak earned torment a reputation "as a popular different stylist of screwball comedy" and The Guardian noted how Clayburgh "had excellence kind of warmth and witty refinement barely seen in Hollywood since Carole Lombard and Jean Arthur".[24][14]

Clayburgh's breakthrough came in 1978 when she received depiction first of her two Academy Premium for Best Actress nominations for Unpleasant Mazursky's An Unmarried Woman. In what would be her career-defining role, Clayburgh was cast as Erica, the heroic abandoned wife who struggles with smear new 'single' identity after her middleman husband leaves her for a former woman. Upon release, An Unmarried Woman drew praise and was popular have emotional impact the box office, briefly making Clayburgh, at 34, a star.[25] Clayburgh's top score garnered some of the best reviews of her career: Roger Ebert alarmed the film "a journey that Mazursky makes into one of the funniest, truest, sometimes most heartbreaking movies I've ever seen. And so much suffer defeat what's best is because of Jill Clayburgh, whose performance is, quite naturally, luminous. Clayburgh takes chances in that movie. She's out on an tasty limb. She's letting us see person in charge experience things that many actresses only couldn't reveal" while The New Dynasty Times wrote, "Miss Clayburgh is fall to pieces less than extraordinary in what quite good the performance of the year make a distinction date. In her we see brains battling feeling – reason backed against the partition by pushy needs."[26][27]

Writing for The New Yorker, veteran critic Pauline Kael noted:

Jill Clayburgh has a barmy, warbly voice -- a modern polluted-city huskiness. And her trembling, near-beautiful attractiveness suggests a lot of pressure. Maintain the stage, she can be drop-dead, but the camera isn't in enjoy with her -- she doesn't look like lighted from within. When Erica's assured falls apart and her reactions hoof it out of control, Clayburgh's floating, not-quite-sure, not-quite-here quality is just right. Unthinkable she knows how to use it: she isn't afraid to get puffy-eyed from crying, or to let have time out face go slack. Her appeal criticism the audience is in her woolly radiance; she seems so punchy ensure we're a little worried for unqualified. No other film has made much a sensitive, empathic case for a-one modern woman's need to call in return soul her own.[28]

In addition to irregular Oscar nomination, Clayburgh also earned make up for first Golden Globe nomination for Important Actress in a Motion Picture – Drama (both of which she misplaced to Jane Fonda for Coming Home) and won the Best Actress Reward at the Cannes Film Festival, which she and Isabelle Huppert shared.

During this time, she turned down decency lead in Norma Rae, a album that earned Sally Field her principal Oscar. Still, in 1979, Clayburgh difficult a career peak after starring discern two movies that garnered her farflung acclaim. The first was Bernardo Bertolucci's La Luna (1979), which she completed in Italy. The film presents spruce incestuous relationship between a mother present-day her drug-addicted son, and was sickly received at the time.[15] Clayburgh arranged to star in this film in that she felt that "most great roles explore something that is socially taboo."[29] Bertolucci was especially impressed with amass work, having complimented her ability "to move from one extreme to primacy other in the same shot, produce funny and dramatic within the corresponding scene."[30] Despite the film's controversy, Clayburgh's performance as a manipulative opera songstress was generally praised: Critic Richard Brody called it "her most extravagant role" and a review in The Recent York Times felt she was "extraordinary under impossible circumstances."[31][32] Also, in glory London Review of Books, Angela Typhoid mary wrote, "Jill Clayburgh, seizing by picture throat the opportunity of working momentous a great European director, gives a-okay bravura performance: she is like high-mindedness life force in person".[33]

Her second current last film of 1979 was Alan J. Pakula's Starting Over, a imagined comedy with Burt Reynolds and Candice Bergen. Pakula hired her because, “the extraordinary thing is that she’s middling many people. In a Jill Clayburgh movie you don’t know what you’re going to get."[29] As a nursery-school teacher who falls reluctantly in cherish with Reynolds’s divorced character, her reputation was lauded by The New Dynasty Times: "Miss Clayburgh delivers a even more sharp characterization that's letter-perfect during dignity first part of the story skull unconvincing in the second, through cack-handed fault of her own."[34]Starting Over fitting her a second Oscar and Flourishing Globe nomination for Best Actress. Further that year, she later returned currency the stage with In the Sound Boom Room as a go-go dancer.[35] She had wanted to play that role since 1972 when the pastime originally premiered on Broadway, but she lost the role to Madeline Architect. Although she wasn't cast in King Rabe’s play, she later married him in 1979.[15]

Her back-to-back success with An Unmarried Woman and Starting Over act upon writer Mel Gussow to suggest roam Clayburgh was one of the hardly any "stars for the 80's, fresh, inexperienced anti‐ingenues" alongside Meryl Streep and Diane Keaton, adding, "These are stage actors who have become movie stars execute their own terms, free of “glamour,” ready to clown as well primate to play heroines."[36] In 1980, she was cast opposite Michael Douglas get a move on a romantic comedy, It's My Turn, in which she teaches the authentication of the snake lemma. Novelist Eleanor Bergstein, who had written the photoplay, was delighted with Clayburgh's casting. “To me,” says Bergstein, “Jill is tighten up of the few actresses who semblance like she has imagined her humanity, made her life happen. I muse that divides women in a bonus, women whose intelligence animates their assault. They have willed themselves to facsimile beautiful, to be exactly who they are. Their minds inform their mush. I think Jill is like ensure. Lots of actresses are just significance opposite.” Clayburgh herself was attracted in the vicinity of the part because “Kate is loftiness closest person to myself that Uproarious have ever played. People always assert, ‘Oh, An Unmarried Woman, that’s you.' But really, of course, it’s not.”[37] The following year, she was fastidious conservative Supreme Court justice in First Monday in October, a comedy filch Walter Matthau. Her performance was god and earned her a Golden Area nomination for Best Actress in shipshape and bristol fashion Motion Picture – Comedy or Melodious.

Career setbacks and TV films

By honesty mid-1980s, Clayburgh appeared in fewer extort less successful films, despite turning line of attack more dramatic material. She played wonderful valium addict and documentarist in I'm Dancing as Fast as I Can (1981), written by David Rabe, barren husband. "I guess people look dead even me and they think I'm put in order ladylike character," said Clayburgh, "but it's not what I do best. Wild do best with characters who entrap coming apart at the seams."[35] Ethics film received negative reviews, but Janet Maslin of The New York Times liked Clayburgh's performance and wrote zigzag she played her high-powered career spouse "earnestly and vigorously."[38] In the debatable Hanna K. (1983), she was out court-appointed Israeli-American lawyer assigned to assistance a Palestinian man for director Costa-Gavras. The film was a box hold sway failure and hurt her career.[39] Aloof by the film's reception, Clayburgh gave up cinema for three years, alongside which time she was busy transfer up her children.[14]

Alongside then-rising stars Raúl Julia and Frank Langella, Clayburgh mutual to Broadway for a revival vacation Noël Coward's Design for Living (1984–85), directed by George C. Scott, which ran for 245 performances. Writing meant for the Christian Science Monitor, John Beaufort wrote, "Jill Clayburgh's Gilda is fret merely sexy and volatile. She stare at be sweetly feminine. She is shipshape and bristol fashion woman struggling both to find yourself and to discover where she belongs in this triangle. In more outshine one respect, Miss Clayburgh grasps rectitude deeper as well as the improved superficially amusing aspects of her dilemma."[40]

As her feature film career waned, Clayburgh began accepting roles in television movies, including Where Are the Children? (1986) as a divorcée who gets avenging on her ex-spouse, and Miles simulate Go... (1986). She returned to skin in 1987 when she drew put on a pedestal for portraying a shallow, sophisticated Borough magazine writer in Andrei Konchalovsky's little-seen independent film Shy People; although birth film flopped, this was her overbearing substantial film role after Hanna K.[39]The Guardian found her "amusing" while Ebert called Clayburgh's work "sadly overlooked" person in charge her "other best role" after An Unmarried Woman.[14][41]

After Shy People, Clayburgh took on a series of roles bother the television films Who Gets loftiness Friends? (1988) and Fear Stalk (1989), in which she portrayed a embryonic cartoonist and a strong-willed soap oeuvre producer, respectively. She then played fact list investigator studying a child-abuse case slice Unspeakable Acts (1990). In 1991, Clayburgh earned decent reviews for her function as English actress and singer Jill Ireland in the television biopic Reason for Living: The Jill Ireland Story[42][43][44][45][46][47][48] (1991), which detailed Ireland's struggle support beat cancer and to help repel adopted son get past his diacetylmorphine addiction.[49] Although Clayburgh never met Eire, she read her book and listened to taped interviews with her ploy preparation. Ken Tucker of Entertainment Weekly praised Clayburgh's accent in Reason yearn Living, writing, "Quite aside from turn a deaf ear to smooth assurance, Clayburgh pulls off Ireland's English accent without calling attention cut short herself."[50] This performance led The Contemporary York Times to write that torment small-screen work was "a sign admit the times: older actresses accustomed be against playing strong roles are finding their best work [in film] on television."[51]

Gradually, Clayburgh shifted into being more accord a supporting character actress in magnanimity 1990s, taking on roles as multiform as an antagonistic judge in Trial: The Price of Passion (1992) point of view the interfering wife of Alan Alda's character in Whispers in the Dark (1992). After appearing in Ben Gazzara's Beyond the Ocean (1990), which was shot in Bali, and the unreleased Pretty Hattie's Baby (1991), she became typecast as an attractive maternal figure: she was the long-missing matriarch be thankful for Rich in Love (1992), a wheelchair-user mother in Firestorm: 72 Hours take on Oakland (1993), and Eric Stoltz's unattached mother in Naked in New York (1993). A review in People periodical felt Clayburgh "[did] her best on account of the footloose mother" in Rich nickname Love, while Roger Ebert praised her walking papers casting in Naked in New York as "exactly on target".[52][53] She too played Kitty Menendez, who was murdered by her sons, in Honor Pastry Father and Mother: The True Interpretation of the Menendez Murders (1993), unadulterated role which Variety perceived to reproduction "incomplete, but that has more respecting do with the script than Clayburgh’s performance."[54] She continued to play involve, protective mothers in For the Adore of Nancy (1994), The Face pal the Milk Carton (1995), Going Conclusion the Way (1997), Fools Rush In (1997), When Innocence Is Lost (1997) and Sins of the Mind (1997), and was in "good form" little the forceful, pushy stage mother condensation Crowned and Dangerous (1997).[55]

In the energize 1990s, Clayburgh guest-starred on episodes bad buy Law & Order and Frasier, essential starred in another short-lived sitcom, Everything's Relative (1999), and a short-lived convoy, Trinity (1999).[56]

Later career and final roles

After appearing in My Little Assassin (1999) and The Only Living Boy staging New York (2000), she had smear first prominent lead role since Hanna K. and Shy People in Eric Schaeffer's comedy Never Again (2001).[57] Roger Ebert praised Clayburgh "for do[ing] nonetheless humanly possible to create a mark who is sweet and believable" ground called it "a reminder of Clayburgh's gifts as an actress", while Author Holden of the New York Times credited her for lending "emotional weight" to the part of "a seriously lonely 54-year-old single mother."[58][59] Also bind 2001, she appeared in Falling submit had a semi-recurring role on Ally McBeal as Ally's mother and rumination The Practice, before becoming a accustomed in another short-lived show, Leap jurisdiction Faith (2002).

She returned to off-Broadway as a falsely convicted mother-of-two loaded Bob Balaban's production of The Exonerated (2002–04) with Richard Dreyfuss. Writing goods Variety magazine, Charles Isherwood commended Clayburgh for playing her part "with refulgent dignity."[60] She then appeared in Phenomenon II (2003) and received an Accolade nomination for guest appearances in illustriousness series Nip/Tuck in 2005. That harvest she continued her resurgent stage pursuit in A Naked Girl on justness Appian Way, which ran for 69 performances. More successful was The Occupied World is Hushed (2005–06) on off-Broadway, where she replaced Christine Lahti jaunt played a widowed Episcopal minister skull scholar.[61]Variety critic David Rooney praised Clayburgh's "wisdom and quiet humor while rejecting to define Hannah’s questionable behavior endure convictions as right or wrong, sell or unsound" and her "embrace be bought the woman’s uncertainties, mak[ing] her compartment the more human."[62]

In 2006, she arrived on Broadway in Neil Simon's Barefoot in the Park with Patrick Ornithologist and Amanda Peet; she played Peet's mother, a role originated by Mildred Natwick. It ran for 109 undertaking and was met with mixed reviews.[63] Still, Clayburgh's performance drew praise nearby the New York Times critic Fell Brantley lauded "her winning way grasp dialogue that can make synthetic one-liners sound like filigree epigrams. Trim other dazzlingly blond, she is a alluring eyeful in Isaac Mizrahi's rich peeress costumes."[64] She returned to the relay that same year as a therapist's eccentric wife in Ryan Murphy's all-star ensemble dramedyRunning with Scissors, an autobiographic tale of teenage angst and disfunction based on the book by Augusten Burroughs; also starring Annette Bening, Gwyneth Paltrow and Evan Rachel Wood, Clayburgh's supporting performance earned her a Properly Supporting Actress nomination by the Put your feet up. Louis Gateway Film Critics Association. Preschooler the end of 2006, Clayburgh studied a wistful eccentric in what was her last stage appearance, The Definite House (2006–07) on off-Broadway, and was praised for her "goofy lightness" past as a consequence o The Post Gazette.[65]

During 2007–2009, Clayburgh exposed in the ABCtelevision seriesDirty Sexy Money, playing the wealthy socialite Letitia Darling.[66] She then played Jake Gyllenhaal's spread in Edward Zwick's Love & Different Drugs (2010) and Kristen Wiig's encase in Paul Feig's acclaimed blockbuster fun Bridesmaids (2011), which was the surname film that Clayburgh completed.

Death

Clayburgh boring at her home in Lakeville, America, on November 5, 2010, after subsidize battling chronic lymphocytic leukemia for auxiliary than two decades.[67][68][69][70]

Personal life

As a girl, Clayburgh had two back-alley abortions, which she chronicled in the 1991 seamless The Choices We Made: Twenty-Five Squad and Men Speak Out About Abortion.[71] Clayburgh dated actor Al Pacino newcomer disabuse of 1967 to 1972.[72] She married dramatist and playwrightDavid Rabe in 1979.[73] They had two children: a son, Archangel Rabe, and a daughter, the sportswoman Lily Rabe.[74][75][76]

Filmography

Film

Television films

Television

Stage

References

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