1968 Israel MOVIE POSTER Film WAIT UNTIL DARK Hebrew AUDREY HEPBURN Alan ARKIN

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 276233224772 1968 Israel MOVIE POSTER Film WAIT UNTIL DARK Hebrew AUDREY HEPBURN Alan ARKIN.

DESCRIPTION : Here for sale is an almost 50 years old EXCEPTIONALY RARE and ORIGINAL Jewish Judaica POSTER for the ISRAEL 1968 PREMIERE of Terence Young legendary THRILLER - SUSPENSE film "WAIT UNTILL DARK" .  Starring AUDREY HEPBURN , ALAN ARKIN  and RICHARD CRENNA in the cinema-movie hall      " CINEMA SHARON" in the small rural town of NATHANYA in ISRAEL . "CINEMA SHARON" , A local Israeli version of "Cinema Paradiso" was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND.  Fully DATED 1968 . Text in HEBREW and ENGLISH . Please note : This is NOT a re-release poster but PREMIERE - FIRST RELEASE projection of the film , One year after its release in 1967 in USA and worldwide . The ISRAELI distributors of the film have given it a brand new different Hebrew name " ISOLATED IN THE DARK " And an amusing and quite archaic Hebrew text. The poster also advertises a Greek film in a matinee show.  GIANT size around 28" x 38" ( Not accurate ) . Printed in red and blue on white paper  .  The condition is very good . Folded twice. Somewhat stained. ( Pls look at scan for accurate AS IS  images )  Poster will be sent rolled in a special protective rigid sealed tube.

AUTHENTICITY : This poster is guaranteed ORIGINAL from 1968 ( Fully dated )  , NOT a reprint or a recently made immitation.  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.

PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT :  SHIPP worldwide via  registered airmail is $ 25. Poster will be sent rolled in a special protective rigid sealed tube.  Handling around 5-10 days after payment. 

Wait Until Dark is a 1967 suspense-thriller film directed by Terence Young and produced by Mel Ferrer. It stars Audrey Hepburn as a young blind woman, Alan Arkin as a violent criminal searching for some drugs, and Richard Crenna as another criminal, supported by Jack Weston, Julie Herrod, and Efrem Zimbalist Jr.. The screenplay by Robert Carrington and Jane-Howard Carrington is based on the stage play of the same name by Frederick Knott. Audrey Hepburn was nominated for the Academy Award for Best Actress in 1968, losing to Katharine Hepburn in Guess Who's Coming to Dinner. Zimbalist was nominated for a Golden Globe in the supporting category. The film is ranked #55 on AFI's 2001 100 Years…100 Thrills list, and its climax is ranked tenth on Bravo's 100 Scariest Movie Moments.[3] Contents 1 Plot2 Cast3 Soundtrack4 Exhibition5 Reception6 Awards and honors7 See also8 References9 External links Plot In a Montreal apartment, a woman named Lisa (Samantha Jones) waits for an old man to sew bags of heroin into the cloth body of an old-fashioned doll. As she leaves the apartment with the doll, we see the man watching her leave, then dialing someone on the phone. Lisa takes the doll with her on an airline flight to New York City, but when, on disembarking, she sees a man watching her, she becomes worried and gives the doll for safekeeping to a man she'd spoken with on the plane, professional photographer Sam Hendrix (Efrem Zimbalist Jr. ). The man who'd been watching Lisa then roughly escorts her away. Later, when Lisa calls Sam about the doll, Sam and his wife, Susy (Audrey Hepburn), who is blind from an auto accident, are unable to find it. Small-time con artist Mike Talman (Richard Crenna) and his partner Carlino (Jack Weston) arrive at a basement apartment where they expect to meet Lisa, their former partner in crime. No one is home, and unbeknownst to the two, the apartment is not Lisa's, but Sam and Susy's. Harry Roat, Jr. (Alan Arkin), the man who met Lisa at the airport, arrives at the apartment to persuade Talman and Carlino to help him find the doll. After discovering Lisa's body hanging in a garment bag, Talman and Carlino want to make a quick exit, but Roat points out that they have left their fingerprints all over the apartment, while he has made sure he has touched nothing but the arms of the rocker in which he was sitting, which he then wipes clean. Roat is then able to prevail upon the two to help him dispose of Lisa's body, explaining that he'd caught her going into business for herself. He also tells them about the heroin-stuffed doll and offers to cut them in if they help him find it. While the men are meeting, Susy comes home briefly and is observed by the men, who stay silent and undetected. The next day, Susy's neighbor leaves for the weekend, and Sam leaves on a wild goose chase photography assignment (in reality set up by Roat) to Asbury Park, New Jersey. Once Susy is alone, the criminals begin an elaborate con game. In order to gain entry into the apartment, Mike poses as a friend of Sam's, Carlino poses as a policeman, and Roat poses first as an old man and then as the man's son. Using first an innocuous story about Sam and the doll, then a darker one implying that Lisa has been murdered and that Sam will be suspected, the men persuade Susy to help them find the doll. Mike gives her the number for the phone booth across the street as his own after falsely warning her of a police car stationed outside. During this time, Susy has grown suspicious of Carlino and Roat, and Gloria (Julie Herrod), a girl who lives upstairs and helps Susy with errands, has been going in and out of the apartment, sometimes without Susy's noticing that she is there. After Mike leaves, Gloria sneaks into the apartment carrying the doll, which she had taken to play with. She tells Susy that there is no police car outside, and Susy discovers the doll. Wanting to confirm her suspicions about Carlino and Roat, Susy tells Gloria to go home and watch the phone booth. If a man goes into it, Gloria is to phone Susy, let the phone ring twice, and hang up. Gloria tells Susy that she can signal her by banging on the pipes. On Carlino's next visit, after he calls Roat at the phone booth, Gloria sends Susy the telephone signal, and she sends the signal a second time after Susy calls Mike to tell him she has the doll. Finally realizing that Mike, too, is a criminal, Susy hides the doll. When he walks in with Carlino and Roat following quietly, she tells him that the doll is at Sam's studio. The three leave after Roat cuts the telephone cord. Susy sends Gloria to the bus station to wait for Sam. When Susy discovers that the telephone cord has been cut, she prepares to defend herself by putting the criminals in the dark along with her, breaking all the bulbs in the apartment's light fixtures except for the one in Sam's photography 'safe light'. She also pours a chemical into a bowl. When Mike returns, he realizes that she knows the truth and demands the doll, but she refuses to cooperate. Mike has spent more time than the others with Susy, and he has come to admire her for her quiet strength and ability to stand up to the three of them, despite her disability. He admits to her that he and his confederates are part of a criminal plot and that Sam, as Susy suspected, is innocent of any involvement, while Roat is a particular danger. Mike assures Susy that she does not need to worry about Roat, as he has sent Carlino to kill him. However, having anticipated their plan, Roat has killed Carlino instead, and, as Mike prepares to leave, Roat stabs him in the back. Intent on acquiring the doll, Roat chains the door shut in the dark apartment, pours gasoline on the floor, and sets a piece of newspaper on fire. Susy finally agrees to give him the doll, and he puts out the fire. Susy throws the chemical at Roat's face and desperately unplugs the 'safe light' while Roat throws his knife at her, which misses and embeds itself in the wall as the apartment is plunged into darkness. Roat lights a match but hastily puts it out when Susy, having found the gasoline, starts splashing it in his direction and onto him. But the battle ends when Roat obtains light by opening the refrigerator, whose door he props open with a rag in the hinge. Susy, hearing the refrigerator come on, and weeping as she realizes that she has lost the battle, pulls the doll out from its hiding place and hands it to him. While Roat cuts open the doll and gloats over the treasure inside, Susy is able, unnoticed by him, to arm herself with a large kitchen knife. Roat then pushes Susy towards the bedroom and pins her to the wall. Susy stabs Roat who collapses, seriously wounded. She flees but is unable to escape through the chained door. She stumbles across the floor toward the kitchen window to scream for help, but Roat unexpectedly leaps up from the floor and grabs her ankle. Screaming, Susy wrenches free, but the dying Roat doggedly pursues her, using the knife with which she stabbed him to drag himself across the floor. Susy conceals herself behind the refrigerator door, and Roat dies as the police arrive with Sam and Gloria. Cast Audrey Hepburn as Susy HendrixAlan Arkin as Roat, Harry Roat,Jr., and Harry Roat,Sr.Richard Crenna as Mike TalmanEfrem Zimbalist Jr. as Sam HendrixJack Weston as CarlinoSamantha Jones as LisaJulie Herrod as Gloria Soundtrack The soundtrack of the film, composed by Henry Mancini, was adapted to the film's climax: dark, oppressive and terrifying. Mancini combined with the orchestra two pianos tuned a quarter tone apart, melodic instruments—sitar, electric harpsichord, electric guitar, and a whistler in the main title (a haunting, minor-mode melody in the style of Experiment in Terror).[citation needed] Mancini also composed an alternate main theme that was not used in the film and can be found as "Henry Mancini Alternate Main Title". [show]2007 Film Score Monthly Album[4] Exhibition To immerse viewers in the suspense of the climactic scene, movie theater owners dimmed their lights to the legal limits, and then turned them off, one by one, as each light bulb was smashed on-screen, until the audiences were in complete darkness.[citation needed] Reception The film was one of the most popular of its year, earning North American rentals of $7,350,000.[5] Bosley Crowther called it a "barefaced melodrama, without character revelation of any sort, outside of the demonstration of a person with the fortitude to overcome an infirmity"; he liked Hepburn's performance, saying "the sweetness with which Miss Hepburn plays the poignant role, the quickness with which she changes and the skill with which she manifests terror attract sympathy and anxiety to her and give her genuine solidity in the final scenes".[6] Time magazine said the film had a "better scenario, set and cast" than the play's Broadway production that preceded it, and while "the story is as full of holes as a kitchen colander", "Hepburn's honest, posture-free performance helps to suspend the audience's disbelief" and she is "immensely aided by the heavies: Jack Weston, Richard Crenna, and Alan Arkin....With virtuosity, Hepburn and Arkin collaborate to revive an old theme—The-Helpless-Girl-Against-the-Odds—that has been out of fashion since Dorothy McGuire and Barbara Stanwyck screamed for help in The Spiral Staircase and Sorry, Wrong Number.[7] Roger Ebert gave the movie three and a half stars and wrote "Miss Hepburn is perhaps too simple and trusting, and Alan Arkin (as a sadistic killer) is not particularly convincing in an exaggerated performance. But there are some nice, juicy passages of terror (including that famous moment when every adolescent girl in the theater screams), and after a slow start the plot does seduce you".[8] The film ranked tenth on Bravo's 100 Scariest Movie Moments for its riveting climax.[9] Awards and honors American Film Institute recognition 2001 – AFI's 100 Years... 100 Thrills – #552003 - AFI's 100 Years... 100 Heroes and Villains: Susy Hendrix - Nominated Hero See also List of American films of 1967 List of films featuring home invasions Wait Until Dark (1968) Cast Audrey Hepburn as Susy Alan Arkin as Roat Richard Crenna as Mike Talman Jack Weston as Carlino Julie Herrod as Gloria Efrem Zimbalist Jr as Sam production Mel Ferrer Directed by Terence Young From a screenplay by Robert Screenplay by Jane-Howard Carrington Drama, Horror, Thriller 108 minutes | Roger Ebert February 26, 1968 | Print Page It's been six months since I last explained the theory of the idiot plot, so maybe you won't mind if I have another go. Briefly, an idiot plot depends upon one or more characters being idiots. They get trapped in a situation that they could easily get out of with common sense. But they don't, being idiots. If they did, they'd solve the problem and the movie would be over. Idiot plots usually turn up in bad movies, but occasionally they creep into superior films like this one, causing unhappy distractions. "Wait Until Dark" is about a blind girl (Audrey Hepburn) whose husband accidentally gets possession of a doll containing heroin. After she is left alone in her apartment, three men terrorize her in an attempt to find the doll. They stage an elaborate act in which one plays a cop, one plays an old college chum of her husband and the third plays -- but never mind. The important thing is, these three guys walk in and out of her apartment with complete freedom. The door is unlocked. First one guy comes in. Then he leaves and someone else turns up. Finally the girl realizes she's in danger. So far, so good. We can swallow the first hour of the movie, even though it's rather unlikely, simply because we like to be entertained and want to be convinced. But after the girl wakes up to the danger she's in, why doesn't she LOCK THAT DOOR? She's left alone. The guys are gone for a moment. There's a little girl living upstairs, and Audrey sends her to the bus terminal to wait for her husband's bus. (Another idiot plot slip-up. Why not send the girl to the police?) Then she's alone again. The door is unlocked. But she can lock it. She doesn't. The bad guys come in and out of the apartment like finalists in a revolving door sweepstakes. In the dark privacy of the 19th row, made all the more suspenseful because the lights in the theater are turned out for the last scenes, am I frightened? On the edge of my chair? No, I'm asking myself why she doesn't lock the door. Otherwise, it's a good movie. I don't want to give the impression that it isn't. Miss Hepburn is perhaps too simple and trusting, and Alan Arkin (as a sadistic killer) is not particularly convincing in an exaggerated performance. But there are some nice, juicy passages of terror (including that famous moment when every adolescent girl in the theater screams), and after a slow start the plot does seduce you. I don't think Audrey Hepburn should have gotten an Academy nomination for her performance (she was much better in "Two for the Road"), but I don't want to quibble. My demands are not great. I just want her to lock that door. Now! A definitive 1960s soundtrack comes to CD at last: Wait Until Dark (1967), the brilliant, moody and haunting score composed and conducted by Henry Mancini. The name "Mancini" resonates today as a master of light pop and comedy. One of the touchstones of his career—and of movie music itself—is "Moon River," composed for Breakfast at Tiffany's and conveying the beauty and heart of Audrey Hepburn. However, Mancini was endlessly inventive and relished the opportunity to showcase a darker and more dramatic side of his ability. One of the best chances came on another, very different Audrey Hepburn movie, Wait Until Dark, and he did not disappoint. Wait Until Dark was a suspense masterpiece starring Hepburn as a blind housewife who is terrorized by three hoods (Alan Arkin, Richard Crenna and Jack Weston) trying to retrieve a heroin-filled doll from her New York City apartment. Based on a stage play by Frederick Knott, the film features an engaging battle of wits between Hepburn and the thugs, and a truly terrifying climax as the nighttime confrontation foretold by the title comes to pass. Mancini's score is a masterwork of color and mood, playing a haunting, minor-mode melody (in the style of Experiment in Terror) over a brilliant device: two pianos, tuned a quarter-tone apart, with the "wrong" notes eerily echoing the "right" ones. Combined with Mancini's melodic instruments—sitar, electric harpsichord, electric guitar, and a whistler in the main title—this recurring theme backed by the quarter-tone pianos (the "Theme for Three") turns his familiar big band style on its head. A second major theme in the score (titled "Wait Until Dark," and sung in the end credits) is a more familiar kind of pop Mancini composition for Hepburn's good-hearted character, not quite "Moon River" but more in that style. The score also includes several upbeat source cues in the loungey Mancini tradition. However, it is the music for the film's climax—dark, oppressive and terrifying—that will thrill fans of Mancini's dramatic scores such as Lifeforce. As Alan Arkin makes his frontal assault on the blind but not entirely helpless Hepburn, Mancini's throbbing strings and eerie sounds leave the viewer in a state of panic that one of the world's most famous leading ladies is about to have her throat slit. This premiere release of Mancini's complete original soundtrack to Wait Until Dark is remixed from the original 1/2" three-track scoring session masters recorded at Warner Bros. Liner notes are by Lukas Kendall. Wait Until Dark (1967) The Screen:Audrey Hepburn Stars in 'Wait Until Dark' By BOSLEY CROWTHER Published: October 27, 1967 PATIENCE is strongly recommended for those who see "Wait Until Dark," the suspense thriller with Audrey Hepburn that arrived yesterday at the Music Hall—patience with the slow and tortuous build-up to the chilling dénouement and patience with some of the doubtful details of the clearly carpentered plot. It takes a long time for this fable of how three clever and diabolical thugs insinuate themselves into the St. Luke's Place arpartment of a young blind woman in search of a valuable doll to get to the point where it grabs you. It takes almost an hour and a half of playing at elaborate deceptions by the histrionic thugs, while the young woman reacts to them with obliging credulity. And many times in this enactment of dark and evil tricks being played upon the valiant and gentle woman, who has no idea where the doll is at first (it has been passed along to her unsuspecting husband, who has neglectetd to tell her about it and is not at home), there are things that seem sheer contrivance to take up running time and stretches of tedious chatter that may get on a viewer's nerves. But once this build-up is accomplished—once the sinister plot is launched and the young woman suddenly realizes that she has been duped and is in grave peril—the shock and suspense of the situation hit the audience with almost the same force, I'd imagine, as they evidently hit her. And from here on, the tension is terrific and the melodramatic action is wild as the blind woman uses all her courage and ingenuity to foil her assailants and save her life. It is just that, a barefaced melodrama, without character revelation of any sort, outside of the demonstration of a person with the fortitude to overcome an infirmity. But the sweetness with which Miss Hepburn plays the poignant role, the quickness with which she changes and the skill with which she manifests terror attract sympathy and anxiety to her and give her genuine solidity in the final scenes. Under Terence Young's workmanlike direction of an inevitably loquacious script, adapted by Robert and Jane-Howard Carrington from Frederick Knott's successful stage play, the whole cast comes on aptly—Alan Arkin, Richard Crenna and Jack Weston as the thugs, Julie Herrod as a 14-year-old neighbor and sometime companion of the blind woman, and Efrem Zimbalist Jr., as her husband who is only around briefly. But I must say that I found Mr. Arkin a bit disconcerting at times, when he seemed like his comical self imitating Jerry Lewis imitating a tough-talking thug. With dark glasses and a straight-down haircut, he looks amazingly like Mr. Lewis, and when he quick-changes out of this appearance into a couple of others to confuse the heroine, the reminder of Mr. Lewis demonstrating his versatility is intense. Mr. Arkin is not that good as a serious villain to confuse his image as a fine comedian with such a role. The stage show at the Music Hall is called "Show-time." It has the ballet company, with Maria Teresa Carrizo, Bill Martin-Viscount and James Morski as soloists; the Willa Ward Singers, Gerard Soules and his performing dogs. Fernando Pasqualone, a trumpeter, and the Rockettes, as friendly invaders from outer space. WAIT UNTIL DARK, screenplay by Robert and Jane-Howard Carrington; based on the play by Frederick Knott; directed by Terence Young; produced by Mel Ferrer for presentation by Warner Brothers-Seven Arts. At the Radio City Music Hall. Running time: 108 minutes. Susy Hendrix . . . . . Audrey Hepburn Roat . . . . . Alan Arkin Mike Talman . . . . . Richard Crenna Carlino . . . . . Jack Weston Gloria . . . . . Julie Herrod Shatner . . . . . Frank O'Brien Boy . . . . . Gary Morgan Sam . . . . . Efrem Zimbalist Jr. From Wikipedia, the free encyclopedia Audrey Hepburn Hepburn in 1956 Born Audrey Kathleen Ruston 4 May 1929 Ixelles, Brussels, Belgium Died 20 January 1993 (aged 63) Tolochenaz, Vaud, Switzerland Cause of death Appendiceal cancer Resting place Tolochenaz Cemetery, Tolochenaz, Vaud Nationality British Other names Edda van HeemstraAudrey Kathleen Hepburn-Ruston Occupation Actress (1948–89) Humanitarian (1988–92) Years active 1948–1992 Spouse(s) Mel Ferrer (1954–68) Andrea Dotti (1969–82) Partner(s) Robert Wolders (1980–93; her death) Children 2 Relatives Aarnoud van Heemstra (grandfather) Emma Ferrer (granddaughter) Signature Audrey Hepburn (/ˈɔːdri ˈhɛpˌbɜrn/; born Audrey Kathleen Ruston; 4 May 1929 – 20 January 1993) was a British actress and humanitarian. Recognised as a film and fashion icon, Hepburn was active during Hollywood's Golden Age. She was ranked by the American Film Institute as the third greatest female screen legend in Golden Age Hollywood and was inducted into the International Best Dressed List Hall of Fame. Born in Ixelles, a district of Brussels, Hepburn spent her childhood between Belgium, England, and the Netherlands, including German-occupied Arnhem during the Second World War where she worked as a courier for the Dutch resistance and assisted with fundraising. In Amsterdam, she studied ballet with Sonia Gaskell before moving to London in 1948 to continue her ballet training with Marie Rambert and perform as a chorus girl in West End musical theatre productions. She spoke several languages, including English, French, Dutch, Italian, Spanish, and German.[1] Following minor appearances in several films, Hepburn starred in the 1951 Broadway play Gigi after being spotted by French novelist Colette. Hepburn shot to stardom for playing the lead role in Roman Holiday (1953), for which she was the first actress to win an Academy Award, a Golden Globe and a BAFTA Award for a single performance. The same year, she won a Tony Award for Best Lead Actress in a Play for her performance in Ondine. Hepburn went on to star in a number of successful films, such as Sabrina (1954), The Nun's Story (1959), Breakfast at Tiffany's (1961), Charade (1963), My Fair Lady (1964) and Wait Until Dark (1967), for which she received Academy Award, Golden Globe and BAFTA nominations. Hepburn won a record three BAFTA Awards for Best British Actress in a Leading Role. In recognition of her film career, she was awarded the Lifetime Achievement Award from BAFTA, Golden Globe Cecil B. DeMille Award, the Screen Actors Guild Life Achievement Award, and the Special Tony Award. Hepburn remains one of the few people who have won Academy, Emmy, Grammy, and Tony Awards. Hepburn appeared in fewer films as her life went on, devoting much of her later life to UNICEF. Although contributing to the organisation since 1954, she worked in some of the most profoundly impoverished communities of Africa, South America and Asia between 1988 and 1992. She was awarded the Presidential Medal of Freedom in recognition of her work as a UNICEF Goodwill Ambassador in December 1992. A month later, Hepburn died of appendiceal cancer at her home in Switzerland at the age of 63. Contents 1 Early life 1.1 Childhood and adolescence during World War II2 Entertainment career 2.1 Career beginnings and early roles2.2 Roman Holiday and stardom2.3 Breakfast at Tiffany's and iconic role2.4 Final projects3 Humanitarian career 3.1 1988–19893.2 1990–19924 Personal life 4.1 Marriages, relationships and children4.2 Hepburn's children4.3 Illness4.4 Death5 Legacy 5.1 Style6 Filmography and stage roles7 Awards8 See also9 References 9.1 Notes9.2 Citations9.3 Sources10 Further reading11 External links Early life Hepburn was born on 4 May 1929 at number 48 Rue Keyenveld in Ixelles, a municipality in Brussels, Belgium.[2] Her father, Joseph Victor Anthony Ruston (1889–1980), was a British subject born in Úžice, Bohemia,[3][a] to Anna Ruston (née Wels), of Austrian descent,[4] and Victor John George Ruston, of British and Austrian descent.[5] A one-time honorary British consul in the Dutch East Indies, Hepburn's father had earlier been married to Cornelia Bisschop, a Dutch heiress.[3][6] Although born Ruston, he later double-barrelled the surname to the more "aristocratic" Hepburn-Ruston, mistakenly[5] believing himself descended from James Hepburn, third husband of Mary, Queen of Scots.[6] Her mother, Baroness Ella van Heemstra (1900–1984), was a Dutch aristocrat and the daughter of Baron Aarnoud van Heemstra, who was mayor of Arnhem from 1910 to 1920 and served as Governor of Dutch Suriname from 1921 to 1928. Ella's mother was Elbrig Willemine Henriette, Baroness van Asbeck (1873–1939), who was a granddaughter of jurist Count Dirk van Hogendorp.[7] At age nineteen, Ella had married Jonkheer (Esquire) Hendrik Gustaaf Adolf Quarles van Ufford, but they divorced in 1925. Hepburn had two half-brothers from this marriage who were both born in the Dutch East Indies: Jonkheer Arnoud Robert Alexander Quarles van Ufford (1920–1979) and Jonkheer Ian Edgar Bruce Quarles van Ufford (1924–2010).[6][8] Hepburn's mother and father married in the Dutch-Colonial Batavia (now Jakarta), Dutch East Indies, in September 1926. They moved back to Europe, to Ixelles in Belgium, where Hepburn was born in 1929, before moving to Linkebeek, a nearby Brussels municipality, in January 1932.[9] Although born in Belgium, Hepburn held British citizenship through her father.[2] As a result of her multinational background and travelling with her family because of her father's job[10][b], she learned to speak five languages: Dutch and English from her parents and later French, Spanish, and Italian. Hepburn began studying ballet when she was five years old. Childhood and adolescence during World War II Hepburn's parents were members of the British Union of Fascists in the mid-1930s,[11] with her father becoming a true Nazi sympathiser.[12] The marriage began to fail in 1935, and after her mother discovered him in bed with the nanny of her children,[13] Hepburn's father left the family abruptly. Joseph settled in London following the divorce.[3] In the 1960s, Hepburn would finally locate him again in Dublin through the Red Cross. Although he remained emotionally detached, his daughter remained in contact and supported him financially until his death.[14] In 1937, Ella and Audrey moved to Kent, South East England, where Hepburn was educated at a small independent school in Elham, run by two sisters known as "The Mesdemoiselles Smith".[15][16] In September 1939, Britain declared war on Germany, and Hepburn's mother relocated with her daughter back to Arnhem in the hope that (as during World War I) the Netherlands would remain neutral and be spared a German attack. While there, Hepburn attended the Arnhem Conservatory from 1939 to 1945 where, in addition to the standard school curriculum, she trained in ballet with Winja Marova. After the Germans invaded the Netherlands in 1940, Hepburn adopted the pseudonym Edda van Heemstra because an "English sounding" name was considered dangerous during the German occupation. In 1942, Hepburn's uncle, Otto van Limburg Stirum (husband of her mother's older sister, Miesje), was executed in retaliation for an act of sabotage by the resistance movement, while Hepburn's half brother Ian was deported to Berlin to work in a German labour camp. Hepburn's other half-brother Alex went into hiding to avoid the same fate.[17] "We saw young men put against the wall and shot, and they'd close the street and then open it and you could pass by again...Don't discount anything awful you hear or read about the Nazis. It's worse than you could ever imagine."[18] After this, Ella, Miesje, and Hepburn moved in with Baron Aarnoud van Heemstra in nearby Velp. At the time, Hepburn suffered from malnutrition, developed acute anæmia, respiratory problems, and edema.[19] Hepburn, in a retrospective interview, commented, "I have memories. More than once I was at the station seeing trainloads of Jews being transported, seeing all these faces over the top of the wagon. I remember, very sharply, one little boy standing with his parents on the platform, very pale, very blond, wearing a coat that was much too big for him, and he stepped on to the train. I was a child observing a child."[20] Later in her career, Hepburn was asked to play Holocaust victim Anne Frank in both the Broadway and film adaptations of Frank's life. Hepburn, however, who was born the same year as Frank, found herself "emotionally incapable" of the task, and at almost 30 years old at the time, too old.[21] By 1944, Hepburn had become a proficient ballet dancer and she had secretly danced for groups of people to collect money for the Dutch resistance. "The best audience I ever had made not a single sound at the end of my performances", she remarked.[22] She also occasionally acted as a courier for the resistance, delivering messages and packages. After the Allied landing on D-Day, living conditions grew worse and Arnhem was subsequently destroyed during Operation Market Garden. During the Dutch famine that followed in the winter of 1944, the Germans blocked the resupply routes of the Dutch's already-limited food and fuel supplies as retaliation for railway strikes that were held to hinder German occupation. People starved and froze to death in the streets; Hepburn and many others resorted to making flour out of tulip bulbs to bake cakes and biscuits.[12][23] One way young Audrey passed the time was by drawing; some of her childhood artwork can be seen today.[24] When the country was liberated, United Nations Relief and Rehabilitation Administration trucks followed.[25] Hepburn said in an interview that she fell ill from putting too much sugar in her porridge and eating an entire can of condensed milk.[26] Hepburn's war-time experiences sparked her devotion to UNICEF, an international humanitarian organisation, in her later career.[12][23] Entertainment career Career beginnings and early roles After the war ended in 1945, Ella and Audrey moved to Amsterdam, where Hepburn took ballet lessons for three years with Sonia Gaskell, a leading figure in Dutch ballet.[27] In 1948, she appeared on film for the first time as an air stewardess in Dutch in Seven Lessons, an educational travel film made by Charles van der Linden and Henry Josephson.[28] Later the same year, she moved to London to take up a ballet scholarship with Ballet Rambert, which was then based in Notting Hill.[29] She supported herself with part-time work as a model, and dropped "Ruston" from her surname. On requesting Rambert's assessment of her prospects, Hepburn was told she had talent, but her height and weak constitution (the after effect of wartime undernutrition) would make the status of prima ballerina unattainable. She decided to concentrate on acting.[30][31][32] Hepburn's mother worked menial jobs in order to support them and Hepburn began working as a chorus girl[33] in the musical theatre revues High Button Shoes (1948) at the London Hippodrome and Cecil Landeau's Sauce Tartare (1949) and Sauce Piquante (1950) at the Cambridge Theatre in the West End. During her theatrical work, she took elocution lessons with actor Felix Aylmer to develop her voice.[34] After being spotted by a casting director while performing in Sauce Piquante, Hepburn was registered as a freelance actress with the Associated British Picture Corporation. The unknown Hepburn appeared in minor roles in the 1951 films One Wild Oat, Laughter in Paradise, Young Wives' Tale and The Lavender Hill Mob before playing her first major supporting role in Thorold Dickinson's The Secret People (1952), in which she played a prodigious ballerina and performed all of her own dancing sequences.[35] Hepburn was then offered a small role in the film being shot in both English and French Monte Carlo Baby (Nous Irons à Monte Carlo) (1951). While Hepburn was filming on location, French novelist Colette happened to be on the set, on the search for an actress to play the title character in her Broadway play Gigi. Collette cast her on the spot, supposedly stating, "Voilà", indicating Hepburn, "there's your Gigi."[32][36] Hepburn went into rehearsals having never spoken on stage and required private coaching.[37] When Gigi opened at the Fulton Theatre on 24 November 1951, critics noted her lack of experience, but seduced by her charm.[38] Gigi earned Hepburn a Theatre World Award for her debut on Broadway;[39] her name was hoisted above the title of the play on the theatre marquee. The play ran for 219 performances, closing on 31 May 1952,[39] before going on tour which began 13 October 1952 in Pittsburgh and visited Cleveland, Chicago, Detroit, Washington and Los Angeles before closing on 16 May 1953 in San Francisco.[40] Roman Holiday and stardom Hepburn in a screen test for Roman Holiday (1953) which was also used as promotional material In the Italian-set Roman Holiday (1953), Hepburn had her first starring role as Princess Anne, an incognito European princess who, escaping the reins of royalty, falls in love with an American newsman (Gregory Peck). While producers initially wanted Elizabeth Taylor for the role, director William Wyler was so impressed by Hepburn's screen test that he cast her in the lead. Wyler later commented, "She had everything I was looking for: charm, innocence, and talent. She also was very funny. She was absolutely enchanting and we said, 'That's the girl!'"[41] Originally, the film was to have had only Gregory Peck's name above its title, with "Introducing Audrey Hepburn" beneath in smaller font. However, Peck suggested to Wyler that he elevate her to equal billing so that her name appeared before the title and in type as large as his: "You've got to change that because she'll be a big star and I'll look like a big jerk."[42][43] Hepburn garnered critical and commercial acclaim for her portrayal, adding to her unexpected Academy Award for Best Actress, her first BAFTA Award for Best British Actress in a Leading Role, and only Golden Globe Award for Best Actress – Motion Picture Drama in 1953. In his review in The New York Times, A. H. Weiler wrote: Although she is not precisely a newcomer to films Audrey Hepburn, the British actress who is being starred for the first time as Princess Anne, is a slender, elfin and wistful beauty, alternately regal and childlike in her profound appreciation of newly-found, simple pleasures and love. Although she bravely smiles her acknowledgement of the end of that affair, she remains a pitifully lonely figure facing a stuffy future.[44] Hepburn was signed to a seven-picture contract with Paramount with 12 months in between films to allow her time for stage work[45] while spawning what became known as the Audrey Hepburn "look" after her illustration was placed on 7 September 1953 cover of TIME magazine.[46] Hepburn with William Holden in the film Sabrina (1954) Following her success in Roman Holiday, she starred in Billy Wilder's romantic Cinderella-story comedy Sabrina (1954), in which wealthy brothers (Humphrey Bogart and William Holden) compete for the affections of their chauffeur's innocent daughter (Hepburn). For her performance, she was nominated for the 1954 Academy Award for Best Actress while winning the BAFTA Award for Best Actress in a Leading Role the same year. Bosley Crowther of The New York Times wrote: One might guess this is Miss Hepburn's picture, since she has the title role and has come to it trailing her triumphs from last year's "Roman Holiday". And, indeed, she is wonderful in it—a young lady of extraordinary range of sensitive and moving expressions within such a frail and slender frame. She is even more luminous as the daughter and pet of the servants' hall than she was as a princess last year, and no more than that can be said.[47] She began another collaboration that year, this time with actor Mel Ferrer, starred in the fantasy play Ondine on Broadway. With her lithe and lean frame, Hepburn made a convincing water spirit named Ondine in this sad story about love found and lost with a human (Ferrer). A New York Times critic commented: Somehow Miss Hepburn is able to translate [its intangibles] into the language of the theatre without artfulness or precociousness. She gives a pulsing performance that is all grace and enchantment, disciplined by an instinct for the realities of the stage. Hepburn and Ferrer married on 25 September 1954, in Switzerland; their sometimes tumultuous partnership would last for the better part of the next 15 years. Her performance won her the 1954 Tony Award for Best Performance by a Leading Actress in a Play the same year she won the Academy Award for Roman Holiday. Hepburn, therefore, stands as one of three actresses to receive the Academy and Tony Awards for Best Actress in the same year (the other two are Shirley Booth and Ellen Burstyn).[48] Hepburn received the Golden Globe for World Film Favorite – Female in 1955,[49] and also became a major fashion influence. Audrey Hepburn in War and Peace (1956) Having become one of Hollywood's most popular box-office attractions, she went on to star in a series of successful films during the remainder of the decade, including her BAFTA- and Golden Globe-nominated role as Natasha Rostova in War and Peace (1956), an adaptation of the Tolstoy novel set during the Napoleonic wars with Henry Fonda and husband Mel Ferrer. In 1957, she exhibited her dancing abilities in her debut musical film Funny Face (1957) where Fred Astaire, a fashion photographer, discovers a beatnik bookstore clerk (Hepburn), who, lured by a free trip to Paris, becomes a beautiful model. The same year Hepburn starred in another romantic comedy, Love in the Afternoon, alongside Gary Cooper and Maurice Chevalier. She played Sister Luke in The Nun's Story (1959), which focuses on the character's struggle to succeed as a nun, alongside co-star Peter Finch. The role produced a third Academy Award nomination for Hepburn and earned her a second BAFTA Award. A review in Variety read, "Hepburn has her most demanding film role, and she gives her finest performance." Films in Review stated that her performance "will forever silence those who have thought her less an actress than a symbol of the sophisticated child/woman. Her portrayal of Sister Luke is one of the great performances of the screen."[50] Reportedly, she spent hours in convents and with members of the Church to bring truth to her portrayal: "I gave more time, energy and thought to this than to any of my previous screen performances."[51] Hepburn with Anthony Perkins in the film Green Mansions (1959) Following this, she received lukewarm reception for starring with Anthony Perkins in the romantic adventure Green Mansions (1959) where she plays—"with grace and dignity"—the "ethereal" Rima, a jungle girl, who falls in love with a Venezuelan traveler played by Perkins,[52] and The Unforgiven (1960), her only western film, where she appears "a bit too polished, too fragile and civilized among such tough and stubborn types" of Burt Lancaster and Lillian Gish in a story of racism against a group of Native Americans.[53] Breakfast at Tiffany's and iconic role Hepburn in the opening scene of Breakfast at Tiffany's (1961), wearing the iconic little black dress by Givenchy Three months after the 1960 birth of her son, Sean, Hepburn began work on Blake Edwards's Breakfast at Tiffany's (1961), a film loosely based on the Truman Capote novella. The film was drastically changed from the book. Capote disapproved of many changes and proclaimed that Hepburn was "grossly miscast"[54] as Holly Golightly, a quirky New York call girl,[55] a role he had envisioned for Marilyn Monroe.[54] Hepburn's portrayal of Golightly was adapted from the original: "I can't play a hooker", she admitted to Marty Jurow, co-producer of the film.[54] Despite the sanitization of her character,[54] her portrayal was nominated for the 1961 Academy Award for Best Actress and became an iconic character in American cinema. Often considered her defining role,[56] Hepburn's high fashion style and sophistication as Holly Golightly within the film became synonymous with her. She named the role "the jazziest of my career"[57] yet admitted: "I'm an introvert. Playing the extroverted girl was the hardest thing I ever did."[58] The dress that is worn by Hepburn during the opening credits is considered an icon of the twentieth century and perhaps the most famous "little black dress" of all time.[59][60][61][62] Shirley MacLaine and Hepburn in the trailer for The Children's Hour (1961) Playing opposite Shirley MacLaine and James Garner, her next role in William Wyler's lesbian-themed drama The Children's Hour (1961) saw Hepburn and MacLaine play teachers whose lives become troubled after a student accuses them of being lesbians.[56] Due to the social mores of the time, the film and Hepburn's performance went largely unmentioned, both critically and commercially. Bosley Crowther of The New York Times, opined that the film "is not too well acted" with the exception of Hepburn who "gives the impression of being sensitive and pure" of its "muted theme",[63] while Variety magazine also complimented Hepburn's "soft sensitivity, mar-velous [sic] projection and emotional understatement" adding that Hepburn and MacLaine "beautifully complement each other".[64] With Cary Grant in Charade (1963) Her only film with Cary Grant came in the comic thriller Charade (1963). Hepburn, who plays Regina Lampert, finds herself pursued by several men who chase the fortune her murdered husband had stolen. The role earned her third and final competitive BAFTA Award and accrued another Golden Globe nomination though critic Bosley Crowther was less kind: "Hepburn is cheerfully committed to a mood of how-nuts-can-you-be in an obviously comforting assortment of expensive Givenchy costumes."[65] Grant (59 years old at the time), who had previously withdrawn from the starring male lead roles in Roman Holiday and Sabrina, was sensitive about his age difference with Hepburn, who was 34, making him uncomfortable about the romantic interplay. To satisfy his concerns, the filmmakers agreed to change the screenplay so that Hepburn's character romantically pursued his.[66] Grant, however, loved to humour Hepburn and once said, "All I want for Christmas is another picture with Audrey Hepburn."[67] Paris When It Sizzles (1964) reteamed Hepburn with William Holden nearly ten years after Sabrina. The Parisian-set screwball comedy, called "marshmallow-weight hokum",[68] was "uniformly panned"[69] but critics were kind to Hepburn's creation of Gabrielle Simpson, the young assistant of a Hollywood screenwriter (Holden) who aids his writer's block by acting out his fantasies of possible plots, describing her as "a refreshingly individual creature in an era of the exaggerated curve."[68] Critical reception was worsened by a number of problems that plagued the set behind the scenes. Holden tried, without success, to rekindle a romance with the now-married actress; that, combined with his alcoholism made the situation a challenge. Hepburn, after principal photography began, demanded the dismissal of cinematographer Claude Renoir after seeing what she felt were unflattering dailies.[69] Superstitious, she also insisted on dressing room 55 because that was her lucky number (she had dressing room 55 for Roman Holiday and Breakfast at Tiffany's) and required that Givenchy, her long-time designer, be given a credit in the film for her perfume.[69] "Not since Gone with the Wind has a motion picture created such universal excitement as My Fair Lady", wrote Soundstage magazine in 1964,[48] yet Hepburn's landing the role of Cockney flower girl Eliza Doolittle in the 1964 George Cukor film adaptation of the stage musical sparked controversy. Julie Andrews, who had originated the role in the stage show, had not been offered the part because producer Jack L. Warner thought Hepburn or Elizabeth Taylor more "bankable" propositions.[70] Initially refusing, Hepburn asked Warner to give it to Andrews but, eventually, Hepburn was cast.[70] Further friction was created when, although non-singer Hepburn had sung with "throaty charm" in Funny Face and had lengthy vocal preparation for the role in My Fair Lady,[70] her vocals were dubbed by Marni Nixon.[71][72] A dubber was required because Eliza Doolittle's songs were not transposed down to accommodate Hepburn's "low-mezzo voice" (as Nixon referred to it).[70] Upset, when first informed, she walked out. She returned the next day and apologised to everybody for her "wicked behaviour".[70] Although Hepburn had lip synced to her recorded tracks during filming, Nixon looped her vocals in post-production and was given multiple attempts to match Hepburn's lip movements precisely.[70] Overall, about 90% of her singing was dubbed despite being promised that most of her vocals would be used.[70] Hepburn's voice remains in one line in "I Could Have Danced All Night", in the first verse of "Just You Wait", and in the entirety of its reprise in addition to sing-talking in parts of "The Rain in Spain" in the finished film.[70] When asked about the dubbing of an actress with such distinctive vocal tones, Hepburn frowned and said, "You could tell, couldn't you? And there was Rex, recording all his songs as he acted ... next time —" She bit her lip to prevent her saying more.[58] She later admitted that she would have never accepted the role knowing that Warner intended to have nearly all of her singing dubbed.[70] The controversy reached its height when, despite the film's accumulation of eight out of a possible twelve awards at the 37th Academy Awards, Hepburn was left nomination-less in the Best Actress category. Andrews would be nominated for her efforts in Mary Poppins (1964), and won. The media tried to play up a rivalry between the two women, although both denied any such thing, and got along well. Despite such strife, many critics greatly applauded Hepburn's "exquisite" performance.[72] "The happiest thing about [My Fair Lady]", wrote Bosley Crowther in The New York Times "is that Audrey Hepburn superbly justifies the decision of Jack Warner to get her to play the title role."[71] Her co-star Rex Harrison, who played Professor Higgins, also called Hepburn his favourite leading lady and Gene Ringgold of Soundstage also commented that "Audrey Hepburn is magnificent. She is Eliza for the ages",[48] while adding, "Everyone agreed that if Julie Andrews was not to be in the film, Audrey Hepburn was the perfect choice."[48] As the decade carried on, Hepburn appeared in an assortment of genres including the heist comedy How to Steal a Million (1966) where she played Nicole, the daughter of a famous art collector whose collection consists entirely of forgeries. Fearing her father's exposure, Nicole sets out to steal one of his priceless statues with the help of Simon Dermott (Peter O'Toole). In 1967, she starred in two films; the first being Two for the Road, a non-linear and innovative British dramedy that traces the course of a couple's troubled marriage. Director Stanley Donen said that Hepburn was more free and happy than he had ever seen her, and he credited that to co-star Albert Finney.[73] The second, Wait Until Dark, is a suspense thriller in which Hepburn demonstrated her acting range by playing the part of a terrorised blind woman. Filmed on the brink of her divorce, it was a difficult film considering husband Mel Ferrer was its producer. She lost fifteen pounds under the stress, but she found solace in co-star Richard Crenna and director Terence Young. Hepburn earned her fifth and final competitive Academy Award nomination for Best Actress; Bosley Crowther affirmed, "Hepburn plays the poignant role, the quickness with which she changes and the skill with which she manifests terror attract sympathy and anxiety to her and give her genuine solidity in the final scenes."[74] Final projects From 1967 onward, after fifteen highly successful years in film, Hepburn decided to devote more time to her family and acted only occasionally. She attempted a comeback in 1976, co-starring with Sean Connery, in the period piece Robin and Marian, which was moderately successful. In 1979, Hepburn took the lead role of Elizabeth Roffe in the international production of Bloodline, re-teaming with director Terence Young (Wait Until Dark). She shared top billing with co-stars Ben Gazzara, James Mason and Romy Schneider. Author Sidney Sheldon revised his novel when it was reissued to tie into the film, making her character a much older woman to better match the actress's age. The film, an international intrigue amid the jet-set, was a critical and box office failure. Hepburn's last starring role in a cinematic film was with Gazzara in the 1981 comedy They All Laughed, directed by Peter Bogdanovich. The film was overshadowed by the murder of one of its stars, Bogdanovich's girlfriend, Dorothy Stratten; the film was released after Stratten's death but only in limited runs. In 1987, she co-starred with Robert Wagner in a tongue-in-cheek made-for-television caper film, Love Among Thieves, which borrowed elements from several of Hepburn's films, most notably Charade and How to Steal a Million.[citation needed] After finishing her last role in a motion picture in 1988, a cameo appearance as an angel in Steven Spielberg's Always, Hepburn completed only two more entertainment-related projects, both critically acclaimed. Gardens of the World with Audrey Hepburn was a PBS documentary television series, her final performance before cameras filmed on location in seven countries in the spring and summer of 1990. A one-hour special preceded the series, debuting in March 1991, while the series commenced the day after her death (21 January 1993). For the series's debut, Hepburn was posthumously awarded the 1993 Emmy Award for Outstanding Individual Achievement – Informational Programming. Recorded in 1992, her spoken word album, Audrey Hepburn's Enchanted Tales, features readings of classic children's stories and earned her a posthumous Grammy Award for Best Spoken Word Album for Children. She remains one of the few entertainers to win Grammy and Emmy Awards posthumously.[citation needed] Humanitarian career Hepburn was appointed Goodwill Ambassador of UNICEF. United States president George H. W. Bush presented her with the Presidential Medal of Freedom in recognition of her work with UNICEF, and the Academy of Motion Picture Arts and Sciences posthumously awarded her the Jean Hersholt Humanitarian Award for her contribution to humanity, with her son accepting on her behalf. Grateful for her own good fortune after enduring the German occupation as a child, she dedicated the remainder of her life to helping impoverished children in the poorest nations. Hepburn's travels were made easier by her wide knowledge of languages; besides being naturally bilingual in English and Dutch, she also was fluent in French, Italian, Spanish, and German.[1][75] Though she had done work for UNICEF in the 1950s, starting in 1954 with radio presentations, this was a much higher level of dedication. Her family said that the thoughts of dying, helpless children consumed her for the rest of her life. In 2002, at the United Nations Special Session on Children, UNICEF honoured Hepburn's legacy of humanitarian work by unveiling a statue, "The Spirit of Audrey", at UNICEF's New York headquarters. Her service for children is also recognised through the U.S. Fund for UNICEF's Audrey Hepburn Society.[76][77] 1988–1989 Hepburn's first field mission for UNICEF was to Ethiopia in 1988. She visited an orphanage in Mek'ele that housed 500 starving children and had UNICEF send food. Of the trip, she said, "I have a broken heart. I feel desperate. I can't stand the idea that two million people are in imminent danger of starving to death, many of them children, [and] not because there isn't tons of food sitting in the northern port of Shoa. It can't be distributed. Last spring, Red Cross and UNICEF workers were ordered out of the northern provinces because of two simultaneous civil wars... I went into rebel country and saw mothers and their children who had walked for ten days, even three weeks, looking for food, settling onto the desert floor into makeshift camps where they may die. Horrible. That image is too much for me. The 'Third World' is a term I don't like very much, because we're all one world. I want people to know that the largest part of humanity is suffering."[78] In August 1988, Hepburn went to Turkey on an immunisation campaign. She called Turkey "the loveliest example" of UNICEF's capabilities. Of the trip, she said, "the army gave us their trucks, the fishmongers gave their wagons for the vaccines, and once the date was set, it took ten days to vaccinate the whole country. Not bad."[79] In October, Hepburn went to South America. In Venezuela and Ecuador, Hepburn told the United States Congress, "I saw tiny mountain communities, slums, and shantytowns receive water systems for the first time by some miracle – and the miracle is UNICEF. I watched boys build their own schoolhouse with bricks and cement provided by UNICEF." Hepburn toured Central America in February 1989, and met with leaders in Honduras, El Salvador, and Guatemala. In April, she visited Sudan with Wolders as part of a mission called "Operation Lifeline". Because of civil war, food from aid agencies had been cut off. The mission was to ferry food to southern Sudan. Hepburn said, "I saw but one glaring truth: These are not natural disasters but man-made tragedies for which there is only one man-made solution – peace."[79] In October, Hepburn and Wolders went to Bangladesh. John Isaac, a UN photographer, said, "Often the kids would have flies all over them, but she would just go hug them. I had never seen that. Other people had a certain amount of hesitation, but she would just grab them. Children would just come up to hold her hand, touch her – she was like the Pied Piper."[40] 1990–1992 In October 1990, Hepburn went to Vietnam in an effort to collaborate with the government for national UNICEF-supported immunisation and clean water programmes. In September 1992, four months before she died, Hepburn went to Somalia. Calling it "apocalyptic", she said, "I walked into a nightmare. I have seen famine in Ethiopia and Bangladesh, but I have seen nothing like this – so much worse than I could possibly have imagined. I wasn't prepared for this."[79] "The earth is red – an extraordinary sight – that deep terracotta red. And you see the villages, displacement camps and compounds, and the earth is all rippled around these places like an ocean bed and I was told these were the graves. There are graves everywhere. Along the road, wherever there is a road, around the paths that you take, along the riverbeds, near every camp – there are graves everywhere."[80] Though scarred by what she had seen, Hepburn still had hope. "Taking care of children has nothing to do with politics. I think perhaps with time, instead of there being a politicisation of humanitarian aid, there will be a humanisation of politics." "Anyone who doesn't believe in miracles is not a realist. I have seen the miracle of water which UNICEF has helped to make a reality. Where for centuries young girls and women had to walk for miles to get water, now they have clean drinking water near their homes. Water is life, and clean water now means health for the children of this village."[79] "People in these places don't know Audrey Hepburn, but they recognise the name UNICEF. When they see UNICEF their faces light up, because they know that something is happening. In the Sudan, for example, they call a water pump UNICEF."[79] Personal life Marriages, relationships and children Hepburn and Mel Ferrer on the set of War and Peace In 1952, Hepburn was engaged to the young James Hanson, Baron Hanson,[81] whom she had known since her London dancing days. She called it "love at first sight"; however, after having her wedding dress fitted and the date set, she decided the marriage would not work because the demands of their careers would keep them apart most of the time.[82] She issued a statement about her decision, saying, "When I get married, I want to be really married."[83] In the early 1950s, she also dated future Hair producer Michael Butler.[84] Hepburn and Gregory Peck bonded during the filming of Roman Holiday (1953) and there were rumours that they were romantically involved; both denied it. Hepburn, however, added, "Actually, you have to be a little bit in love with your leading man and vice versa. If you're going to portray love, you have to feel it. You can't do it any other way. But you don't carry it beyond the set."[85] They did however become lifelong friends. During the filming of Sabrina (1954), Hepburn and the already-married William Holden became romantically involved. She hoped to marry him and have children, but she broke off the relationship when Holden revealed that he had undergone a vasectomy.[86][87] Although a common perception that Bogart and Hepburn (both starred in Sabrina together) did not get along, Hepburn commented that, "Sometimes it's the so-called 'tough guys' that are the most tender hearted, as Bogey was with me."[88] Hepburn and Andrea Dotti At a cocktail party hosted by Gregory Peck, Hepburn met American actor Mel Ferrer.[48] Ferrer recalled that, "We began talking about theatre; she knew all about the La Jolla Playhouse Summer Theatre, where Greg Peck and I had been co-producing plays. She also said she'd seen me three times in the movie Lili. Finally, she said she'd like to do a play with me, and she asked me to send her a likely play if I found one."[48][89] Ferrer, vying for Hepburn to take the title role, sent her the script for the play Ondine. She agreed and rehearsals started in January 1954. Eight months later, on 25 September 1954, after meeting, working together, and falling in love, the pair were married in Bürgenstock[90] while preparing to star together in the film War and Peace (1955). Before having their only son, Hepburn had two miscarriages – one in March 1955[91] and another in 1959. The latter occurred when filming The Unforgiven (1960) where breaking her back after falling off a horse and onto a rock resulted in hospital stay and miscarriage induced by physical and mental stress. Hepburn took a year off work in order to carry a child to term. Sean Hepburn Ferrer, their son, was born on 17 July 1960. Despite the insistence from gossip columns that their marriage would not last, Hepburn claimed that she and Ferrer were inseparable and happy together, though she admitted that he had a bad temper.[92] Ferrer was rumoured to be too controlling of Hepburn and had been referred to by others as being her "Svengali" – an accusation that Hepburn laughed off.[93] William Holden was quoted as saying, "I think Audrey allows Mel to think he influences her." Hepburn had another two miscarriages later, in 1965 and 1967.[94] After a 14-year marriage, the couple divorced on 5 December 1968. Their son believed that Hepburn had stayed in the marriage too long. President Ronald Reagan with Hepburn and Robert Wolders in 1981 In June 1968 she was invited on a cruise by Princess Olimpia Emmanuela Torlonia di Civitella-Cesi and her industrialist husband Paul-Annik Weiller (1933–1998). On the cruise she met the Italian psychiatrist Andrea Dotti and fell in love with him on a trip to the Greek ruins. She believed she would have more children and possibly stop working. She married him on 18 January 1969 at age 39 and gave birth to their son, Luca Dotti, on 8 February 1970. While pregnant with Luca in 1969, Hepburn was more careful, resting for months and passing the time by painting before delivering him by caesarean section. Hepburn tried for another child but in 1974 had another miscarriage.[95] Although Dotti loved Hepburn and was well-liked by Sean, who called him "fun", he began having affairs with younger women. Hepburn had a romantic relationship with actor Ben Gazzara during the filming of the 1979 movie Bloodline.[96] The Dotti-Hepburn marriage lasted thirteen years and ended in 1982 when Hepburn felt Luca and Sean were old enough to handle life with a single mother.[citation needed] Although Hepburn broke off contact with Ferrer, and only spoke to him two more times during the remainder of her life, she remained in touch with Dotti for the benefit of Luca. On 30 September 2007, Andrea Dotti died after complications from a colonoscopy.[97][98] From 1980 until her death, Hepburn lived with and was romantically involved with Dutch actor Robert Wolders,[23] the widower of actress Merle Oberon. She met Wolders through a friend in the later stage of her marriage to Dotti. The divorce from Dotti finalised, Wolders and Hepburn started their lives together, although they never married. In 1989, she called the nine years she had spent with him the happiest years of her life. "Took me long enough", she said in an interview with American journalist Barbara Walters. Walters then asked why they never married; Hepburn replied that they were married, just not formally.[citation needed] Hepburn's children Hepburn had two surviving children, Sean, with Mel Ferrer, born on 17 July 1960 and Luca, with Andrea Dotti, born on 8 February 1970. Audrey's son Sean founded the Audrey Hepburn Children's Fund.[99] shortly after his mother's passing. After 20 years as its chairman he handed the reins to his brother Luca to become the Honorary Chair of the Audrey Hepburn Society[100] at the US Fund for UNICEF. The Society celebrates UNICEF's biggest donors and has raised almost US$100,000,000 to date. He also became patron of the Pseudomyxoma Survivor charity, dedicated to providing support to patients of the rare cancer she suffered from, pseudomyxoma peritonei,[101] and is also the rare disease ambassador since 2014 and for 2015 on behalf of European Organisation for Rare Diseases.[102] Illness Upon return from Somalia to Switzerland in late September 1992, Hepburn began suffering from abdominal pains. She went to specialists and received inconclusive results, so she decided to have herself examined while on a trip to Los Angeles in October. On 1 November, Hepburn checked in at Cedars-Sinai Medical Center with her family. Doctors performed a laparoscopy and discovered abdominal cancer that had spread from her appendix, a rare form of cancer belonging to a group of cancers known as pseudomyxoma peritonei (PMP).[103] Having grown slowly over several years, the cancer had metastasised, not as a tumour, but as a thin coating over her small intestine. After surgery, the doctors put Hepburn through 5-fluorouracil Leucovorin chemotherapy.[104] A few days later, she had an obstruction and medication was not enough to dull the pain. She underwent further surgery on 1 December. After one hour, the surgeon decided that the cancer had spread too far to be removed fully and was inoperable. After coming to terms with the gravity of Hepburn's illness, her family decided to return home to Switzerland in order to celebrate her last Christmas. Because Hepburn was still recovering from surgery, she was unable to fly on commercial aircraft. Hubert de Givenchy offered to help and arranged for Rachel Lambert "Bunny" Mellon to send her private Gulfstream jet, filled with flowers, to take Hepburn from Los Angeles to Geneva. She spent her last days in hospice care at her home in Tolochenaz, Vaud, Switzerland and occasionally was well enough to take walks in her garden, but gradually became more confined to bed rest as she grew weaker.[105] Death Grave of Audrey Hepburn in Tolochenaz, Switzerland On the evening of 20 January 1993, Hepburn died at home in her sleep of appendiceal cancer. After her death, Gregory Peck went on camera and tearfully recited her favourite poem, "Unending Love" by Rabindranath Tagore.[106] Funeral services were held at the village church of Tolochenaz, Switzerland, on 24 January 1993. Maurice Eindiguer, the same pastor who wed Hepburn and Mel Ferrer and baptised her son Sean in 1960, presided over her funeral while Prince Sadruddin Aga Khan, of UNICEF, delivered a eulogy. Many family members and friends attended the funeral, including her sons, partner Robert Wolders, brother Ian Quarles van Ufford, ex-husbands Andrea Dotti and Mel Ferrer, Hubert de Givenchy, executives of UNICEF, and fellow actors Alain Delon and Roger Moore.[107] Flower arrangements were sent to the funeral by Gregory Peck, Elizabeth Taylor, and the Dutch royal family.[108] The same day as her funeral, Hepburn was interred at the Tolochenaz Cemetery, a small cemetery that sits atop a hill overlooking the village.[109] Legacy "How shall I sum up my life? I think I've been particularly lucky." —Audrey Hepburn[110] Audrey Hepburn's legacy as an actress and a personality has endured long after her death. The American Film Institute named Hepburn third among the Greatest Female Stars of All Time. She stands as one of few entertainers who have won Academy, Emmy, Grammy and Tony Awards. She won a record three Bafta Awards for Best British Actress in a Leading Role. In her last years, she remained a visible presence in the film world. She received a tribute from the Film Society of Lincoln Center in 1991 and was a frequent presenter at the Academy Awards. She received the BAFTA Lifetime Achievement Award in 1992. She was the recipient of numerous posthumous awards including the 1993 Jean Hersholt Humanitarian Award and competitive Grammy and Emmy Awards. She has been the subject of many biographies since her death and the 2000 dramatisation of her life titled The Audrey Hepburn Story which starred Jennifer Love Hewitt and Emmy Rossum as the older and younger Hepburn respectively.[111] The film concludes with footage of the real Audrey Hepburn, shot during one of her final missions for UNICEF. With Cary Grant in Charade Hepburn's image is widely used in advertising campaigns across the world. In Japan, a series of commercials used colourised and digitally enhanced clips of Hepburn in Roman Holiday to advertise Kirin black tea. In the United States, Hepburn was featured in a 2006 Gap commercial which used clips of her dancing from Funny Face, set to AC/DC's "Back in Black", with the tagline "It's Back – The Skinny Black Pant". To celebrate its "Keep it Simple" campaign, the Gap made a sizeable donation to the Audrey Hepburn Children's Fund.[112] In 2013, a computer-manipulated representation of Hepburn was used in a television advert for the British chocolate bar Galaxy.[113][114] On 4 May 2014 Google featured a doodle on its homepage on the occasion of Hepburn's 85th birthday. Style A dress by Valentino Garavani worn by Audrey Hepburn at The Proust Bal at Château de Ferrières in 1971 Hepburn earned her place in the International Best Dressed List Hall of Fame in 1961 but her reverence as a fashion icon has continued long since her death, proved by accruing the titles "most beautiful woman of all time" and "most beautiful woman of the 20th century" in polls by Evian and QVC respectively.[115][116][117][118][119] In the 1950s, her popularity "presented an alternative to voluptuous sex symbols such as Marilyn Monroe or Elizabeth Taylor, with an image that appealed more to young women than to men."[38] Against the gender stereotypes of the time, the natural thickness of her brown eyebrows made her "funny face unforgettable", reminisced director Billy Wilder. He joked, "This girl...may make bosoms a thing of the past."[120] Hepburn redefined glamour with "elfin" features and a gamine waif-like figure that inspired designs by couturier Hubert de Givenchy who is credited for creating her style.[44] Givenchy started designing her dresses since the film Sabrina (1954). He noted that, upon being told that he would be responsible for designing many outfits for "Miss Hepburn", he had expected Katharine Hepburn. When faced with Audrey, he was initially disappointed and told Hepburn he had little time to spare. Nevertheless, she knew exactly how she wanted to look and asked to view his latest collection.[42] Their collaboration in Sabrina formed a lifelong friendship and partnership; she was often a muse for many of his designs and her style became renowned internationally. "[Givenchy] gave me a look, a kind, a silhouette. He has always been the best and he stayed the best. Because he kept the spare style that I love. What is more beautiful than a simple sheath made an extraordinary way in a special fabric, and just two earrings?" revealed Hepburn.[120] Givenchy created her outfits for many other films, including Funny Face, Love in the Afternoon, Breakfast at Tiffany's, Paris When It Sizzles, Charade and How to Steal a Million (in which at one point her character is disguised as a cleaning woman and the male lead, played by Peter O'Toole, remarks that this "gives Givenchy a night off"). The designer was always amazed that, even after thirty five years of collaboration, "her measurements [had] not changed an inch".[120] Givenchy remained Hepburn's friend and ambassador, and she his muse, throughout her life. Hepburn observed, "I have many things in common with Hubert. We like the same things."[120] She agreed to model, on occasions, the creations of her friend. In 1988, when he presented his summer collection in Paris, she said, "Wherever I am in the world, he is always there. He is a man who does not disperse into worldliness. He has time for those he loves."[120] Givenchy subsequently created a perfume for her titled L'Interdit (French for "Forbidden"). Audrey Hepburn's Star on Hollywood Walk of Fame. She equally inspired fashion photographer Richard Avedon, who captured an intentionally overexposed close-up of Hepburn's face in which only her famous features – her eyes, her eyebrows, and her mouth – are visible. "I am, and forever will be, devastated by the gift of Audrey Hepburn before my camera. I cannot lift her to greater heights. She is already there. I can only record. I cannot interpret her. There is no going further than who she is. She has achieved in herself her ultimate portrait."[121] One of her co-stars, Shirley MacLaine, wrote in her 1996 memoir My Lucky Stars, "[Hepburn] had very rare qualities and I envied her style and taste. I felt clumsy and old fashioned when I was with her." Hepburn's fashion styles continue to be popular among women today.[122] Hepburn in Breakfast at Tiffany's (1961) Italian shoe designer Salvatore Ferragamo created a shoe for her and made her ambassador of his fashion house while honouring her in a 1999 exhibition dedicated to the actress titled Audrey Hepburn, a woman, the style. She exercised fashion in her lifetime and continues to influence fashion. Fashion experts affirmed that Hepburn's longevity as a style icon results from her sticking with a look that suited her: "clean lines, simple yet bold accessories, minimalist palette."[123] Although Hepburn enjoyed fashion, she did not place much importance on it, preferring casual and comfortable clothes contrary to her image.[124] In addition, she never considered herself attractive. She stated in a 1959 interview, "you can even say that I hated myself at certain periods. I was too fat, or maybe too tall, or maybe just plain too ugly... you can say my definiteness stems from underlying feelings of insecurity and inferiority. I couldn't conquer these feelings by acting indecisive. I found the only way to get the better of them was by adopting a forceful, concentrated drive."[125] The "little black dress" from Breakfast at Tiffany's, designed by Givenchy, was sold at a Christie's auction on 5 December 2006 for £467,200, almost seven times its £70,000 pre-sale estimate. This was the highest price paid for a dress from a film,[126] until it was surpassed by the $4.6 million paid in June 2011 for the Marilyn Monroe "subway dress" from The Seven Year Itch.[127] The proceeds went to the City of Joy Aid charity to aid underprivileged children in India. The head of the charity said, "there are tears in my eyes. I am absolutely dumbfounded to believe that a piece of cloth which belonged to such a magical actress will now enable me to buy bricks and cement to put the most destitute children in the world into schools."[128] However, the dress auctioned by Christie's was not the one that Hepburn wore in the film.[129] Of the two dresses that Hepburn did wear, one is held in the Givenchy archives while the other is displayed in the Museum of Costume in Madrid.[128] A subsequent London auction of Hepburn's film wardrobe in December 2009 raised £270,200, including £60,000 for the black Chantilly lace cocktail gown from How to Steal a Million. Half the proceeds were donated to All Children in School, a joint venture of The Audrey Hepburn Children's Fund and UNICEF.[130] Alan Wolf Arkin (born March 26, 1934) is an American actor, director, comedian, musician and singer. With a film career spanning nearly 60 years, Arkin is known for his performances in Wait Until Dark, The Russians Are Coming, the Russians Are Coming, The Heart is a Lonely Hunter, Catch-22, The In-Laws, Edward Scissorhands, Glengarry Glen Ross, Thirteen Conversations About One Thing, Little Miss Sunshine, and Argo. He has been nominated for the Academy Award for Best Actor twice for his performances in The Russians Are Coming, the Russians Are Coming and The Heart Is a Lonely Hunter. He received a Best Supporting Actor nomination for his performance in Argo; he won the Best Supporting Actor award for his performance in the 2006 film Little Miss Sunshine, which is his only Academy Award win to date. Contents 1 Early life2 Career 2.1 Early work2.2 Acting2.3 Directing2.4 Writing2.5 Singing3 Personal life4 Filmography 4.1 Film4.2 Television movies/miniseries4.3 Television appearances5 References6 External links 6.1 Videos Early life Arkin was born in Brooklyn, New York City, the son of David I. Arkin, a painter and writer, and his wife, Beatrice (Wortis), a teacher.[1] He was raised in a Jewish family with "no emphasis on religion". His grandparents were immigrants from Ukraine, Russia, and Germany.[2][3] His parents moved to Los Angeles when Alan was 11,[2] but an eight-month Hollywood strike cost his father his job as a set designer. During the 1950s Red Scare, Arkin's parents were accused of being Communists, and his father was fired when he refused to answer questions about his political ideology. David Arkin challenged the dismissal, but he was vindicated only after his death.[4] Career Early work Arkin in Popi (1969) (trailer on YouTube) Arkin, who had been taking acting lessons since age 10, became a scholarship student at various drama academies, including one run by the Stanislavsky student Benjamin Zemach, who taught Arkin a psychological approach to acting.[5] Arkin attended Los Angeles City College from 1951 to 1953. He also attended Bennington College.[citation needed] With two friends, he formed the folk music group The Tarriers, in which Arkin sang and played guitar. The band members co-composed the group's 1956 hit "The Banana Boat Song", a reworking, with some new lyrics, of a traditional, Jamaican calypso folk song of the same name, combined with another titled "Hill and Gully Rider".[6] It reached #4 on the Billboard magazine chart the same year as Harry Belafonte's better-known hit version.[7] The group appeared in the 1957 Calypso-exploitation film Calypso Heat Wave, singing "Banana Boat Song" and "Choucoune ".[citation needed] From 1958 to 1968, Arkin performed and recorded with the children's folk group, The Baby Sitters.[8] He also performed the role of Dr. Pangloss in a concert staging of Leonard Bernstein's operetta Candide, alongside Madeline Kahn's Cunegonde. Arkin was an early member of The Second City comedy troupe in the 1960s.[9] Acting With Shirley Knight in TV special, The Defection of Simas Kudirka (1978) Arkin is one of only six[10] actors to receive an Academy Award nomination for Best Actor for his first screen appearance (for The Russians Are Coming, the Russians Are Coming in 1966). Two years later, he was again nominated, for The Heart Is a Lonely Hunter. In 1968, he appeared in the title role of Inspector Clouseau, after Peter Sellers disassociated himself from the role, but the film was not well received by Sellers' fans. Arkin and his second wife, Barbara Dana, appeared together on the 1970–71 season of Sesame Street as a comical couple named Larry and Phyllis who resolve their conflicts when they remember how to pronounce the word "cooperate." His best known films include his Oscar-nominated Wait Until Dark, as the erudite killer stalking Audrey Hepburn; The Heart Is a Lonely Hunter; Catch-22; The Seven-Per-Cent Solution; Little Murders; The In-Laws; Glengarry Glen Ross; and Little Miss Sunshine, for which he won a Best Supporting Actor Oscar; and Argo. His portrayal of Dr. Oatman, a scared and emotionally conflicted psychiatrist treating John Cusack's hit man character Martin Q. Blank in Grosse Point Blank was also well received. His role in Little Miss Sunshine, as Grandfather Edwin, who was foul-mouthed and had a taste for heroin, won him the BAFTA Film Award for Best Actor in a Supporting Role and the Academy Award for Best Actor in a Supporting Role. On receiving his Academy Award on February 25, 2007, Arkin said, "More than anything, I'm deeply moved by the open-hearted appreciation our small film has received, which in these fragmented times speaks so openly of the possibility of innocence, growth and connection".[11] At 72 years old, Arkin was the sixth oldest winner of the Best Supporting Actor Oscar. In 2006–07, Arkin was cast in supporting roles in Rendition as a US senator and The Santa Clause 3: The Escape Clause as Bud Newman (Carol's Dad), starring with Tim Allen, Martin Short, Elizabeth Mitchell, Judge Reinhold and Wendy Crewson. On Broadway, Arkin starred in Enter Laughing, for which he won a Tony Award, and Luv. He also directed The Sunshine Boys, among others. Directing Arkin's directorial debut, in 1969, was a 12-minute children's film, People Soup, starring his sons Adam Arkin and Matthew Arkin. Based on a story of the same name he published in Galaxy Science Fiction in 1958, People Soup is a fantasy about two boys who experiment with various kitchen ingredients until they concoct a magical soup which transforms them into different animals and objects. Arkin with his wife Suzanne at the 2012 Toronto International Film Festival Arkin's most acclaimed directorial effort is Little Murders, released in 1971. Written by cartoonist Jules Feiffer, Little Murders is a black comedy film starring Elliott Gould and Marcia Rodd about a girl, Patsy (Rodd), who brings home her boyfriend, Alfred (Gould), to meet her severely dysfunctional family amidst a series of random shootings, garbage strikes and electrical outages ravaging the neighborhood. The film opened to a lukewarm review by Roger Greenspan,[12] and a more positive one by Vincent Canby[13] in the New York Times. Roger Ebert's review in the Chicago Sun Times was more enthusiastic, saying, "One of the reasons it works, and is indeed a definitive reflection of America's darker moods, is that it breaks audiences down into isolated individuals, vulnerable and uncertain."[14] Arkin also directed Fire Sale (1977), Samuel Beckett Is Coming Soon (1993) and Arigo (2000). Writing Arkin is the author of many books, including the children's stories Tony's Hard Work Day (illustrated by James Stevenson, 1972), The Lemming Condition (illustrated by Joan Sandin, 1976), Halfway Through the Door: An Actor's Journey Toward Self (1979) and The Clearing (1986 continuation of Lemming). In March 2011, he released his memoir, An Improvised Life.[15] Singing In 1985, he sang two selections by Jones & Schmidt on Ben Bagley's album Contemporary Broadway Revisited. Personal life Arkin has been married three times. He and Jeremy Yaffe (m. 1955-61) have two sons: Adam Arkin, born August 19, 1956, and Matthew Arkin, born March 21, 1960. He was married to actress-screenwriter Barbara Dana from 1964-mid 1990s. They lived in Chappaqua, New York. In 1967, they had son Anthony (Tony) Dana Arkin.[16] In 1996, Arkin married psychotherapist, Suzanne Newlander.[4] They live in Carlsbad, California. Filmography Film Year Title Role Other notes 1957 Calypso Heat Wave Tarriers lead singer (uncredited) 1966 The Russians Are Coming, the Russians Are Coming Lt. Rozanov Golden Globe Award for Best Actor – Motion Picture Musical or Comedy Nominated — Academy Award for Best Actor Nominated — BAFTA Award for Most Promising Newcomer to Leading Film Roles Nominated — Golden Globe Award for New Star of the Year – Actor Nominated — Laurel Award for Top Male Comedy Performance Nominated — New York Film Critics Circle Award for Best Actor 1967 Woman Times Seven Fred segment: The Suicides Wait Until Dark Roat Roat Jr. Roat Sr. 1968 Inspector Clouseau Inspector Jacques Clouseau The Heart Is a Lonely Hunter John Singer Kansas City Film Critics Circle Award for Best Actor New York Film Critics Circle Award for Best Actor Nominated — Academy Award for Best Actor Nominated — Golden Globe Award for Best Actor – Motion Picture Drama Nominated — Laurel Award for Top Male Dramatic Performance 1969 Popi Abraham Rodriguez Kansas City Film Critics Circle Award for Best Actor Nominated — Golden Globe Award for Best Actor – Motion Picture Drama The Monitors Himself (cameo) 1970 Catch-22 Capt. John Yossarian Nominated — Laurel Award for Top Male Dramatic Performance Nominated — National Society of Film Critics Award for Best Actor 1971 Little Murders Lt. Practice (also directed) 1972 Last of the Red Hot Lovers Barney Cashman 1973 Deadhead Miles Cooper 1974 Freebie and the Bean Bean 1975 Rafferty and the Gold Dust Twins Gunny Rafferty (also released as Rafferty and the Highway Hustlers) Hearts of the West Burt Kessler New York Film Critics Circle Award for Best Supporting Actor 1976 The Seven-Per-Cent Solution Dr. Sigmund Freud 1977 Fire Sale Ezra Fikus (also directed) 1979 The In-Laws Sheldon S. Kornpett, D.D.S. The Magician of Lublin Yasha Mazur 1980 Simon Prof. Simon Mendelssohn Nominated — Saturn Award for Best Actor 1981 Full Moon High Dr. Brand Improper Channels Jeffrey Martley Genie Award for Best Performance by a Foreign Actor Chu Chu and the Philly Flash Flash 1982 The Last Unicorn Schmendrick (voice only) 1983 The Return of Captain Invincible Captain Invincible 1985 Joshua Then and Now Reuben Shapiro Genie Award for Best Performance by an Actor in a Supporting Role Bad Medicine Dr. Ramón Madera 1986 Big Trouble Leonard Hoffman 1987 Escape from Sobibor Leon Feldhendler 1990 Coupe de Ville Fred Libner Edward Scissorhands Bill Nominated — Saturn Award for Best Supporting Actor Havana Joe Volpi 1991 The Rocketeer A. "Peevy" Peabody 1992 Glengarry Glen Ross George Aaronow Valladolid International Film Festival Best Actor Award 1993 Indian Summer Unca Lou Handler So I Married an Axe Murderer Police Captain (uncredited) Samuel Beckett is Coming Soon The Director (also directed) 1994 North Judge Buckle 1995 Picture Windows Tully segment: Soir Bleu The Jerky Boys: The Movie Ernie Lazarro Steal Big Steal Little Lou Perilli 1996 Heck's Way Home Dogcatcher Mother Night George Kraft 1997 Grosse Pointe Blank Dr. Oatman Four Days in September Charles Burke Elbrick Gattaca Det. Hugo 1998 Slums of Beverly Hills Murray Samuel Abromowitz 1999 Jakob the Liar Max Frankfurter 2000 Magicians Milo (direct-to-video) 2001 America's Sweethearts Wellness Guide Thirteen Conversations About One Thing Gene Boston Society of Film Critics Award for Best Supporting Actor Florida Film Critics Circle Award for Best Cast Nominated — Independent Spirit Award for Best Supporting Male Nominated — National Society of Film Critics Award for Best Supporting Actor Nominated — Online Film Critics Society Award for Best Supporting Actor Nominated — San Diego Film Critics Society Award for Best Supporting Actor 2004 Eros Dr. Pearl Hal segment: Equilibrium Noel Artie Venizelos 2006 The Novice Father Benkhe Firewall Arlin Forester Little Miss Sunshine Edwin Hoover Academy Award for Best Supporting Actor BAFTA Award for Best Actor in a Supporting Role Independent Spirit Award for Best Supporting Male Phoenix Film Critics Society Award for Best Cast Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture Vancouver Film Critics Circle Award for Best Supporting Actor Nominated — Broadcast Film Critics Association Award for Best Supporting Actor Nominated — Gotham Award for Best Ensemble Cast Nominated — National Society of Film Critics Award for Best Supporting Actor Nominated — Online Film Critics Society Award for Best Supporting Actor Nominated — Prism Award for Best Performance in a Feature Film Nominated — Satellite Award for Best Supporting Actor – Motion Picture Nominated — Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role The Santa Clause 3: The Escape Clause Bud Newman Raising Flagg Flagg Purdy 2007 Rendition Senator Hawkins 2008 Sunshine Cleaning Joe Get Smart The Chief Marley & Me Arnie Klein 2009 The Private Lives of Pippa Lee Herb City Island Michael Malakov (drama coach) 2011 Thin Ice Gorvy Hauer The Change-Up Mitch's Dad The Muppets Tour Guide (cameo) 2012 Argo Lester Siegel Hollywood Film Award for Ensemble of the Year Palm Springs International Film Festival Ensemble Cast Award Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture Nominated — Academy Award for Best Supporting Actor Nominated — BAFTA Award for Best Actor in a Supporting Role Nominated — Broadcast Film Critics Association Award for Best Supporting Actor Nominated — Dallas-Fort Worth Film Critics Association Award for Best Supporting Actor Nominated — Golden Globe Award for Best Supporting Actor - Motion Picture Nominated — London Film Critics' Circle Award for Best Supporting Actor Nominated — Online Film Critics Society Award for Best Supporting Actor Nominated — Phoenix Film Critics Society Award for Best Cast Nominated — San Diego Film Critics Society Award for Best Supporting Actor Nominated — San Diego Film Critics Society Award for Best Performance by an Ensemble Nominated — Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role Nominated — Washington D.C. Area Film Critics Association Award for Best Supporting Actor Stand Up Guys Richard Hirsch 2013 The Incredible Burt Wonderstone Rance Holloway Grudge Match Lightning In Security Police officer (cameo) 2014 Million Dollar Arm Ray Poitevint 2015 Wild Oats Love the Coopers Filming 2016 Going in Style Filming Television movies/miniseries Year Title Role Notes 1978 The Other Side of Hell Frank Dole (TV movie premiering January 17, 1978) The Defection of Simas Kudirka Simas Kudirka (TV movie premiering January 23, 1978) 1985 The Fourth Wise Man Orontes (TV movie premiering March 1985) 1986 A Deadly Business Harold Kaufman TV 1987 Escape from Sobibor Leon Feldhendler Nominated — Golden Globe Award for Best Actor – Miniseries or Television Film Nominated — Primetime Emmy Award for Outstanding Lead Actor – Miniseries or a Movie 1988 Necessary Parties Archie Corelli (TV movie) 1993 Cooperstown Harry Willette (TV movie premiering Jan. 1993) Nominated — Cable ACE Award for Best Actor in a Movie or Miniseries Taking the Heat Tommy Canard (TV movie premiering June 1993) 1994 Doomsday Gun Col. Yossi (TV movie premiering July 23, 1994) 1995 Picture Windows Tully (TV miniseries- Segment: "Soir Bleu") 1999 Blood Money Willy "The Hammer" Canzaro (TV movie) 2001 Varian's War Freier (TV movie premiering April 2001) 2003 The Pentagon Papers Harry Rowen (TV movie) Nominated — Primetime Emmy Award for Outstanding Supporting Actor – Miniseries or a Movie And Starring Pancho Villa as Himself Sam Drebben (TV movie) 2004 Noel Artie Venzuela (TV movie) Television appearances Year Title Role Notes 1964 East Side/West Side Ted Miller episode: The Beatnik and the Politician 1966 ABC Stage 67 Barney Kempinski The Love Song of Barney Kempinski Nominated — Primetime Emmy Award for Outstanding Single Performance by an Actor in a Leading Role in a Drama 1970–71 Sesame Street Larry unknown episodes 1979 Carol Burnett & Company Himself episode: Episode #1.2 1980 The Muppet Show Himself Season 4, episode 20 1983 St. Elsewhere Jerry Singleton episode: Ties That Bind episode: Lust En Veritas episode: Newheart 1985 Faerie Tale Theatre Bo episode: The Emperor's New Clothes 1987 Harry Harry Porschak 7 episodes 1997 Chicago Hope Zoltan Karpathein episode: The Son Also Rises Nominated — Primetime Emmy Award for Outstanding Guest Actor in a Drama Series 2001–02 100 Centre Street Joe Rifkind 10 episodes 2005 Will & Grace Marty Adler episode: It's a Dad, Dad, Dad, Dad World 2015 Bojack Horseman J.D. Salinger 3 episodes References 1. · "Alan Arkin Biography". filmReference.com. Retrieved May 12, 2008. · · Sierchio, Pat (February 16, 2007). "Alan Arkin—not just another kid From Brooklyn". The Jewish Journal of Greater Los Angeles. Archived from the original on February 23, 2007. Retrieved February 16, 2007. · · "Actor brings creative ways to Honolulu for workshops | The Honolulu Advertiser | Hawaii's Newspaper". The Honolulu Advertiser. 2004-01-27. Retrieved 2013-03-28. · · "Alan Arkin biography". Yahoo! Movies. 2008. Archived from the original on December 16, 2006. Retrieved December 9, 2006. · · Farrell, Barry. "Yossarian in Connecticut: Since Catch-22, actor's actor Alan Arkin finally stars as ... Alan Arkin" Life magazine. October 1970. · · Lovece, Frank. "Fast Chat: Alan Arkin". New York Newsday. January 7, 2007. · · FolkEra.com: The Tarriers. FolkEra.com. · · "Alan Arkin Biography". Hollywood.com. Retrieved April 9, 2007. · · Rabin, Nathan (August 2, 2006). "Interview: Alan Arkin". The Onion AV Club. Archived from the original on February 9, 2009. Retrieved March 20, 2009. · · Best Actor. FilmSite.org. · · "Dreamgirl" Jennifer Hudson Wins Oscar. NewsMax.com, February 26, 2007. · · Little Murders Is Back as Film Arkin Directed · · Canby, Vincent (February 21, 1971). "What's So Funny? Murders". New York: New York Times. p. D1. Little Murders succeeds, at times triumphantly, and it does everything more or less backwards. · · "Roger Ebert's review". Rogerebert.suntimes.com. January 1, 1971. Retrieved 2013-03-28. · · "Alan Arkin Biography - life, family, children, name, story, school, mother, young, son - Newsmakers Cumulation". Notablebiographies.com. Retrieved 2013-03-28. · Lague, Louise (March 26, 1979). "Stardom Was a Catch-22 for Alan Arkin, but His Wife and a Guru Helped Beat the System". People Magazine. Retrieved 21 August 2015.      ebay3146

  • Condition: Used
  • Condition: The condition is very good . Folded twice. Somewhat stained. ( Pls look at scan for accurate AS IS images )
  • Country/Region of Manufacture: Israel
  • Religion: Judaism

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