Spartacus Official Trailer #1 - Kirk Douglas, Laurence Olivier Movie (1960) HD (Mayıs Ayı 2024)
Laurence Olivier, tam olarak Laurence Kerr Olivier, Brighton Baron Olivier, (1947–70) Sir Laurence Olivier, (22 Mayıs 1907 doğumlu, Dorking, Surrey, İngiltere — öldü 11 Temmuz 1989, Londra, İngiltere yakınlarında) İngiliz sahnesinin ve ekranının yükselen figürü, yaşamı boyunca 20. yüzyılın İngilizce konuşan en büyük aktörü olarak ünlendi. Mesleğinin hayat arkadaşına yükseltilen ilk üyesi oldu.
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İngiliz Farklı Erkekler: Gerçek mi, Kurgu mu?
Sir Francis Drake, İspanya'ya karşı savaşmayı reddettiği için meşhurdu.
Anglikan bir bakanın oğlu Olivier, dokuz yaşında Shakespeare'deki Julius Caesar'ın kısalmasında tiyatroya ilk kez Brutus olarak başladığı All Saints Choir School'a gitti. Beş yıl sonra Stratford Shakespeare Festivali'nde bu performansı tekrar ederek Oxford'daki St. Edward's School'da The Taming of the Shrew'da kadın başrol oynadı. Bu erken aşama görünümleri, Olivier'i bir meslek olarak görmeye teşvik eden dönemin tiyatrosundaki dikkat çeken kişiler tarafından fark edilmedi. İlk önce bir Hint kauçuk plantasyonunu yöneterek ağabeyinin örneğini takip etmeyi umarak kavramı reddetti; ancak şimdiye kadar oyunculuk konusunda kararsız olan babası, genç Laurence'den bir sahne kariyerine başlamasını talep etti.
Olivier enrolled at the Central School of Dramatic Art in 1924, then began his professional career with the Birmingham Repertory Theatre Company (1926–28). In 1929 he made his first significant West End appearance, playing the title role in a staging of P.C. Wren’s Beau Geste. Also that year he made his Broadway debut in Murder on the Second Floor. Having acted in British films from 1930, he was briefly signed by Hollywood’s RKO Radio Pictures in 1931, but he failed to make much of an impression at this early date. What could have been his first Hollywood break in Metro-Goldwyn-Mayer’s Queen Christina (1933) was scuttled when star Greta Garbo vetoed Olivier as her leading man in favour of her former lover John Gilbert.
During this period Olivier broadened his acting range by tackling difficult classical roles; he also chose to accept character parts that allowed him to hide what he considered his shortcomings behind heavy makeup and false beards. As he gained confidence in himself and his craft, audiences responded positively to him. The theatre critics also liked his work—though their comments were guarded, and they often compared Olivier unfavourably with such contemporaries as John Gielgud and Ralph Richardson. He scored a significant triumph as star of an unabridged 1937 staging of Hamlet. He returned to Hollywood to play the tormented Heathcliff in Samuel Goldwyn’s production of Wuthering Heights (1939). This time around, movie audiences took notice, and Olivier’s subsequent international stardom was a fait accompli.
Exhibiting the same tenacity and dedication that distinguished his theatrical work, Olivier accumulated enough flight hours on his own to qualify for the Royal Navy Fleet Air Arm in World War II. Demobilized in 1944, he launched a new facet of his career by teaming with longtime friend Ralph Richardson to revitalize the fabled Old Vic Theatre. This assignment not only provided him the opportunity to appear in an extensive repertory of choice Shakespearean roles but also allowed him to direct, something he had been doing on a sporadic basis since the 1930s. In 1944 he also returned to film as star and director of Shakespeare’s Henry V (1944), an outstanding blend of old-fashioned theatricality and “pure” cinema that earned him a special Academy Award. He went on to star in three additional Shakespearean film adaptations, two of which he also directed: Hamlet (1948), which won him Academy Awards for both best picture and best actor; Richard III (1955), and Othello (1965), a “filmed theatre” version of his earlier stage triumph, directed by Stuart Burge. Olivier’s other movie directorial credits included The Prince and the Showgirl (1957), with Marilyn Monroe; the 1967 television movie version of Uncle Vanya; and Three Sisters (1970).
Ever on the lookout for new challenges, and eager not to be regarded as an anachronism during the British theatre’s Angry Young Men period, Olivier asked John Osborne to write a play for him. The result was The Entertainer (play 1957, film 1960), in which the actor astonished even his most ardent admirers with his shattering portrayal of pathetic end-of-pier music hall performer Archie Rice. Olivier’s list of accomplishments was further extended in 1962 when he became producer-director of the National Theatre company. To raise money for this enterprise, he accepted virtually every film role—good or bad—that came his way, and even appeared in a series of American television commercials for Polaroid cameras.
Throughout the 1960s and’70s, Olivier appeared in more than 30 films; most were forgettable, but memorable exceptions included Sleuth (1972, Oscar nomination for best actor), Marathon Man (1976, Oscar nomination for best supporting actor), the television films Love Among the Ruins (1975) and Cat on a Hot Tin Roof (1976), and the British miniseries Brideshead Revisited (1981). It was also during this period that Olivier was suddenly and inexplicably stricken with a severe case of stage fright. Even after overcoming this debility, he insisted upon “shielding” himself from the audience by retreating further into character roles, donning elaborate makeups, and adopting thick foreign accents as a form of self-protection. In his last two decades he was tormented by illness, including near-fatal bouts with thrombosis and prostate cancer. His frailties added a poignant note to his much-praised performance in the title role of King Lear (1983; made for television), his last major Shakespearean role.
Olivier published two highly-regarded volumes of memoirs, Confessions of an Actor (1984) and On Acting (1986). He was married three times, to actresses Jill Esmond, Vivien Leigh, and Joan Plowright. Knighted in 1947, he became the first actor to receive a peerage in 1970, allowing him to sit in the House of Lords. Despite these honours, he retained his essential modesty; whenever asked if he should be addressed as Sir Laurence or Lord Olivier, the actor invariably replied, “Call me Larry.” Upon his death, he became only the second actor since Edmund Kean to be interred in Poets’ Corner at Westminster Abbey.
