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Glenda Jackson

( Actress)

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Biography Glenda Jackson
Glenda Jackson was born May 9, 1936, Mr.. in Birkenhead in the family stonemason. Craving for the theater was so strong that the 16-year-old Glenda, not finishing school, joined an amateur troupe. During the next ten years, she interspersed performances on stage with all sorts of running-in time: time to visit a waitress, an administrator at the hotel, an assistant pharmacist.

After graduating from the Royal Academy of Dramatic Art, the young actress starred as Ophelia in Stratford. Her character was so energetic and powerful, that the critic Penelope Gilliat, future screenwriter of one of the best films of Jackson, noted in his review that the young actress in the shower apparently threatened to Hamlet. In 1963, Mr.. She was invited to take part in one of the performances of the pilot season of "theater of cruelty", which the Royal Shakespeare troupe held in London in the theater "Oldvich". It was Peter Brook's acclaimed production of the play by P. Weiss's "Persecution and Assassination of Jean-Paul Marat, submitted by mental patients at Charenton under the direction of the Marquis de Sade. In 1967. "Marat / Sade" appeared in kinovariante. Jackson has played Charlotte Corday, or rather, its singer, located in a catatonic stupor nymphomaniac, who plays the murderer in the play Marat De Sade. The overall picture role - heavy sleepy eyes and inhibited sensuality, breaks forth in the act of murder - made a big impression on visitors

. After another brukovsko-vaysovskogo Performance "US" (read as "we" and also "United States"), . against the war in Vietnam, and shot a film called "lie to me" (1967), . Glenda Jackson finally consolidated its reputation for intellectual actress with great potential for sensory,
. This combination proved very suitable for the screen version of "Women in Love" D. G. Lawrence undertaken by Ken Russell in 1969. Role Gudrun Brenguen, . emancipated artist's early century, . strong, . independent, . unsentimental and simultaneously sensual, . in conflict with the love which comes off one of the heroes - the embodiment of masculinity, . became another victory of the young actress, . received for her "Oscar",
. Once again, she co-starred with Russell in the role of Tchaikovsky's wife Antonina Miliukova ( "Lovers of Music", 1970), confirming its ability to play sexual psihopatok.

In the film, D. Schlesinger's "Sunday, cursed Sunday" (1971) Jackson sharply changed the tone. In a strictly realistic style, . where the main thing is not an impressive image of strong emotions, . and the ability to discreetly hint at it, . Actress successfully addressed the role of modern intellectuals, . whose experiences (she shares a lover with an elderly doctor-gay) organically woven into the overall melancholy tone of the narrative,

In subsequent scenes Jackson creates a series of portraits of contemporaries. The ability to look at himself - one of their main. They are soberly aware that part of the beauty of them is far from institutionalized fashion ideal, but compensate by biting irony, sharp sense of humor, strength of character, often from neighboring purely female weaknesses. The complex of these qualities she showed in the movie M. Frank "How in the best houses" (1972). In pursuance of the role of the heroine of "holiday romance" actress won an Oscar, Golden Globe Award and the 21 th International Film Festival in San Sebastian.

In "The Romantic Englishwoman" (1975) Joseph Losey drawing the main female role is more complex. The heroine, the wife of the writer, sober and enlightened intellectual, too, wants to get full on those directories of consumer values, which are beautifully and tastefully decorated journals and quite professionally made film. But if the "romantic" desire to get all the neighbors and the willingness to lose everything, then this is the romanticism that has characterized the heroes of past ages. It is no accident Glenda Jackson often played in the historical costume films, . where the heroine delineated by sharp colors and their rigidity should correspond to the pressure of events, . which they have to endure ( "Mary, . Queen of Scots ", . 1972; The Last Dance of Salome ", . 1988).,

. The elements of the actress was surrounded not only on the screen
. Her active life position is often dictated the choice of roles and. Thus, in the television movie J. Golda "Sahara" (1984) she played Elena Bonner, in the early 80-ies. co-starred in several British films, treating purely local, but important to the British problem. In 1992. actress became a member of parliament from the Labor Party.

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. 1967 - "Marat / Sad" (Marat / Sade)
. 1967 - "lie to me" (Tell Me Lies)
. 1967 - "The benefit of doubt" (The Benefit of the Doubt)
. 1968 - "Negative" (Negatives)
. 1969 - "Women in Love" (Women in Love)
. 1970 - Music lovers "(The Music Lovers)
. 1971 - "Druzhok" (The Boy Friend)
. 1971 - "Sunday, damned Sunday (Sunday, Bloody Sunday)
. 1972 - "Mary, Queen of Scots" (Mary, Queen of Scots)
. 1972 - "Triple Echo" (Triple Echo)
. 1973 - "As in the best houses" (A Touch of Class)
. 1973 - "Legacy of the nation" (A Bequest to the Nation)
. 1974 - "Maids" (The Maids)
. 1974 - "Smile of the great tempter" (Il sorriso del grande tentatore)
. 1975 - "Hedda" (Hedda)
. 1975 - "Romantic Englishwoman" (The Romantic Englishwoman)
. 1976 - "The incomparable Sarah" (The Incredible Sarah)
. 1977 - "Bad habits" (Nasty Habits)
. 1978 - "Bizity" (House Calls)
. 1978 - "Stevie" (Stevie)
. 1978 - "Class of Miss Mac-Michael" (The Class of Miss MacMichael)
. 1979 - Lost & Found "(Lost and Found)
. 1980 - "Health" (Health)
. 1980 - "Playing the classics" (Hopscotch)
. 1982 - Giro City "(Giro City)
. 1983 - "The Return of the soldier" (The Return of the Soldier)
. 1985 - "Turtle Diary" (Turtle Diary)
. 1987 - "The treatment is futile" (Beyond Therapy)
. 1987 - "Everything is as usual" (Business as Usual)
. 1988 - "Last Dance of Salome" (Salome's Last Dance)
. 1989 - "Rainbow" (The Rainbow)
. 1989 - "King of the wind" (King of the Wind)
. 1990 - "Coast doomed" (Doombeach)

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