Julie Harris

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Broadway Favourite Julie Harris Passes Away, Aged 87


Julie Harris

Julie Harris, one of the 20th century's great stage and screen actresses, has passed away at the age of 87. The acting great first gained attention working on Broadway in the early 1950's and eventually went on to earn 10 Tony nominations and five wins throughout her time as a stage actress, the joint record for most wins in Tony history. She also went on to earn a plethora of awards for her time as a screen actress, although she will best be remembered as a stage actress.

Julie Harris
Harris leaves behind a legacy as one of the finest actresses of her generation

Her death, which was confirmed by the Associated Press on Sunday (25 August), came in the early hours of Saturday, 24 August, at her home in Chatham, Massachusetts. A Michigan-native, the actress first took to acting in the 1940's and gained her first Broadway break in 1945. Her breakthrough came 5 years later in the hit play The Member of the Wedding, which was eventually adapted for the big screen three years later, with Harris regaining her role as Frankie in the film, earning an Oscar nomination along the way.

Continue reading: Broadway Favourite Julie Harris Passes Away, Aged 87

Katharine Hepburn Garden' in Turtle Bay

Julie Harris - Julie Harris attends the dedication of the 'Katharine Hepburn Garden' in Turtle Bay - New York, NY, United States - Monday 12th May 1997

American Academy of Dramatic Arts Gala honoring Julie Harris

Julie Harris - American Academy of Dramatic Arts Gala honoring Julie Harris, held at The Plaza Hotel - Inside - New York, NY, United States - Monday 8th February 1993

Julie Harris and Alec Baldwin

Award Winning Actress Julie Harris Dies Aged 87


Julie Harris James Dean

Julie Harris, an award winning American actress, died yesterday at the age of 87. The Michigan-born award winner died at her Chatham, Massachusetts home after suffering from congestive heart failure. Her death was announced by her life-long friend Francesca James to the New York Times

Julie HarrisJulie Harris photographed in 2008 at the The Actors Company Theatre 15th Anniversary Gala in New York. 

Harris was born in Grosse Pointe, Michigan in 1925. She was best known for her stage work and her frequent appearances on Broadway. She won five Tony awards for her performances as Mary Todd Lincoln in The Last of Mrs Lincoln; Joan of Arc in The Lark; Emily Dickinson in The Belle of Amherst and for her performance in Forty Carats. These awards were granted during the 1970s, when Harris was juggling both stage and screen roles. Her last award was in 2005 she was presented with a Lifetime Achievement Tony award. 

Continue reading: Award Winning Actress Julie Harris Dies Aged 87

The World Of Show Business Mourns The Death Of Five-Time Tony Winner Julie Harris


Julie Harris

Celebrated Hollywood performer Julie Harris died yesterday (Saturday, August 24). During her long and fruitful career, which spanned both stage and screen productions, Harris received five Tony Awards, three Emmys and a Grammy for her work, as well as being nominated for an Oscar.

Julie Harris, Hudson Theatre
Harris continued to be active as an actress and patron well into the 2000s.

On stage, Harris displayed an impressive range, fitting with equal ease into the role of the flamboyant Sally Bowles in I Am The Camera as that of Emily Dickinson in The Belle of Amherst. She lived to be 87.

Continue reading: The World Of Show Business Mourns The Death Of Five-Time Tony Winner Julie Harris

Reflections in a Golden Eye Review


Excellent
Based on a Carson McCullers novella, Reflections in a Golden Eye is a sordid Southern Gothic melodrama that peeks into the bedroom windows of the officers of a rural army base and finds... depravity! With an A-list cast and the leering directorial eye of John Huston, it's lots of dirty fun.

Huston's most interesting decision was to riff off the title and shoot the entire picture in a golden sepia tone with only occasional splashes of color. The print was pulled from theaters when people didn't get it, but on DVD you can see it the way Huston intended, and it's unlike anything you've seen before.

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Carried Away (1996) Review


Weak
It's not every day we get full frontal nudity from Dennis Hopper and Amy Irving -- much less in the same scene. And thank God for that. But behind the borderline creepiness of the movie lies a tepid story: Hopper and Irving are rural types carrying on a tentative romance. But student Amy Locane (who specializes in this role) comes into Hopper's classroom, and before 10 minutes are up, she's naked and bedding him in the barn. Eventually this turns out badly for all parties, as you might imagine. Worst, possibly, for the audience.

Broadway: The Golden Age, By The Legends Who Were There Review


OK
Self-indulgent to a fault and brusquely shoved together without much of a sense of rhythm, Broadway: The Golden Age is on the surface the five-year-long quest by filmmaker Rick McKay (Elaine Stritch at Liberty) to interview pretty much every Broadway luminary he could get his hands on, all for the purposes of limning the glory that was Broadway's "Golden Age." Now it's no surprise that you interview a bunch of aging actors/actresses who are in this particular demographic they're going to tell you that things today are rather awful, and in their day, were much, much better. What makes Broadway as engaging as it is would be the fact that McKay's interviewees are able to back up those claims with some rather illuminating anecdotes - and not just all of the "you could go to the automat and get a muffin and coffee for 15 cents" variety, though there's plenty of that as well.

Although McKay - whose irritating narration, the usual guff about moving to New York from Indiana and just how exciting it all was, brackets the film - never really posits what exactly he's on about with "The Golden Age," two things quickly become clear: The time period he and his subjects want to talk about is Broadway theater from the 1930s to the 1950s, and that period really would have been something to behold. The cavalcade of interviewees all point to not just the embarrassment of riches that were around then in terms of both the material (Lerner & Lowe and Rodgers & Hammerstein were like musical hit factories, not to mention the new dramatic work being produced by the likes of Tennessee Williams and Arthur Miller) and the talent, but another very simple factor: It was cheap. In a time of $480 The Producers tickets, it's partially nice but mostly infuriating to know that not so long ago it could cost less to go to a Broadway show than the movies.

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East Of Eden Review


Extraordinary
Elia Kazan's East of Eden packs as powerful a punch today as it must have 50 years ago when it introduced an exciting new star, James Dean, to a wide-eyed audience that had never seen anything quite him before... unless they were Brando fans. This is big moviemaking, with big themes, big performances, big CinemaScope shots, and big, bright "WarnerColor" images. It's the kind of movie that a million Ashton Kutchers and a million Brett Ratners couldn't make in a million years.

John Steinbeck's classic story draws on the Biblical tale of Cain and Abel, the two warring brothers from the Old Testament, and although Cain doesn't slay Abel in this version of the story, he comes close. Dean brings his emotive Method style to the role of Cal Trask, the "bad" son who must compete with his golden boy brother Aron (Richard Davalos) for the love of their cold, Bible-thumping father Adam (Raymond Massey). Together they work a lettuce farm in central California's fertile Salinas Valley. It's 1917, and World War I is raging overseas.

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The Haunting (1963) Review


Weak
Yeah, it's really rated G. Not particularly scary (anymore), this "bloodless" horror film is all in your head. Julie Harris disappoints as the nutty Eleanor, who screams and squeals a lot when she figures a haunted house is out to get her. Frankly, it put me to sleep -- and Harris's constant, nagging voice over makes you want to tape your ears shut.

Requiem for a Heavyweight Review


Excellent
Rod Serling's tale about a washed-up heavyweight boxer (Anthony Quinn) and his corrupt manager (Jackie Gleason) is as relevant as ever, considering the sad fates of greats like Muhamed Ali. In fact, Quinn's Mountain Rivera opens the movie being beaten to a pulp by a young Cassius Clay (later to become Ali). It feels real, even though it's fiction, as this exploration of the afterlife of a boxer proves far more harrowing than what goes on inside the ring.
Julie Harris

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