Faye Dunaway
Faye Dunaway | |
---|---|
Born | Dorothy Faye Dunaway January 14, 1941 Bascom, Florida, U.S. |
Education | Boston University (BFA) |
Occupation | Actress |
Years active | 1962–present |
Spouses | |
Children | 1 |
Dorothy Faye Dunaway (born January 14, 1941)
Her career began in the early 1960s on
Her career evolved to more mature character roles in subsequent years often in independent films, beginning with her controversial portrayal of
Protective of her private life, she rarely gives interviews and makes very few public appearances. After romantic relationships with Jerry Schatzberg and Marcello Mastroianni, Dunaway married twice, first to singer Peter Wolf and then to photographer Terry O'Neill, with whom she had a son, Liam.
Early life and education
Dunaway was born in Bascom, Florida, the daughter of Grace April (née Smith), a housewife, and John MacDowell Dunaway Jr., a career non-commissioned officer in the United States Army.[2] Her parents married in 1939 and divorced in 1954. She had one younger brother, lawyer Mac Simmion Dunaway.[3] She is of Ulster Scottish, Irish, and German descent.[4][5][6] She spent her childhood traveling throughout the United States and Europe, including lengthy stays in Mannheim, Germany, and Dugway Proving Ground, Utah.[7]
Dunaway took ballet, tap, piano and singing lessons, while growing up and graduated from Leon High School in Tallahassee, Florida. She then studied at Florida State University and the University of Florida, later graduating from Boston University with a degree in theatre.[8]
She spent the summer before her senior year in a summer stock company at Harvard's
Shortly after graduating from Boston University, Dunaway appeared on Broadway as a replacement in Robert Bolt's drama A Man for All Seasons. She subsequently appeared in Arthur Miller's After the Fall and the award-winning Hogan's Goat by Harvard professor William Alfred, who became her mentor and spiritual advisor. In her 1995 autobiography, Dunaway said of him: "With the exception of my mother, my brother, and my beloved son, Bill Alfred has been without question the most important single figure in my lifetime. A teacher, a mentor, and I suppose the father I never had, the parent and companion I would always have wanted, if that choice had been mine. He has taught me so much about the virtue of a simple life, about spirituality, about the purity of real beauty, and how to go at this messy business of life."[11]
Career
1967–1968: Early films and breakthrough
Dunaway's first screen role was in the comedy crime film The Happening (1967), which starred Anthony Quinn. Her performance earned her good notices from critics; however, Roger Ebert of The Chicago Sun-Times panned the performance saying that she "exhibits a real neat trick of resting her cheek on the back of her hand."[12] That same year, she had a supporting role in Otto Preminger's drama Hurry Sundown, opposite Michael Caine and Jane Fonda. Filming proved to be difficult for Dunaway as she clashed with Preminger, who she felt didn't know "anything at all about the process of acting."[13] She later described this experience as a "psychodrama that left me feeling damaged at the end of each day."[14] Dunaway had signed a six-picture deal with Preminger but decided during the filming to get her contract back. "As much as it cost me to get out of the deal with Otto, if I'd had to do those movies with him, then I wouldn't have done Bonnie and Clyde, or The Thomas Crown Affair, or any of the movies I was suddenly in a position to choose to do. Beyond the movies I might have missed, it would have been a kind of Chinese water torture to have been stuck in five more terrible movies. It's impossible to assess the damage that might have done to me that early on in my career."[15] Preminger's film did not meet critical or box-office success, but Dunaway retained notice enough to earn a Golden Globe Award nomination for New Star of the Year.
Dunaway had tried to get an interview with director
The film was controversial on its original release for its supposed
That movie touched the core of my being. Never have I felt so close to a character as I felt to Bonnie. She was a yearning, edgy, ambitious southern girl who wanted to get out of wherever she was. I knew everything about wanting to get out, and the getting out doesn't come easy. But with Bonnie there was a real tragic irony. She got out only to see that she was heading nowhere and that the end was death.[22]
— Faye Dunaway
Dunaway followed the success with another hit, The Thomas Crown Affair (1968), in which she played Vicki Anderson, an insurance investigator who becomes involved with Thomas Crown (Steve McQueen), a millionaire who attempts to pull off the perfect crime. Norman Jewison hired Dunaway after he saw scenes from Bonnie and Clyde before its release. As Arthur Penn had needed to persuade Warren Beatty to cast Dunaway, Jewison had to convince McQueen that she was right for the part. The film emphasized Dunaway's sensuality and elegance with a character who has remained an influential style icon. The role required over 29 costume changes and was a complex one to play.[23] "Vicki's dilemma was, at the time, a newly emerging phenomenon for women: How does one do all of this in a man's world and not sacrifice one's emotional and personal life in the process?"[24] Despite his original reluctance to work with her, McQueen later called Dunaway the best actress he ever worked with. Dunaway was also very fond of McQueen. "It was really my first time to play opposite someone who was a great big old movie star, and that's exactly what Steve was. He was one of the best-loved actors around, one whose talent more than equaled his sizable commercial appeal."[25] The film was immensely popular and was famed for a scene where Dunaway and McQueen play a chess game and silently engage in a seduction of each other across the board.
1969–1973: Career setbacks
Following the completion of The Thomas Crown Affair, Dunaway leapfrogged France's
In 1969, Dunaway took a supporting role as a favor to Arthur Penn in his western, Little Big Man.[30] In a rare comic role, Dunaway played the sexually repressed wife of a minister who helps raise and seduce a boy raised by Native Americans, played by Dustin Hoffman. The film was widely praised by critics and was one of Dunaway's few commercial successes at this point. That same year, she appeared in the lead role in Puzzle of a Downfall Child (1970), an experimental drama directed by Jerry Schatzberg and inspired by the life of model Anne St. Marie. The film failed to generate commercial interest, though it earned for Dunaway a second Golden Globe nomination, for Best Actress – Motion Picture Drama. The film remained in obscurity over 40 years, until it was revived at the 2011 Cannes Film Festival in honor of Dunaway.[31] Involved in domestic issues in Italy with Mastroianni, after some months away from the industry she finally found her next role in the western Doc (1971), which tells the story of the gunfight at the O.K. Corral and of one of its protagonists, Doc Holliday. During the filming, Dunaway realized how much she had missed working.[32] That same year, she went on to make the French thriller The Deadly Trap with her Lincoln Center compatriot Frank Langella. Rather than working with a director from the already crested New Wave, Jean-Luc Godard, who had originally made contributions to the first script of Bonnie and Clyde, she worked with the French postwar director, who was held in the highest respect, René Clément.[33] Only five months after the first day of shooting, the film was screened at the 1971 Cannes Film Festival but was not entered into the main competition.
Neither Doc nor The Deadly Trap had generated much attention, either critically or financially, so Dunaway accepted an offer to star in a movie for television, The Woman I Love (1972), in which she portrayed Wallis Simpson.[34] She returned to film in 1973 with Stanley Kramer's drama, Oklahoma Crude, opposite George C. Scott. It was an ambitious project in which Dunaway had to play another complex character, "a woman who is caught between her ambition and her femininity. When the film opens, she is as tough as nails, a shoot-first-and-ask-questions-later woman. Along the way, she slowly opens herself up to her estranged father and a lover. I understood that dilemma well, the conflict between ambition and love, the fear of trusting someone else with your love."[35] The film was a modest success but Dunaway received good notices for her performance. In his review of the film, Roger Ebert noted how she had never topped the work she did in Bonnie and Clyde, and said that her career had been "rather absentminded" ever since. He praised her performance in Oklahoma Crude, saying that she played the role with "a great deal of style," while adding, "Perhaps she has decided to get back to acting."[36]
In 1972, following the filming of Oklahoma Crude, Dunaway returned to the stage in an adaptation of
1974–1981: Resurgence and acclaim
Director
Two weeks after the filming started, the two had a confrontation that became notorious. Polanski pulled one of Dunaway's hairs out of her head, without telling her, because it was catching the light.[43][44] Dunaway was offended, describing his act as "sadistic" and left the set furious. "It was not the hair, it was the incessant cruelty that I felt, the constant sarcasm, the never-ending need to humiliate me."[43] Years later, both shared their admiration for each other, with Polanski saying that their feud was not important – "It's the result that counts. And she was formidable," while Dunaway admitted that "it was way too much made out of it," added that she enjoyed working with Polanski, calling him "a great director,"[45] and stated that Chinatown was "possibly the best film I ever made."[23]
Despite the complications on the set, the film was finished, released to glowing reviews and ultimately became a classic. It made back its budget almost five times, and received 11 Academy Award nominations. Dunaway received a second Best Actress nomination, and also received a Golden Globe nomination and a BAFTA nomination. Upon the release of the film, producer Robert Evans was full of praise for Dunaway. "She has everything—beauty, talent, neurosis. She's one of the great strange ones. When the lights go out and that face comes out of the dark and she looks at you with those big mysterious eyes, I tell you, it's a very compelling thing. She has something we haven't seen on the screen for a long time. She has witchery. She's a femme fatale."[46]
That same year, Dunaway appeared in a television adaptation of After the Fall with Christopher Plummer. She played the lead role, which was for her "like a dream come true. As with Bonnie, I knew the territory well. Maggie (her character) was a completely wounded soul, a girl who had grown up on the wrong side of the tracks."[47] She next played Paul Newman's fiancée who is trapped in a burning skyscraper along with several hundred other people in the all-star disaster epic, The Towering Inferno (1974). The film became the highest-grossing film of the year, further cementing Dunaway as a top actress in Hollywood. Also in 1974, Dunaway married Peter Wolf, the lead singer of the rock group The J. Geils Band. At this time, she felt "exhausted from the constant and intense pressures of the work," and at the last moment pulled out of The Wind and the Lion (1975), in which she was to costar with Sean Connery, to concentrate on her married life.[48]
Her next feature was
That same year, Dunaway appeared in the Paddy Chayefsky-scripted satire Network as the scheming TV executive Diana Christensen, a ruthless woman who will do anything for higher ratings. She loved the script and later said this was "the only film I ever did that you didn't touch the script because it was almost as if it were written in verse." She pursued the role over the objections of her husband, Peter Wolf, and her confidant, William Alfred, who regarded Christensen as too heartless and were concerned that people would confuse her with the character.[53] However, Dunaway believed it was "one of the most important female roles to come along in years" and went along with Chayevsky's conception and director Sidney Lumet's warning that she would not be allowed to sneak in any weeping or softness, and that it would remain on the cutting room floor if she did.[53]
The film, a success in its own day, is frequently discussed today due to its almost prophetic take on the television industry. Dunaway's performance was lauded, with
I will never forget the moment, and the feeling, when I heard my name. It was, without question, one of the most wonderful nights of my life. The Oscar represented the epitome of what I had struggled for and dreamt about since I was a child. The emotional rush of getting this accolade, the highest one this industry can award you, just hit me like a bomb. It was the symbol of everything I ever thought I wanted as an actress.[55]
— Faye Dunaway
Also in 1976, Dunaway appeared as the lead in the made-for-television movie,
That same year, Dunaway portrayed actress Joan Crawford in the adaptation of her daughter Christina's controversial memoirs, Mommie Dearest, in which she had depicted her adoptive mother as an abusive tyrant who only adopted her four children to promote her acting career, making quite a stir as the first celebrity tell-all book. Dunaway accepted the role after meeting producer Frank Yablans and director Frank Perry, who both assured her that they wanted to tell the real story of Joan Crawford and not just a tabloid version of her life. "Though Christina's book was obviously an exploitation book, the first one of its kind, my task was to portray a woman, a full woman who she was in all her facets, not just one. I tried to illuminate who this woman was. But it was more than just about being angry, it was about trying to examine and explore the forces that undermined her."[62] To play the role, Dunaway researched Crawford's films and met with many of her friends and co-workers, including director George Cukor. Filming proved difficult for her as she was almost never out of character. "If your mind is on a woman who is dead and you're trying to find out who she was and do right by her, you do feel a presence. I felt it at home at night sometimes. It wasn't pleasant. I felt Joan was not at rest."[4] After the infamous "wire hangers" tantrum scene, Dunaway was so hoarse from screaming that she lost her voice. Frank Sinatra drove her to see a throat specialist and shared his own tips on how to preserve her voice.[63]
The film opened in 1981 and was a moderate commercial success despite negative reviews. Dunaway's uncanny performance earned her two Best Actress award nominations by the New York Film Critics Circle Awards and the National Society of Film Critics Awards, and was lauded by critics. Janet Maslin, while dismissing the film as incoherent, wrote that Dunaway's performance was "a small miracle" and praised her energy and commitment to the role.[64] The frequently harsh Pauline Kael raved about Dunaway's performance, stating that she had reached new heights as an actress and surmised that it would be difficult for Dunaway to top her performance as Crawford. Vincent Canby also praised Dunaway, writing that "Mommie Dearest doesn't work very well, but the ferocious intensity of Faye Dunaway's impersonation does, as does the film's point of view, which succeeds in making Joan Crawford into a woman far more complicated, more self-aware and more profoundly disturbed than the mother remembered in Christina Crawford's book."[65] Director Sidney Lumet stated that it was "a brilliant, an extraordinary performance. The courage of that evil that she brings to it, I think that's just major acting." Although the film became a cult classic as well as one of her most famous characters, Dunaway expressed her regrets for playing Crawford, as she felt "it was meant to be a window into a tortured soul. But it was made into camp."[66] She also blamed the film for hurting her career and almost never agreed to discuss it in interviews afterwards.
I know you have a life, and you act many roles. But after Mommie Dearest, my own personality and the memory of all my other roles got lost along the way in the mind of the public and in the mind of many in Hollywood. It was a performance. That's all that it was. For better or worse, the roles we play become a part of our persona, and the actress and the woman are identified with that persona. People thought of me as being like her. And that was the unfortunate reality for me about this project.[67]
— Faye Dunaway
1982–1999: Film, television, and theatre work
In 1982, Dunaway appeared in a television adaptation of Clifford Odets's dramatic play The Country Girl as the wife of a washed-up alcoholic singer played by Dick Van Dyke, whom she later described as "one of the sweetest and funniest men in the world", but admitted "Though it was a valiant effort on all our parts, and there were moments I thought were good and true, the remake fell short of our hopes and certainly of the original. But doing it helped remind of that I do love this business of acting, something the Crawford movie had come close to making me forget."[67] That same year, she returned to the New York stage with William Alfred's second theatre project for her, The Curse of an Aching Heart. In her role she later felt she had been miscast, "It was a little bit too star-heavy with me in it. The play would have been better with just the simplest of women."[68] Despite her mixed feelings about it, her performance earned her good reviews from the critics, with Frank Rich writing for The New York Times that "Miss Dunaway's absence from the theater has not dimmed her stage technique. She's usually in command."[69]
During this time, Dunaway moved to England with her partner Terry O'Neill, whom she married in 1983; being more interested in her married life, only took on work that was convenient for her. That same year, she returned to the screen in Michael Winner's period melodrama The Wicked Lady, in which she played an 18th-century highway robber. The film proved to be a critical and commercial failure. "Though I loved making The Wicked Lady, in the end it just didn't have the juice it needed to be a hit. It seemed to never quite decide whether to be a farce or a drama, and so it failed by being neither."[70]
In 1984, Dunaway played the lead villain in the superhero movie Supergirl. She felt that "the film was really just a send-up, a spoof, and I had a lot of fun with Selena (her character)"[71] but later admitted she was furious with the director Jeannot Szwarc, "Every time I tried to do something funny, he wouldn't let me. He said, "you have to be the straight person". I always wanted to do comedy, but it's daunting when you've not done it before."[45] Also in 1984, Dunaway appeared in a television miniseries, Ellis Island, which earned her a second Golden Globe Award, for Best Supporting Actress – Series, Miniseries or Television Film. The following year, she starred in the miniseries, Christopher Columbus. She also appeared in two Agatha Christie adaptations, Ordeal by Innocence and Thirteen at Dinner (which was made for television). Though the work was involving, Dunaway struggled to find artistically fulfilling roles during this period in England. "I missed doing movies. The television scripts I was getting were thin. There is no comparison between those and a Chinatown script."[71] "Though I had worked steadily in England, it felt as if I had disappeared completely. I was rapidly becoming invisible. I felt increasingly that my career was being limited to, and limited by, the projects that were being mounted there."[72] Following her divorce from O'Neill in 1987, Dunaway returned to the United States and attempted to rebuild her career by appearing in several independent dramas.
Dunaway was widely praised for her performance as an alcoholic opposite Mickey Rourke in Barbet Schroeder's drama Barfly (1987). Based on a novel by Charles Bukowski, the film was very important to her, as she later explained, "This character, who has given over her days and nights to a bottle, is my way back to the light. This is a role that I care deeply about. I haven't felt this passion for a character since Network. I saw the promise of a comeback for me in the deglamorized face of Wanda, a woman of sweet vulnerability."[73] The film was a small success at the box office, but received excellent reviews from critics and Dunaway earned her sixth Golden Globe Award nomination, for Best Actress – Motion Picture Drama. Pauline Kael wrote that "Dunaway plays the self-destructive Wanda with a minimum of fuss... she wins your admiration by the simplicity of her effects", and Roger Ebert felt that both Rourke and Dunaway "take their characters as opportunities to stretch as actors, to take changes and do extreme things".[74] After Barfly, which remained one of her favorite films, Dunaway tried to be careful about the roles she chose, but was also faced with the reality she had to work to support herself and her child.[75]
In 1988, she appeared in the period drama
Double Edge (1992) by Israeli director, writer and actor
That same year, Dunaway was cast in the short-lived CBS sitcom,
With the prospective detective show not working out, Dunaway became interested in returning to the stage. She auditioned to replace Glenn Close in the musical Sunset Boulevard, a stage version of 1950 film of the same name. The composer and producer Andrew Lloyd Webber cast Dunaway in the famed role of Norma Desmond, and Dunaway began rehearsing to take over the LA engagement when Close moved the show to Broadway.[85] Tickets went on sale for Dunaway's engagement, but shortly after the rehearsals started, Webber and his associates announced that Dunaway was unable to sing to their desired standards. They announced that when Close finished her engagement, the show would shut down completely.[86] Dunaway filed a lawsuit, claiming that Webber had damaged her reputation with his claims.[87] The case went to court and a settlement was later reached, but Dunaway and the producers have not discussed it.[88] In 1995, Dunaway reunited with Johnny Depp in the romantic comedy Don Juan DeMarco, in which she played Marlon Brando's wife. A hit at the box office, the film was praised for its romance and the performances of the three main characters. That same year, Dunaway published Looking for Gatsby, a memoir she co-wrote with Betsy Sharkey, which earned her great reviews. Mark Harris of Entertainment Weekly wrote in his review of the book that "to read her accounts of her Oscar-nominated performances as the taut, sexy, neurotic femmes fatales of Bonnie and Clyde, Chinatown, and Network is to learn from an expert about the instincts, collaborations, and compromises that go into great film acting".[89]
The following year, Dunaway was awarded a star on the
Her performance as the matron of a wealthy Jewish family in turmoil in the drama The Twilight of the Golds (1997) earned her a Screen Actors Guild Award nomination for Outstanding Performance by a Female Actor in a TV Movie or Miniseries. In 1998, she starred with Angelina Jolie in Gia, a biographical film about the rise and fall of supermodel Gia Carangi. Playing the small but key role of Carangi's agent, Dunaway was well reviewed and won her third Golden Globe Award, for Best Supporting Actress – Series, Miniseries or Television. The following year, Dunaway appeared in the remake of The Thomas Crown Affair, and Roger Ebert argued in his review of the film that she "had more electricity in 1968 and still does" compared to actress Rene Russo who was cast in her original role.[92] Also in 1999, Dunaway portrayed Yolande of Aragon in Luc Besson's historical drama The Messenger: The Story of Joan of Arc.
2000–2015: Independent films and hiatus
In 2000, Dunaway appeared in the
In 2009, Dunaway began shooting a film version of the McNally play Master Class as Maria Callas, also starring Al Pacino (as Aristotle Onassis), Val Kilmer, Alan Cumming, her son Liam Dunaway O'Neill and lyric soprano Danielle de Niese (the latter two as opera students). As film roles became more difficult to find, Dunaway bought the rights to the play after the 1997 tour and announced her intention of writing, directing and starring in the film. The production however was a disaster and financing the project was one of the many obstacles. "I want to do it my way. I'm not going to sell it out to a studio. You have to raise money. You have to get private investors and it takes a long time to get it right. It takes 10 years. People hear Faye Dunaway and think she has a lot of money, but I don't because I've spent a lot. Not tonnes. I spent what I want to spend on this movie and you have to have skin in this game. You have to take risks."[45] In 2013, she confirmed that she had completed the first half of the film and planned to shoot the rest soon after. However, it was announced in June 2014 that after nearly 20 years of owning the film rights, Dunaway had decided to withdraw from the project.[97]
In 2011, a photo of Dunaway taken by Jerry Schatzberg in 1970 was chosen as the
2016–present: Return to film and theatre
In 2016, Dunaway made a rare public appearance at the TCM Classic Film Festival where she hosted a screening of Network and also joined in conversation with Ben Mankiewicz for a Q&A session in which she discussed her decades-spanning career.[103] Although she stated in a 2013 interview she felt her acting career was "pretty much over", Dunaway told Mankiewicz she had no intention to retire: "We live for work. We live for what we do. I just want to keep working. It's where I'm happiest."[45][104] That same year, she was cast in a supporting role in the second season of Hand of God, but was ultimately replaced by Linda Gray due to "some scheduling conflicts and some other issues" according to Ben Watkins, creator of the show. Also in 2016, Dunaway guest-starred as herself in the season two finale of the mockumentary series Documentary Now!.[105] In 2017, Dunaway returned to acting with a cameo role in the horror-thriller The Bye Bye Man,[106] a small part in the Christian drama The Case for Christ and a supporting role in the psychological thriller Inconceivable, which also starred Nicolas Cage and Gina Gershon.[107][108] The critic Frank Scheck of The Hollywood Reporter found it "distressing that Dunaway can't find more dignified projects at this point in her estimable career".[109]
Also in 2017, Dunaway reunited with her Bonnie and Clyde co-star
In 2019, more than thirty years since her performance in The Curse of the Aching Heart, Dunaway planned to return to Broadway with an updated version of Matthew Lombardo's one-woman play Tea at Five, which was first staged at Hartford Stage in 2002.[117][118] She would portray Katharine Hepburn being particularly drawn to the complexities of the play and the character, saying, "Hepburn was a brilliant actress. Her aura on screen was unique. That, coupled with the wide array of roles she played, made her an inspiration to me and many others. She had a lot of class, too, and the innate ability to project intelligence, both on and off screen. You can't help but want to explore that and learn more about her."[119] The three week try-out in Boston met with critical appreciation. Patti Hartigan of The Boston Globe felt that Dunaway gave a "bravura performance" and wrote that she "inhabits the role and goes beyond mere mimicry. Of course, she captures The Voice – waspy, reedy, patrician – but she also brings a mix of fragility and strength to the role, maintaining the straight spine but also letting that stiff upper lip quiver ever so slightly when grief overtakes her."[120] Christopher Caggiano of The Arts Fuse gave the play a mixed review but praised Dunaway, writing that she "does manage to remind us why, despite her relative absence from the stage and the screen in the last 30 years, she remains a Hollywood legend. She has a palpable emotional intensity, and gives you the sense that entire scenes are playing out behind her eyes as part of her backstory. She's a legend for a reason."[121] Tea at Five was pitched to be her triumphant return to Broadway. However, following three weeks at the Huntington Theatre Company in Boston, Dunaway was released from the play, reportedly due to altercations between her and crewmembers.[122] An assistant fired by Dunaway filed a lawsuit against the actress in August 2019 alleging homophobic verbal harassment.[123]
Dunaway will next appear in Visceral, a film directed by Frédéric Jardin also starring Georgina Campbell.[124] In July 2021, Variety reported that Dunaway would appear in the film The Man Who Drew God, whose production was controversial due to the inclusion of Kevin Spacey in the cast.[125]
Legacy and reputation
Dunaway is regarded as one of the greatest and most beautiful actresses of her generation, as well as a powerful emblem of the New Hollywood.[18][23][66] Director John Huston, who played Dunaway's father in Chinatown, stated in a 1985 interview that he found her to be "quite extraordinary".[126] Robert Evans, who produced Chinatown, also described her as "extraordinary", and affirmed that "no one could've played her part as well".[127] Stephen Rebello of Movieline wrote in a 2002 article, "Though fiercely modern, an ideal female analog for screen machos like Steve McQueen and the young Jack Nicholson, she also radiated the stuff vintage movie stars are made of. Any actress today would be lucky to have a fraction of her films on her resume."[93]
Cannes Film Festival artistic director
Famously demanding, with an attention to detail that sometimes drove costars and directors mad, Dunaway believed that she was often mistaken as being as cold and calculating as some of the women she portrayed. Her clashes with Roman Polanski on the set of Chinatown earned her a reputation for being difficult to work with. Upon the release of the film, Polanski told a reporter for Rolling Stone that he considered Dunaway "a gigantic pain in the ass", but added that he had "never known an actress to take work as seriously as she does. I tell you, she is a maniac."[41] Bette Davis described Dunaway as the worst person she had ever worked with in an interview with Johnny Carson in 1988, calling her "totally impossible", "uncooperative', and "very unprofessional".[132] Dunaway denied Davis' claims in her autobiography, writing "Watching her, all I could think of was that she seemed like someone caught in a death throe, a final scream against a fate over which no one has control. I was just the target of her blind rage at the one sin Hollywood never forgives in its leading ladies: growing old."[133]
In his 1996 book Making Movies, Sidney Lumet slammed Dunaway's reputation for being difficult as "totally untrue", and called her a "selfless, devoted, and wonderful actress".[134] Director Elia Kazan described Dunaway as "a supremely endowed, hungry, curious, bright young talent", and added, "Faye is a brilliant actress and a shy, highly-strung woman. She is intelligent, and she is strong-willed." Like Lumet, Kazan felt she was not difficult, but a perfectionist who was never satisfied. "The artist is rarely, if ever, satisfied. The artist is frequently grateful and intermittently amazed, but he or she is never satisfied. That Faye is unlikely to be satisfied with her efforts—or those with whom she works—is not a caprice; it is not the willful misbehavior of a spoiled actress: This is how artists operate."[135] Johnny Depp, who co-starred with Dunaway in Arizona Dream and Don Juan deMarco, called her a misunderstood artist. "She's just uncompromising as an actress, and I think that's a positive thing."[85] Maria Elena Fernandez of the Los Angeles Times wrote in a 2005 article about Dunaway that "in her case, the behavior many call 'difficult' seems clearly linked more to passions than to ego".[136] In her autobiography Looking for Gatsby, Dunaway confronted this reputation and described herself as a "perfectionist":
God is in the details. I want to get it right. The fact is a man can be difficult and people applaud him for trying to do a superior job. People say, 'Well gosh, he's got a lot of guts. He's a real man.' And a woman can try to get it right and she's 'a pain in the ass.' It's my nature to do really good jobs, and I would never have been successful if I hadn't.[43]
Personal life
In 1962, Dunaway started a romance with stand-up comedian Lenny Bruce that lasted for a year.[137] She was engaged to photographer Jerry Schatzberg from 1967 to 1968.[138][139] The two remain friends and Dunaway later starred in his directorial debut, Puzzle of a Downfall Child (1970). During the filming of A Place for Lovers (1968), Dunaway fell in love with her co-star Marcello Mastroianni. The couple had a two-year-live-in relationship. Dunaway wanted to marry and have children, but Mastroianni, still legally married, could not bear to hurt his estranged wife and refused, despite protests from his teenage daughter Barbara and his close friend Federico Fellini.[140] Dunaway decided to leave him and told a reporter at the time that she "gave too much. I gave things I have to save for my work."[46] She later recalled in her 1995 autobiography:
There are days when I look back on those years with Marcello and have moments of real regret. There is that one piece of me that thinks that had we married, we might be married still. It was one of our fantasies, that we would grow old together. He thought we would be like Spencer Tracy and Katharine Hepburn, a love kept secret for a lifetime. Private and only belonging to the two of us.[141]
Mastroianni later told a reporter for People magazine in 1987 that he never got over his relationship with Dunaway. "She was the woman I loved the most," he said. "I'll always be sorry to have lost her. I was whole with her for the first time in my life."[140]
Dunaway dated actor Harris Yulin during 1971–72. In 1974, she married
After the divorce from O'Neill, Dunaway was linked to English author Frederick Forsyth.[143] She then had a three-year relationship with Warren Lieberfarb, Home Video president of Warner Bros,[144] before going on to date Hook Herrera, a blues harpist with the band Hook and the Hitchhikers.[145] Her most recent publicized romantic attachment was with Moroccan actor Bernard Montiel in the mid-1990s.[146] In a rare interview for Harper's Bazaar in 2016, Dunaway said she felt that "it's important to have a partner, probably," but she described herself as "a loner" and added, "I kind of like to be alone and do my work and, you know, be focused on my own things."[23]
Dunaway is a devout Catholic and has said that she attends morning Mass regularly.[107][147] She converted in 1996, having been a lifelong Protestant until then.[4][147]
Awards and nominations
Filmography
Select filmography
- Bonnie and Clyde (1967)
- The Thomas Crown Affair (1968)
- The Arrangement(1969)
- Little Big Man (1970)
- Puzzle of a Downfall Child (1970)
- Doc (1971)
- The Three Musketeers (1973)
- Chinatown (1974)
- The Towering Inferno(1974)
- The Four Musketeers (1974)
- Three Days of the Condor (1975)
- Network (1976)
- Eyes of Laura Mars (1978)
- The Champ (1979)
- Mommie Dearest (1981)
- Supergirl (1984)
- Barfly (1987)
- Wait Until Spring, Bandini (1989)
- Scorchers (1991)
- Arizona Dream (1993)
- Don Juan DeMarco (1994)
- Dunston Checks In (1996)
- Gia (1998)
- Columboepisode "It's All in the Game" (1993)
- The Messenger: The Story of Joan of Arc (1999)
- The Yards (2000)
- The Rules of Attraction (2002)
Select theatre roles:
- A Man for All Seasons (1961–63)
- After the Fall (1964–65)
- Hogan's Goat (1965–67)
- A Streetcar Named Desire(1973)
- Master Class (1996)
- Tea at Five (2019)
Bibliography
- Dunaway, Faye (1995). Looking for Gatsby: My Life. with Betsy Sharkey. New York: Simon & Schuster. ISBN 978-0684808413.
References
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- ^ Home, Sauls Funeral. "Obituary for Mac Simmion Dunaway | Sauls Funeral Home". Obituary for Mac Simmion Dunaway | Sauls Funeral Home.
- ^ a b c d e f Lester, Peter (October 5, 1981). "Dunaway Does Crawford". People. Archived from the original on October 19, 2016. Retrieved October 2, 2016.
- ^ 'Current Biography Yearbook, Volume 33'. H.W. Wilson Co., 1973. Original from the University of Virginia
- ISBN 978-0-385-14143-7. Page 445
- ^ Dunaway (1995), pp. 36–41.
- ^ a b CFA '81, Stephanie Eastwood (February 10, 2024). "When Arthur Miller Came to See What BU Did with The Crucible". Boston University.
{{cite web}}
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Sources
- Emmet Long, Robert (2001). John Huston: Interviews (Conversations with Filmmakers Series). Jackson, Mississippi: University Press of Mississippi. ISBN 978-1578063284.
- Finstad, Suzanne (2006). Warren Beatty: A Private Man. New York: Three Rivers Press. ISBN 978-0307345295.
- Lumet, Sidney (1996). Making Movies. New York: Vintage Books. ISBN 978-0679756606.
- Polanski, Roman (1984). Roman by Polanski. Paris: Robert Laffont. ISBN 9782221008034.
External links
- Faye Dunaway at IMDb
- Faye Dunaway at Turner Classic Movies
- Faye Dunaway at AllMovie
- Faye Dunaway at the Internet Broadway Database