Laurence Olivier Filme und Serien
Laurence Kerr Olivier, Baron Olivier, OM, war ein britischer Schauspieler, Regisseur, Produzent und Theaterleiter. Der dreifache Oscar-Preisträger wird als einer der größten englischsprachigen Bühnen- und Filmdarsteller des Jahrhunderts. Laurence Kerr Olivier, Baron Olivier, OM (* Mai in Dorking, Surrey, England; † Juli als Laurence Kerr Olivier in Steyning, West Sussex. Laurence Olivier (Lord Laurence Kerr Olivier) wurde am Mai als Jüngster von drei Kindern des streng religiösen Pastors und Schulleiters mit. Laurence Kerr Olivier was born on in Dorking into a severe, religious household; his father was a cleric who moved his family often. Perfekte Laurence Olivier Stock-Fotos und -Bilder sowie aktuelle Editorial-Aufnahmen von Getty Images. Download hochwertiger Bilder, die man nirgendwo.
Perfekte Laurence Olivier Stock-Fotos und -Bilder sowie aktuelle Editorial-Aufnahmen von Getty Images. Download hochwertiger Bilder, die man nirgendwo. Sir Lord Laurence Kerr Olivier brillierte als Shakespeare-Darsteller ebenso wie in modernen oder humorvollen Rollen. Seine Wandlungsfähigkeit schien. Laurence Kerr Olivier was born on in Dorking into a severe, religious household; his father was a cleric who moved his family often.
Laurence Olivier - Top 10 der BiografienHarry Potter und die Heiligtümer des Todes - Teil 2. Der Schatten Rebeccas, seiner verstorbenen ersten Frau, liegt noch über dem Schloss. This was when he met his second wife, Vivien Leigh, who was playing Ophelia to his Hamlet. Während seiner Karriere wurde er insgesamt zehnmal für den "Oscar" nominiert.
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It finally opened in under…. Olivier and Gielgud were supported by a generation of outstanding actors, many of whom had begun their careers in the s and were able to adapt to changes in the theatrical climate as well as to the growth….
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While Olivier was on the Australian tour and Richardson was in Hollywood, Esher terminated the contracts of the three directors, who were said to have "resigned".
By the end of the Australian tour, both Leigh and Olivier were exhausted and ill, and he told a journalist, "You may not know it, but you are talking to a couple of walking corpses.
Shortly afterwards Finch moved to London, where Olivier auditioned him and put him under a long-term contract with Laurence Olivier Productions.
Finch and Leigh's affair continued on and off for several years. The play was condemned by most critics, but the production was a considerable commercial success, and led to Leigh's casting as Blanche in the film version.
It must have been a most dreadful strain to do it night after night. She would be shaking and white and quite distraught at the end of it.
Olivier talking to Kenneth Tynan in . The production company set up by Olivier took a lease on the St James's Theatre.
The production was popular, despite poor reviews, but the expensive production did little to help the finances of Laurence Olivier Productions.
After a series of box-office failures, [y] the company balanced its books in with productions of Shaw 's Caesar and Cleopatra and Shakespeare's Antony and Cleopatra which the Oliviers played in London and then took to Broadway.
Olivier was thought by some critics to be under par in both his roles, and some suspected him of playing deliberately below his usual strength so that Leigh might appear his equal.
In the view of the critic and biographer W. Darlington , he was simply miscast both as Caesar and Antony, finding the former boring and the latter weak.
Darlington comments, "Olivier, in his middle forties when he should have been displaying his powers at their very peak, seemed to have lost interest in his own acting".
Shortly after filming started she suffered a breakdown, and returned to Britain where, between periods of incoherence, she told Olivier that she was in love with Finch, and had been having an affair with him;  she gradually recovered over a period of several months.
As a result of the breakdown, many of the Oliviers' friends learned of her problems. Niven said she had been "quite, quite mad",  and in his diary, Coward expressed the view that "things had been bad and getting worse since or thereabouts.
It ran for eight months  but was widely regarded as a minor contribution to the season, in which other productions included Gielgud in Venice Preserv'd , Coward in The Apple Cart and Ashcroft and Redgrave in Antony and Cleopatra.
In Olivier and Leigh were invited to play leading roles in three plays at the Shakespeare Memorial Theatre , Stratford. Rehearsals were difficult, with Olivier determined to play his conception of the role despite the director's view that it was vulgar.
Somehow the production did not work. Olivier was set on playing Malvolio in his own particular rather extravagant way.
He was extremely moving at the end, but he played the earlier scenes like a Jewish hairdresser, with a lisp and an extraordinary accent, and he insisted on falling backwards off a bench in the garden scene, though I begged him not to do it.
But then Malvolio is a very difficult part. The next production was Macbeth. Reviewers were lukewarm about the direction by Glen Byam Shaw and the designs by Roger Furse , but Olivier's performance in the title role attracted superlatives.
Trewin , Olivier's was "the finest Macbeth of our day"; to Darlington it was "the best Macbeth of our time".
In their third production of the Stratford season, Olivier played the title role in Titus Andronicus , with Leigh as Lavinia. Her notices in the part were damning, [z] but the production by Peter Brook and Olivier's performance as Titus received the greatest ovation in Stratford history from the first-night audience, and the critics hailed the production as a landmark in post-war British theatre.
Leigh became pregnant in and withdrew from the production of Coward's comedy South Sea Bubble. Instead of appearing with Leigh, he cast Marilyn Monroe as the showgirl.
Although the filming was challenging because of Monroe's behaviour, the film was appreciated by the critics. Olivier had seen the play earlier in the run and disliked it, but Miller was convinced that Osborne had talent, and Olivier reconsidered.
He was ready for a change of direction; in he wrote:. I had reached a stage in my life that I was getting profoundly sick of—not just tired—sick.
Consequently the public were, likely enough, beginning to agree with me. My rhythm of work had become a bit deadly: a classical or semi-classical film; a play or two at Stratford, or a nine-month run in the West End, etc etc.
I was going mad, desperately searching for something suddenly fresh and thrillingly exciting. What I felt to be my image was boring me to death.
Osborne was already at work on a new play, The Entertainer , an allegory of Britain's post-colonial decline, centred on a seedy variety comedian, Archie Rice.
Having read the first act—all that was completed by then—Olivier asked to be cast in the part. He had for years maintained that he might easily have been a third-rate comedian called "Larry Oliver", and would sometimes play the character at parties.
The second of them was Joan Plowright , with whom Olivier began a relationship that endured for the rest of his life.
Olivier's performance received strong praise from the critics for its fierce athleticism combined with an emotional vulnerability.
The production was chiefly remarkable for the star's quarrels with the director, Orson Welles, who according to the biographer Francis Beckett suffered the "appalling treatment" that Olivier had inflicted on Gielgud at Stratford five years earlier.
Olivier again ignored his director and undermined his authority. Two films featuring Olivier were released in The first—filmed in —was Spartacus , in which he portrayed the Roman general, Marcus Licinius Crassus.
The Oliviers' marriage was disintegrating during the late s. While directing Charlton Heston in the play The Tumbler , Olivier divulged that "Vivien is several thousand miles away, trembling on the edge of a cliff, even when she's sitting quietly in her own drawing room", at a time when she was threatening suicide.
In Olivier accepted the directorship of a new theatrical venture, the Chichester Festival. The Times commented, "It is doubtful if the Moscow Arts Theatre itself could improve on this production.
At around the time the Chichester Festival opened, plans for the creation of the National Theatre were coming to fruition.
The British government agreed to release funds for a new building on the South Bank of the Thames. As his assistants, he recruited the directors John Dexter and William Gaskill , with Kenneth Tynan as literary adviser or " dramaturge ".
With the agreement of both organisations, Olivier remained in overall charge of the Chichester Festival during the first three seasons of the National; he used the festivals of and to give preliminary runs to plays he hoped to stage at the Old Vic.
O'Toole was a guest star, one of occasional exceptions to Olivier's policy of casting productions from a regular company.
It was widely remarked that Olivier seemed reluctant to recruit his peers to perform with his company. In his decade in charge of the National, Olivier acted in thirteen plays and directed eight.
The production was a box-office success and was revived regularly over the next five seasons. Most of the reviewers and theatrical colleagues praised it highly; Franco Zeffirelli called it "an anthology of everything that has been discovered about acting in the past three centuries.
To add to his load, he felt obliged to take over as Solness in The Master Builder when the ailing Redgrave withdrew from the role in November During the following year Olivier concentrated on management, directing one production The Crucible , taking the comic role of the foppish Tattle in Congreve 's Love for Love , and making one film, Bunny Lake is Missing , in which he and Coward were on the same bill for the first time since Private Lives.
The Times commented that the production "restores one's faith in the work as a masterpiece". In Olivier was caught in the middle of a confrontation between Chandos and Tynan over the latter's proposal to stage Rolf Hochhuth 's Soldiers.
At his urging the board unanimously vetoed the production. Tynan considered resigning over this interference with the management's artistic freedom, but Olivier himself stayed firmly in place, and Tynan also remained.
He was treated for prostate cancer and, during rehearsals for his production of Chekhov's Three Sisters he was hospitalised with pneumonia.
Olivier had intended to step down from the directorship of the National Theatre at the end of his first five-year contract, having, he hoped, led the company into its new building.
By because of bureaucratic delays construction work had not even begun, and he agreed to serve for a second five-year term.
Two different critics reviewed it for The Guardian : one wrote "this is not a role which stretches him, or for which he will be particularly remembered"; the other commented that the performance "ranks as one of his greatest achievements, involving his whole range".
In Olivier appeared in two war films, portraying military leaders. Among the roles he hoped to play, but could not because of ill-health, was Nathan Detroit in the musical Guys and Dolls.
Olivier spent the last 15 years of his life in securing his finances and dealing with deteriorating health,  which included thrombosis and dermatomyositis , a degenerative muscle disorder.
Olivier's dermatomyositis meant he spent the last three months of in hospital, and he spent early slowly recovering and regaining his strength.
When strong enough, he was contacted by the director John Schlesinger , who offered him the role of a Nazi torturer in the film Marathon Man.
Olivier shaved his pate and wore oversized glasses to enlarge the look of his eyes, in a role that the critic David Robinson , writing for The Times , thought was "strongly played", adding that Olivier was "always at his best in roles that call for him to be seedy or nasty or both".
In the mids Olivier became increasingly involved in television work, a medium of which he was initially dismissive.
In he won another Emmy for Love Among the Ruins. In he appeared in the film The Boys from Brazil , playing the role of Ezra Lieberman, an ageing Nazi hunter ; he received his eleventh Academy Award nomination.
Although he did not win the Oscar, he was presented with an Honorary Award for his lifetime achievement.
He's like all of us, really: he's just a stupid old fart. Olivier seems to have thrown away technique this time—his is a breathtakingly pure Lear.
In his final speech, over Cordelia's lifeless body, he brings us so close to Lear's sorrow that we can hardly bear to watch, because we have seen the last Shakespearean hero Laurence Olivier will ever play.
But what a finale! In this most sublime of plays, our greatest actor has given an indelible performance. Perhaps it would be most appropriate to express simple gratitude.
The same year he also appeared in a cameo alongside Gielgud and Richardson in Wagner , with Burton in the title role;  his final screen appearance was as an elderly, wheelchair-bound soldier in Derek Jarman 's film War Requiem.
After being ill for the last 22 years of his life, Olivier died of kidney failure on 11 July aged 82 at his home near Steyning , West Sussex.
His cremation was held three days later;  his ashes were buried in Poets' Corner of Westminster Abbey during a memorial service in October that year.
Olivier was appointed Knight Bachelor in the Birthday Honours for services to the stage and to films.
From academic and other institutions, Olivier received honorary doctorates from Tufts University in Massachusetts , Oxford and Edinburgh For his work in films, Olivier received four Academy Awards : an honorary award for Henry V , a Best Actor award and one as producer for Hamlet , and a second honorary award in to recognise his lifetime of contribution to the art of film.
He was nominated for nine other acting Oscars and one each for production and direction. In February , for his contribution to the film industry, Olivier was inducted into the Hollywood Walk of Fame , with a star at Hollywood Boulevard ;  he is included in the American Theater Hall of Fame.
In addition to the naming of the National Theatre's largest auditorium in Olivier's honour, he is commemorated in the Laurence Olivier Awards , bestowed annually since by the Society of West End Theatre.
Olivier's acting technique was minutely crafted, and he was known for changing his appearance considerably from role to role. By his own admission, he was addicted to extravagant make-up,  and unlike Richardson and Gielgud, he excelled at different voices and accents.
I cannot come on looking like me and be someone else. I want an actor to tell me Lear's time of day and Olivier doesn't. He bids me watch the wheels go round.
Tynan remarked to Olivier, "you aren't really a contemplative or philosophical actor";  Olivier was known for the strenuous physicality of his performances in some roles.
He told Tynan this was because he was influenced as a young man by Douglas Fairbanks , Ramon Navarro and John Barrymore in films, and Barrymore on stage as Hamlet: "tremendously athletic.
I admired that greatly, all of us did. One thought of oneself, idiotically, skinny as I was, as a sort of Tarzan.
Together with Richardson and Gielgud, Olivier was internationally recognised as one of the "great trinity of theatrical knights"  who dominated the British stage during the middle and later decades of the 20th century.
He reflected it in his greatest roles; indeed he walked clad in it—you could practically see it glowing around him like a nimbus. Like Garrick, Kean, and Irving before him, he lent glamour and excitement to acting so that, in any theatre in the world, an Olivier night raised the level of expectation and sent spectators out into the darkness a little more aware of themselves and having experienced a transcendent touch of ecstasy.
That, in the end, was the true measure of his greatness. After Olivier's death, Gielgud reflected, "He followed in the theatrical tradition of Kean and Irving.
He respected tradition in the theatre, but he also took great delight in breaking tradition, which is what made him so unique.
He was gifted, brilliant, and one of the great controversial figures of our time in theatre, which is a virtue and not a vice at all.
Olivier said in that he believed he was born to be an actor,  but his colleague Peter Ustinov disagreed; he commented that although Olivier's great contemporaries were clearly predestined for the stage, "Larry could have been a notable ambassador, a considerable minister, a redoubtable cleric.
At his worst, he would have acted the parts more ably than they are usually lived. He observed, "Ralph was a natural actor, he couldn't stop being a perfect actor; Olivier did it through sheer hard work and determination.
Ironically enough, Laurence Olivier is less gifted than Marlon Brando. But he is still the definitive actor of the twentieth century.
Because he wanted to be. His achievements are due to dedication, scholarship, practice, determination and courage. He is the bravest actor of our time.
In comparing Olivier and the other leading actors of his generation, Ustinov wrote, "It is of course vain to talk of who is and who is not the greatest actor.
There is simply no such thing as a greatest actor, or painter or composer". From Wikipedia, the free encyclopedia.
For his uncle, see Sydney Olivier, 1st Baron Olivier. But Mr Gielgud spoke most of the poetry far better than Mr Olivier Yet—I must out with it—the fire of Mr Olivier's passion carried the play along as Mr Gielgud's doesn't quite.
I think I'm a fairly good manager now. I ran the St. James's theatre for eight years. I didn't run that at all well.
I made mistake after mistake, but I dare say those mistakes taught me something. Main article: List of awards and nominations received by Laurence Olivier.
Statue of Olivier outside the Royal National Theatre. Olivier's star on the Hollywood Walk of Fame.
Main article: Laurence Olivier on stage and screen. Darlington and Anthony Holden both suggest another reason: Fogerty's determination to recruit more male students, there being at the time only six boys to seventy girls enrolled at the school.
In all three plays he got superb notices personally, so that in a curious way it made his career to be in failures. Roger belonged to Noel but was madly attracted by Larry, especially to his private parts both before and behind, to which he invisibly did unmentionable things in full sight of the audience.
He said in the s, "He [Olivier] was much more natural than I in his speech, too natural I thought at the time, but now I think he was right and I was wrong and that it was time to say the lines the modern way.
He was always so bold: and even if you disagreed, as I sometimes did, about his conception, you had to admire its execution, the energy and force with which he carried it through.
Spartacus Crassus. Harry Burrard. Anthony Wainwright. Sir Gerald Scaith. Halpern and Mr. Lord Marchmain.
Douglas MacArthur. Abraham Van Helsing. James Tyrone Sr. Ivan Chebutikin. Mihail Lwowitch Astrow.
Astrov - Uncle Vanya John Gabriel Borkman. Ivan Ignatoff. DeMille Award Recipient. Self - Guest. Is the Magic of People Documentary short Self.
Self - Narrator voice. Show all 26 episodes. Self as Sir Laurence Olivier. Short documentary Narrator voice, as Lieut.Home: www. This was when he met his second wife, Vivien Leigh, who was playing Ophelia to his Hamlet. Die Wahl erfolgt auf fünf Jahre; eine einmalige Wie Sie besteht aus der Speziellen Https://pede.se/hd-filme-stream-org/thor-3-schauspieler.php Sternzeichen Zwillinge Kim Cattrall. TOP 5 Stars. An English actor, director and producer who became one of the most revered of his generation. Als er 17 Jahre alt check this out, entschied sein Vater, dass er eine Schauspielschule besuchen solle. Hawaii Five-0 Serie - Uhr. Im selben Jahr gab er sein Filmdebüt in "Hokuspokus". Juli in Brighton, Sussex.