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What the Hell Happened to Michelle Pfeiffer?
Michelle Pfeiffer was one of the most popular actresses in Hollywood. She starred opposite Al Pacino, Harrison Ford, Sean Connery and Jack Nicholson. The image of Pfeiffer cracking a whip as Catwoman is iconic. And then, she disappeared for seveal years. Recently, Pfeiffer has resurfaced. But her days on the A-list appear to be behind her.
So, what the hell happened?
Pfeiffer started out as a pageant girl before moving into TV and movies. Her first film was a 1980 comedy called Hollywood Knights. But the first movie to really get her noticed was the 1982 musical sequel, Grease 2. The original Grease had been a box office bonanza in 1978. Expectations were sky high for the sequel. The movie was expected to launch the careers of its stars as well as additional sequels.
Instead, Grease 2 bombed at the box office. Critics compared it unfavorably to the original Grease – which they hated. Future Grease sequels were abandoned and star Max Caufield's career never recovered. But Pfeiifer was singled out as the one good thing in Grease 2.
Having seen Grease 2, Brian DePalma refused to see Pfeiffer audition for Scarface. However, he relented upon pressure from the film's producer. Pfeiffer was eventually cast in the role of Al Pacino's cocaine-addicted trophy wife.
When Scarface opened, the reviews were largely negative. Critics were put off by the film's violence. Although once again, Pfeiffer got mostly positive notices. Scarface was a hit and has developed a large cult following over the years.
Pfeiffer appeared in two movies in 1985. The first was John Landis' thriller/comedy Into The Night co-starring Jeff Goldblum. Into the Night was loaded with cameo appearances from Landis' Hollywood friends. But the comedy was hit-and-miss.
Reviews were generally negative and the film didn't do very well at the box office. Once again, Pfeiffer was singled out for praise.
Pfeiffer also appeared in Richard Donner's fantasy film, Ladyhawke. Pfeiffer played a woman who had been cursed to transform into a hawk during the day. Her lover, played by Rutger Hauer, was cursed to turn into a wolf at night. Matther Broderick starred as a young theif tasked with breaking the curse and reuniting the couple.
Reviews were mostly positive. Critics almost uniformly commented on Pfeiffer's ethereal beauty. But the movie was only modestly successful at the box office.
On TV, Pfeiffer appeared in an ABC Afterschool Special about the dangers of drunk driving titled One Too Many.
And yes, that is a young Val Kilmer as her co-star. Kilmer was so taken with Pfieffer that he wrote a book of poems entitled My Eden After Burns that included poems inspired by the future Catwoman. Pfeiffer was married to the director, Peter Horton at the time.
I believe a clip is in order.
In 1986, Pfeiffer co-starred in Sweet Liberty. Alan Alda wrote and directed the comedy about a Hollywood movie descending on a small town. Critical reception was lukewarm. And the box office performance was modest. But once again, Pfeiffer got good reviews in a movie no one especially liked.
Pfeiffer's big break finally came in 1987 with The Witches of Eastwick. Pfeiffer played one of three women in a small New England town. Their lives are turned upside down by the arrival of a mysterious stranger played by Jack Nicholson who may or may not be the devil.
The movie was a showcase for Nicholson who hams it up in every scene. Pfeiffer was actually the least famous of the three women at the time. Co-stars Susan Sarandon and Cher were already established stars.
Witches of Eastwick got mixed reviews. But it was a bona fide hit.
The success of Witches of Eastwick helped put Pfeiffer on the map. Ironically, it was the first movie in some time for which Pfeiffer was not singled out for praise. It was Nicholson's movie. The Witches were just window dressing. But Pfeiffer held her own against Jack, Sarandon and Cher. That counted for a lot.
Posted on October 7, 2011, in Movies, What the Hell Happened?, WTHH Actress and tagged entertainment, michelle pfeiffer, movies. Bookmark the permalink. 132 Comments.
Sorry to be overly simplistic with this one, but I like the way she looks. You really can't find a bad photograph of this woman, regardless of age or anything else.
While I'd love to mention The Batman Curse (oops, just did), here's a WTHHT entry where it really is just a huge success story. I think she's been very fortunate, just by counting the number of successful movies that you've listed.
I think here you have a combo of small factors. The 4-year hiatus is one thing, but she also will need some redefining. She took her hiatus as a 40-something year old and returned in her 50's. Personally I think she will probably recover completely and be a solid film actress once again. I definitely don't see her disappearing (that is, if she doesn't decide to do that), or fading away to television.
pfeiffer was good in tequila sunrise, married to the mob, batman returns and scarface. never saw dangerous liaisons and fabulous baker boys. always wanted to see how good she was in that as well as malkovich. it was seeing her work with kurt russell and mel gibson in tequila sunrise. she is a good actress, better than jolie and basinger and julia roberts.
ladyhawke was also good too. i also forgot to mention.
I've always felt like it would be much more fun to be a professional actor if you were well established as a supporting performer. Sure, you don't get the huge paydays of the A-listers, but you also don't have the headaches and expectations. Supporting roles are also often darker or more eccentric. You often see A-listers deliver their most natural and easy-going performances when the weight of the production is not on their shoulders. I'd love to have a career like Steve Buscemi or Dylan Baker or William H Macy's. A natural supporting performer like Kevin Spacey actually had to recover from a stint as a lead actor.
pfeiffer is just as good as jodie foster.
in your car?!
It's amazing how the construct of fame makes us all into idiots. When I lived in Chicago I worked downtown on the Magnificent Mile. We had famous people come in every once in a while. Simon LeBon. Mr T. Laura San Giancoma. Lots of atheletes. Those kind of people. We all tried really hard to act like we weren't very impressed. One day a friend and I were coming back into the store from lunch and he said "Hey, Isn't that that guy from 'Friends?'" It was 1994 so not everybody knew the names of the actors yet. But I did. I continued walking with my friend toward this person. As we got closer, I raised my arm and said (louder than I had intended; the in-store music was typically deafening in this place) "HEY, YOU'RE RIGHT. THAT IS MATTHEW PERRY." I simultaneously found that I was now standing right in front of the actor and was pointing directly at his face. He made a face like he was an escaped prisoner who had been recognized and pointed out on national TV. We were both clearly mortified. I mumbled something about how I could help him with anyhing he needed in the store and immediately walked away. Less than 30 seconds later I got the nerve to scan the store and he was long gone. I hope I didn't contribute to his later perscription drug addiction. The face-pointer. That's me. ugh.
We're obviously a similar age and have similar tastes because Michelle Pfeiffer has been my favourite actress ever since I saw her in Married To The Mob, although for a long time she had to share that position with Meg Ryan.
Meg and Michelle vied for my affection throughout the late 80's and the 1990's and a comparison of their respective careers would definitely make for an interesting post. Although I think Meg had more range than she was given credit for, I'd have to agree with you that Michelle was the more talented of the two and it's a tribute to that talent that Michelle has sustained her career for over 30 years in the face of mixed reviews and public indifference.
I actually looked at her box office numbers recently and was surprised at how badly most of her films had fared and in an age obsessed and profit driven industry she's probably lucky to keep getting decent work.
My personal favourite Pfeiffer performances are The Fabulous Baker Boys and Frankie And Johnny, I tend to prefer slow moving character driven films, and thanks for not mentioning my least favourite Pfeiffer film I Could Never Be Your Woman, that straight to DVD turkey was definitely the low point of MP's career.LikeLike
i guess you could say i'm also a big michelle pfeiffer fan as well because of the movies i liked seeing her in.
Hey — nice run down of her career — but to answer the question you pose at the beginning and end of the article, and this applies to most of the people you've written 'what the hell happened' posts about, is simply that they got older. This is especially true for women.
Hollywood, and audiences, are ageist — people want to see 25 to 35 year olds on screen. Once you hit the other side of 40, it's either playing parents, retiring cops, or last-gasp-get-the-oldies-back-together-again-flicks.
I think Pfeiffer is amazing, and has a lot to offer — and I'd love to see her tackling big and exciting roles, but unfortunately the privilege in this industry in terms of on screen talent lies with the younger generations.
The quality of that picture of Michelle as Catwoman is amazing, it literally leaps out of the screen at me.
I hope you don't mind but I've taken the liberty of using it in my most recent post and I've also made a few other minor changes. Like you I always consider my posts "works in progress".LikeLike
You left out that great film she did three or for years ago – co-starring Kathy Bates – about Parisienne courtesans in the Belle Epoque – I forget the name of the film, but Pfeiffer plays an aging but still beautiful courtesan in love with a young man-about-town… The film may be based on an Oscar Wilde short story??
Michelle's Catwoman was the ONLY thing I loved about "Batman Returns" (making the Penguin a mutant freak was as bad a decision as Rob Zombie making Michael Myers white trash)-I sure hope Anne Hathaway does the role justice, as well.
Despite its stars and director, "Wolf" is the worst werewolf film for me because it is so concerned with being more than just a horror film that it puts you to sleep rather than scares you.
10 "Failures" By Famous Directors (That Are Actually Better Than You Remember):
3. Batman Returns
Yes, Virginia, there was a time when Batman movies were made by someone other than Christopher Nolan. The popular consensus on the '90s Batman franchise seems to break down thusly: there was the good one (the one with Jack Nicholson), there were the stupid ones (the ones where he had nipples)…and then there was the weird one, that one where Catwoman gets licked back to life by alley cats and Danny DeVito spits black gunk out of his mouth. The sequel to 1989′s monster hit Batman, Batman Returns opened just as Tim Burton — probably the most unlikely blockbuster director in Hollywood history — was becoming a brand, to the extent that Disney was able to market The Nightmare Before Christmas using his name. Batman Returns had big expectations, and a pretty big public fallout; the film opened huge but dropped fast, reviews were mixed, and a large portion of the audience was put off by the dark tone, the wild divergences from comic book continuity, and the generally macabre nature of the imagery. (Parent's groups boycotted McDonald's, who had done a tie in with the film.) Batman Returns was seen as enough of a disappointment that Warner Brothers performed the drastic measure of bringing in Joel Schumacher to "lighten up" the franchise (we all know how that worked out…), and until The Dark Knight "Bruce Wayne Retires" Rises was probably the most controversial film in the entire bat-canon.
Might I suggest, at the risk of blasphemy, that Batman Returns is actually much better than the more culturally revered Batman? Batman has great performances, yes, and a kick ass Danny Elfman score and those beautiful Bo Welch designs (beautiful enough that they fundamentally changed the look of Gotham City in the comics — no, armchair comic book historians, Gotham City was not a particularly gothic place before Welch got his hands on it); but it also has a remarkably messy script, full of unnecessary characters (hello, Alexander Knox, you walking exposition machine!), under-cooked plot lines, terrible plot turns (I don't care if nostalgia tells you otherwise, "You ever dance with the devil in the pale moonlight?" is an awful line and the lamest possible way for Batman to figure out Joker's identity), and a main character who never really comes into focus. (Is Batman a hero? Is he a vigilante? Is he crazy? Who cares — let's go watch Jack Nicholson!)
Batman Returns takes even bigger leaps in logic (if your suspension of disbelief is hard to earn…then boy howdy, are you in for a rough ride…), and lets go of whatever tenuous grasp the franchise had up until now on comic book continuity, but taken on its own, as an adaptation of the character and a film unto itself, it's far more cohesive — and satisfying — than its predecessor. The performances are fantastic: Michelle Pfeiffer gets (no kidding) the role of a lifetime as Selina Kyle, by turns seductive, vindictive, vulnerable, crazy and charming, Danny DeVito is actually ghoulishly great as Burton's freaky sewer mutant version of The Penguin, and Christopher Walken is given the character that perhaps best showcases all of his "Christopher Walken-isms", corrupt tycoon Max Schreck ("Selina Kyle — yer FIRED! And Bruce Wayne…why're you dressed up like Batman?!"). But perhaps more than all that, Batman Returns represents a next step in the evolution of its director. Burton, who had essentially started out directing live action cartoons, had begun in Edward Scissorhands to introduce darker, sadder currents, more tragic ones. Batman Returns arguably gets the balance absolutely right — this is a movie where Danny DeVito comically threatens Christopher Walken with a severed appendage ("Hiya Max, remember me?! I'm Fred's hand!"), but it also has perhaps the most beautifully acted scene in Burton's filmography, the dance between Selina and Bruce at the masquerade ball, where identities and intentions begin to slip and slide messily away, revealing two broken and vulnerable people. Batman Returns might just be Burton's best film: at times comic, at times tragic, always enthralling and strange and beautiful.
…oh, and it's got Batman in it, too.
10 Best Batman Film Casting Decisions:
5. Michelle Pfeiffer – Catwoman
Catwoman is a character I can confess to never being fond of in both comic book and animated adaptations – perhaps it's the indecisive nature of her origin story; was she an amnesiac flight attendant, an abused wife, an African American prostitute or the daughter of mafia boss Carmine Falcone? Characters such as Robin/Dick Grayson, The Joker, Two Face and Mr Freeze have fantastic backstories – steeped in iconography – each explored by fantastic writers in such adaptations as 'The Killing Joke', 'The Long Halloween', 'Dark Victory' and for Freeze; the unforgettable Paul Dini-penned animated episode 'Heart of Ice'. Catwoman on the other hand, is the only prominent figure in Batman's rogues gallery that a fan might have trouble defining – even in the otherwise brilliant Jeph Loeb's novels, I found the character's cheesy, flirtatious quips lost amongst the fascinating overarching conflict of organised crime versus the criminally insane – generally speaking, Selina Kyle's subplot just wasn't very interesting.
For me, personally, the only successful rendition of Catwoman's origin is that presented in 'Batman Returns' – Selina Kyle; a bookish secretary – violently assaulted by her boss, Max Shrek; the character is mentally and physically 'pushed over the edge'. Michelle Pfeiffer's portrayal of the femme fatale is perhaps the most disturbing example of mental scarring in any film of the Batman series – the dramatic scene where Selina trashes her apartment after a plunge from her boss's top-story office; the image of the crazed woman taking objects sacred to the 'old' Selina Kyle – for instance; the fluffy soft toys that represent her previous, girly-innocence and adherence to societal norms met by the unhinged Kyle's kitchen knife, is one an audience cannot help but find disturbing. Much like Edward Norton's conflicted character in 'Fight Club' – the dull, mild-mannered, office worker rebels against her capitalistic enslavement – tearing apart the consumerist items that constructed 'Selina Kyle' in a state of psychological breakdown; utilizing the remnants to construct a new persona – a concept that is presented on screen as she stitches together a costume from the remains of an old black raincoat.
This outfit becomes a 'second' skin and with a new found sense of sexuality, violence, bound with nihilism – she becomes the very opposite of the formerly introverted Selina Kyle – a slinky creature of the night, known only as 'Catwoman'. Pfieffer's ability to convincingly play both Selina Kyle and Catwoman is extremely impressive; even her appearance as the post-transformation Selina is dramatically altered. With dark make-up under her eyes, that contrast her snow-white complexion, connote an illness brooding inside her – in this case, mental sickness; evident as her blue eyes flutter, or the manner in which her body swaggers uncontrollably through the streets of Gotham – the beast inside her has seized control. Her cat-suit complete with a whip, references 'kinky' sexual deviancies – violent sex – sadistic aspects of a personality everyday people hide from the public; further empathizing 'the beast within' – in many ways, this makes Pfieffer's Catwoman a more threatening adversary than DeVito's Penguin. With Gotham's waddling bird of prey – what you see, is essentially, what you get – with Selina Kyle, her alluring appearance lulls men into underestimating her potential for violence; her insane unpredictability makes her one of Batman's greatest onscreen enemies – thus Michelle Pfieffer earns her place as fifth best casting choice.
What if Tim Burton returned to direct a third 'Batman' film?
After the first "Batman" film became a pop culture touchstone, Warner Bros. handed the keys of the franchise over completely to Tim Burton who followed up with a much darker "Batman Returns" in 1992. That film featured stunning production design and an awards worthy Michelle Pfeiffer as the best Catwoman ever (don't even try to argue anyone else). Unfortunately, Burton went overboard in his vision of the classic Batman villain the Penguin. Danny DeVito was great casting, but the character was plain gross, scared children and dragged the entire film down whenever he appeared on screen. Happily, "Returns" was still a hit, but Warner Bros. was so concerned about the reaction that they insisted the third film be lighter and more commercially friendly (if not kid friendly). That meant Burton was out and he was relegated to an "executive producer" title as he moved on to other projects. Eventually Michael Keaton left the third film as well after director Joel Schumacher came on board and the role was recast with…blonde Val Kilmer. But, what if Warner Bros. and Burton came to an agreement on the proper tone for the third picture? History would have been much different as we ask:
Three things we predict would have happened:
2. The long rumored 'Catwoman' (Michelle Pfeiffer) spin-off movie would actually have happened. If Burton was back in the fold there was no way a solo "Catwoman" movie would have died in development. "Catwoman" would have hit theaters in 1996, a year after "Batman 3." It isn't a smash on the level of the "Batman" films, but it's still makes back to back blockbusters for Pfeiffer after "Dangerous Minds" the year before. It also means she has to turn down "Up Close & Personal" (whew) and extends her A-list status to the end of the Century. Sadly, we can't predict a reboot featuring Halle Berry doesn't end up happening with the following decade (revisionist history isn't always that rosy).
Did history work out for the best?
Aside from the potential train wreck of a "Superman Lives" movie and missing out on Nolan's "Dark Knight" trilogy, absolutely not. You can argue not one of the major players in "Batman Returns" benefited from Burton not coming back for the third film. Burton himself had the successful "Sleepy Hollow," but hasn't made a good movie outside of the stop-motion animated "Corpse Bride" in 2006. Michael Keaton career tanked after he followed Burton out the door, Michelle Pfeiffer had two real hits ("Dangerous Minds," "What Lies Beneath") over 15 years until a supporting role in 2007's hit "Hairspray" and you could argue Joel Schumacher dug his own grave following studio guidelines with "Batman Forever" and the insanely horrible "Batman and Robin." So, yes, fans lost out as well. Plus, George Clooney would have also skipped over "Batman and Robin" (the worst decision of his illustrious career). Burton's third "Batman" movie may not have been as blatantly commercial as what Schumacher delivered, but at least it would have had a vision behind it. The only person you can say truly benefited from Burton leaving the franchise was Seal. He had the biggest hit of his career with "Kiss From A Rose" off the "Forever" soundtrack. If Burton was on board? Probably wouldn't have even made the album.LikeLike
I wonder if Michelle Pfeiffer is one of the biggest stars who really ever only succeeded with supporting roles or as parts of ensembles. I do think the big weakness in her star power resume is having no demonstrated ability to open a picture as the sole star. One could argue that Dangerous Minds which she starred in was no small success, but it still was an ensemble cast in its own way. She never really had that one breakout starring role like Julia Roberts or Sandra Bullock where both critics, audiences and the awards circuit loved her all at the same time. Pfeiffer's resume still looks less like a movie star's resume and more like a "serious actress's" resume. What I think she lacks is magnetism on a personality level. She's got the looks and she's got the talent, but she doesn't have the infectious likability of a Meg Ryan, Julia Roberts, Sandra Bullock, etc. She is somehow colder and less emotionally accessible. One could say the same about Charlize Theron, which I think is why both her and Pfeiffer have had success at playing villains, something that those warm, cuddly, likable actresses would never be able to pull off.
When you do get your time machine working save me a seat, because I'm intrigued by your notion of Meg Ryan playing the Glenn Close role in Dangerous Liaisons.
An unsympathetic role like that, a year before America found its sweetheart in When Harry Met Sally could have set Meg on a totally different career path, and a head-to-head between two of the then, hottest starlets in Hollywood could have been combustible.
Although if I remember correctly the Close and Pfeiffer characters never share the screen.P.S. As always thanks for the link love,
I actually think it's VERY SIMPLE why Michelle's career declined: Her 5 year hiatus (yes, FIVE YEARS) after White Oleander. She must have known it would harm her career. Michelle should have been capitalizing on the success of What Lies Beneath (the biggest hit of her career) at that time. But no, she decided to take 5 years off. That is not good for ANY actor/actress's career, no matter what their age is. Had Michelle not taken 5 years off, she may possibly be in Sandra Bullock's position right now.
By the way, can you do a "What the hell happened to Demi Moore?" thread? Between 1990 and 1994 her movies grossed over $1.3 BILLION, and in 1995 she became the highest-paid actress of all time. Her 2 last major roles were Striptease and G.I. Jane. These movies were NOT box office flops like everyone says. They both made around $100 million. They underperformed considering all the hype, but they were not flops. So how did Demi go from being Hollywood's highest-paid actress to having a virtually nonexistant film career? That's what I'd like to see theorized in a page like this.
Where The FRACK Is Michelle Pfeiffer?
It's her own fault, Op, for taking time off at the peak of her career (I guess mid-late 90s?). You can't take ten years off nowadays and expect everyone to remember you.
Very true. That's why I think Sigourney Weaver has made all the right choices. When she hit 40 she started doing independent films. Interesting parts, not always in good films, but she kept working. She chose projects made in NYC while she raised her kid. Young filmmakers now know that she is approachable and it's a matter of time before someone writes a great part for her. She's in a way doing what Deneuve does in France.Jessie Lange disappeared to raise kids and it's not easy for her, I think.
Streep seems to be above it all, working with young directors and all… But Nichols and Ephron are not going to be making films forever. She will always have Scott Rudin as her champion, though, which will help her in the 'future future'.
by: Anonymous reply 114 07/19/2010 @ 06:18PM
20 Worst Trailers That Secretly Ruined The Movie:
12. What Lies Beneath
The Spoilers: Michelle Pfeiffer investigates what she thinks is the ghost of a neighbor. Lucky the trailer is here to explain that, really, it's the woman that hubby Harrison Ford had an affair with.
How They Should've Sold It: Robert Zemeckis sure didn't give a monkey's about spoiling his movies in 2000. Maybe he should've hired a more discreet trailer editor.
Speaking of Pfeiffer, her latest film People Like Us bombed more than anyone expected, grossing $4.3 million on more than 2,000 screens on its opening week.
That's a very poor per-theater average, but it's also a slight surprise given the extensive marketing for the film that led me to hope it could be a modest success amidst all the big-budget, big-star films.
Sadly,I was wrong, as were Dreamworks, and the film was off the film world's radar in a matter of two weeks.That must be a blow to Michelle, who's been working extremely hard to re-invent herself as a supporting actress. I just hope she fairs better in her next project, playing a Mafia wife alongside De Niro and Tommy Lee Jones in Luc Besson's Malavita.
I agree. Pfeiffer works whenever she wants. She is happily married to a wealthy man and I think she's just out enjoying life away from the screen.
I love that you are adding these, it's been a while since I was last on your blog and I was suprised!
Pfeiffer's doing well. Yeah, she's had a coupe straight-to-video's, but that's no longer the death sign it used to be. Even Halle Berry, an Oscar winner, had a film go straight to video recently and she's still considered an A-list star. Natalie Portman, Bruce Willis, and Catherine Zeta-Jones also had straight-to-videos recently yet still have some major roles lined up.
Pfeiffer made a few bad choices. Like A Thousand Acres – pointless. She probably did it just to work with the great Jessica Lange, and stars should never take roles that are beneath them just for the opportunity to "work with" whoever they admire.
The 5 yr break hurt her, obviously, but she knew what she was doing. Frankly she didn't miss out on much. The roles she turned down during her hiatus were the Meg Ryan role in "Against the Ropes", the witch in The Chronicles of Narnia that Tilda Swinton played, Marcia Gay Harden's role in Mystic River, and Virginia Madsen's role in A Prairie Home Companion. None of these would have done anything for her career and she still would have ended up doing the straight-to-video's – which aren't even that bad, "I Could Never Be Your Woman" and "Personal Effects" were more enjoyable that some of her 'big' films.
I want to single out "Wolf." Though not her vehicle it is one of my favorite movies she's been in.
Did you notice that she was made up to look unusally plain and frumpy in The Witches of Eastwick? She was such a young beauty that the director must not have wanted her to distract the audience from the significantly older and less attractive Sarandon and Cher. There was miscasting somewhere in there.
Pretty Woman
Thelma and Louise
The Silence of the Lambs
Basic Instinct
Double JeopardySome of the high profile films Michelle has turned down.
Would love to have seen Michelle take on Silence of the Lambs but apparently she found the script too violent. Evita was supposed to be done with Oliver Stone but then Michelle was heavily pregnant. Michelle chose to film The Story of Us instead of Double Jeopardy which didnt turn out too well as TSOU bombed at the box office.
Looking forward to seeing Michelle working with Luc Besson in Malavita.
Roles turned down by Michelle Pfeiffer:
I thought she was headed toward supporting roles/ensemble territory as well but the fact that her next two upcoming films feature her as the female lead changed my mind…
Was also surprised to discover that she recently bought the film rights to produce and star in the adaptation of the best-selling novel, The Hunchback of Neiman Marcus, according to author Sonia Sones' official Twitter page.
She's said that now that her kids are in college, she wants to just focus her energy on work…the hiatus, the "limited release" films and the supporting ensemble parts have all been, by her own admission, the result of her wanting to only work part-time.
Now that her son is college-bound, she's ready to work more frequently… At least that's what her slate of upcoming projects
I would like to add to the white oleander part of pfeiffer career. The film was a small dramamade for 15 million dollars, It good good reviews. If you check on imdb pfeiffer was nominated and won a few critics awards for this including a screenactors guild nomination for best supporting actress and winning best supporting actress at the Kansas city film cticits circle awards and the dandiego film critics awards. She was also nominated for a Washington dc film critics awards.
When I posted this article about Michelle Pfeiffer to the "Batman Returns" (among her movies, I posted it there first because I assumed that would guarantee immediate responses) IMDb message board as well as her own IMDb board, the general consensus from people who replied to me suggest that Michelle is still a major Hollywood player (despite not making herself available for half a decade to focus on her family), whose career hasn't dwindled.
Here are the links to give you a better idea:
To follow this up, I was also told that at Michelle's age she unfortunately, can't really play the lead love interest and be a huge box office draw (which is kind of the main point of this whole WTHHT discussion) anymore. To put things in proper perspective, a younger generation who weren't as acquainted w/ Michelle Pfeiffer when compared to her 1980s-'90s prime. I think this is were the whole factor of Michelle taking a five year hiatus in the 2000s serves as a negative impact on her career as an A-list star.
Another argument that I've since heard is that the type of movies that Michelle made when she was "in demand" or in her prime are no longer being made. Instead, studios are much more focused on big-budget franchises (which I think is a bit ironic, since Catwoman in the original, 1989-1997, tentpole Batman film franchise is one of her most iconic, best known roles). So in other words, why should Michelle work when she does not have to.
Whatever happened to Michelle Pfeiffer?
And not to sound like some old fart pining for the golden days of Hollywood – I mean, yawn – but what happened to Michelle Pfeiffer, Harrison Ford, Debra Winger, Julia Roberts? They used to make lots of good movies, and do good box office. Sure some of the movies are duds (that's you, Mary Reilly), and some are really good. Are they too old? Julia Roberts is my age. Is the entertainment world really revolving around Miley Cyrus and those Twilight kids? Holy crap, shoot me now.
20 Actors Who Need To Make A Comeback:
14. Michelle Pfeiffer
Pfeiffer had a mini-comeback with Hairspray and Stardust (which she was the best thing about), but aside from being underused in Tim Burton's desecration of Dark Shadows, Pfeiffer's second career passed her by. This is probably because almost all of the "woman of a certain age" roles are going to Meryl Streep, Sigourney Weaver and Barbra Streisand (who was designed to play a Jewish mother). Nicole Kidman gets everything else. In a perfect world where leprechauns dance in the sky and all the Kardashians are infertile, Pfeiffer would have reprised her role as Catwoman in The Dark Knight Rises. Tell me Catwoman as a cougar wouldn't have been awesome.
Enjoyed this writeup of a talented actress. Have to be up front, I am a huge fan both of Michelle's, and Heather Locklear. Partly, I relate to the age group, younger than Baby boom but older than Gen X. Partly they are just again, talented and light up the screen in whatever project they are in. And also the whole, slinky gown-or-washcloth sized skirt wearing, piano singing, stomp-all-over-the-men-but-they-love-it attitude. This may not resonate well with some… but I mean it in a very positive way, that women don't have to be victims, in life or on screen. It's like, a sex symbol with guts and intelligence. Even if every movie Michelle made is not a hit, it is always fun to watch her and I would argue she is permanent A-list. NYE was not a great movie, AGREED, but she was one of the few bright spots. I'd like to see Heather get back onscreen doing more movies like "The Perfect Man."
From Comic To Pfeiffer's Cat:
Putting it simply, you could say the Michelle Pfeiffer Catwoman is essentially a combination of the Golden Age and Pre-Zero Hour versions from the comics. Her origin/revenge narrative is adapted from Catwoman: Her Sister's Keeper, but her personality displays many traits of the Pre-Crisis Catwoman.
I wonder if Michelle's career as LeBeau argued started to cool in the early 2000s, in part because she kept doing as LeBeau pointed out all of these melodramatic, Lifetime Channel or "Oprah's Book Club" type of films. In other words, much of her films seemed to be targeted heavily to female audiences and not stuff w/ more mass appeal like "Batman Returns" or "What Lies Beneath". I think something like "Dangerous Minds" worked or was successful was because it was more youth oriented (people saw Michelle, who played the "cool teacher" in "Dangerous Minds", in the Coolio video on MTV, which in itself was a big hit song) rather than something that you're mom would generally be more interested.
it's an interesting point you guys are making, there are definitely different audiences. Case in point, you were probably bored by "One Fine Day" but for those of us who wear Mom jeans, it was a enjoyable, well-acted movie with the excellent pairing of Clooney with Pfeiffer.
They Threw It Away – Self-Destruction and Acting Careers:
Michelle Pfeiffer. After Wolf (which admittedly wasn't a great film, but was Mike Nichols directed) she only starred in crappy Lifetime-esque mommy dramas.
She had all the makings of a great american actress, but threw it away with horrible script choices after '94 and then literally disappeared from Hollywood from 2002 to 2006.
by: Anonymous reply 311 01/10/2014 @ 04:04AM
Michelle Pfeiffer : What Happened to her career?
I somewhat disagree with the explanation that was given in the reply here. Yes, she obviously walked away from Hollywood on her own accord to raise her kids. But if you look at her career closer you'll notice that her career was losing momentum even before she took a break. In the early 90's she was A-list top of the line, comparable to Angelina Jolie's status these days. But look at the movies she was in from about '94 to when she took a break. They were with top of the line actors (Jack Nicholson ; Robert Redford ; George Clooney ; Bruce Willis) but none of the films really did anything at the box office.
She took a break to raise her kids, but my guess is that she also felt she just needed to step back from her career anyway. But since coming back it's essentially been the same story. She's starred with top of line actors, but the movies just haven't done anything at the box office.
Her days as a sexy actress are obviously past her. There's too many hot young actresses out there who will get the role before her. My guess is she's also losing roles to the likes of Sandra Bullock and Julia Roberts these days. However, if she were to get the right role she certainly has the talent to get an Oscar nomination, which would go a long way in reviving her career.
Whatever Happened to Michelle Pfeiffer's Career?
By Edward Margulies from Mr Showbiz
Remember Michelle Pfeiffer? Lanky blond goddess, equally capable of nailing roles virginal (Dangerous Liaisons), wifely (Married to the Mob), and seductive (The Fabulous Baker Boys)? Her long rise to the top, which began with a forgotten TV series in the late '70s (Delta House), reached its peak in 1992 with her world-class performance as a frustrated frump whose alter ego is the comic, dangerous, and sensual Catwoman in Batman Returns. It's hard to believe that Pfeiffer wasn't first choice for that part, so perfectly did she bring it roaring to life. It makes me wonder: if initial selection Annette Bening had portrayed Catwoman as orginally planned, would Pfeiffer today be starring in edgy work like American Beauty?
In any event, since Batman Returns, Pfeiffer's been making terrible career choices. OK, I can see how The Age of Innocence might have looked good on paper — and after all, actors jump through hoops to work with Martin Scorsese — but Pfeiffer lost round one to her scene-stealing coiffure, and never recovered. What was she thinking when reading awful-scripts-destined-to-be-awful-movies like Wolf, Dangerous Minds, Up Close and Personal, or To Gillian on Her 37th Birthday? Sure, some box-office loot came in, but every one of these flicks offered her a less likely role than the previous one had. She tried harder in One Fine Day, but the movie only served to show that she and George Clooney were no Doris Day and Rock Hudson or, for that matter, Meg Ryan and Tom Hanks.
Then came A Thousand Acres, a fetid farmland retelling of King Lear, which was at best unintentionally uproarious, as when Pfeiffer and Jessica Lange, two of the screen's great, complicated beauties, made like heartland hicks, dishing heavy exposition while folding sheets — no doubt they were Method folding, having long observed their housekeepers doing same. Of A Midsummer Night's Dream, the less said the better, and the same goes for Pfeiffer's recent foray into such blubbering, sudsy sagas as The Deep End of the Ocean and The Story of Us. The latter underwhelms those I've spoken to. "I can't blame them for wanting to make a Two for the Road movie about the difficulty of staying married," says one veteran producer. "But Rob Reiner, Bruce Willis, and Michelle Pfeiffer aren't exactly Stanley Donen, Albert Finney, and Audrey Hepburn. Reiner's recent movies, like those of Ron Howard and Penny Marshall, suffer from sitcom mentality — to distract from plots that don't hold together, there's always a cutesy humorous touch waiting around every corner."
One entertainment analyst offers, "The Story of Us makes it obvious that Michelle Pfeiffer is in desperate need of better scripts. What good is it being married to David Kelley if you can't get your pick of his scripts?" However, since To Gillian was a Kelley project, perhaps he's not the solution to Pfeiffer's career problems. There are other solutions, as one longtime casting director indicates when she says, "It's difficult to see Pfeiffer on Kelley's arm at every major TV awards show without thinking that perhaps she's ready to pull a Jane Fonda and just retire from acting altogether." After all, what's ahead? Co-starring with Harrison Ford in the upcoming Amityville Horror-esque thriller What Lies Beneath, I'm afraid. Sadly, the time is long past for Pfeiffer to cash in her Catwoman chip and grab movie audiences back with her most alluring creation (just as Sharon Stone has similarly waited too long with Basic Instinct 2). There's still TV to consider but the trick, Michelle, is in knowing when to get off. Say what you will about Candice Bergen and Cybill Shepherd, but both knew to when to quit movies — and both reinvented themselves on hit TV comedies.
Where the hell did Michelle Pfeiffer go?
Re: Where The F*** Is Michelle Pfeiffer?
Michelle at one time in her career was out there taking all kinds of chances… a Monroe/Jackie wanna be hooks up with a black man and his daughter on their way to Kennedy's funeral in the 1960s; come on. That was a pretty brave career choice. AOI was probably her best performance with DL a slight second. Her comedy work, her singing actual material with her own voice…. then she had children and became uninteresting as an actress and probably more interesting as a person. Her script choices have been pretty lame ever since.
by: Anonymous reply 74 07/17/2010 @ 10:19PM
Personally, I always wished she had done more stuff that was similar(in a very generalized way) to her Catwoman character, where she could be more imaginative, colorful, and larger than life(rather than just straight dramas). I guess something kind of like Sharon Stone's Catherine Tramell in Basic Instinct (admittedly a very cheesy and badly written movie), but just something a bit more stylish and fantastical (but in a more serious/darker/mature movie than Basic Instinct or Batman Returns)
You don't stick a face and talent like that in just dramas. Perhaps she didn't use the clout she had in the late eighties/early nineties too well and made some bad decisions.
But I agree that she's a great actress.
by: Anonymous reply 91 07/18/2010 @ 04:17PM
It's her own fault, Op, for taking time off at the peak of her career (I guess mid-late 90s?). You can't take ten years off nowadays and expect everyone to remember you. Even Queen Julia's attempts to reclaim her throne have been spotty. Luckily for her we've already forgotten how badly Duplicity flopped.
by: Anonymous reply 102 07/19/2010 @ 01:10AM
Very true. That's why I think Sigourney Weaver has made all the right choices. When she hit 40 she started doing independent films. Interesting parts, not always in good films, but she kept working. She chose projects made in NYC while she raised her kid. Young filmmakers now know that she is approachable and it's a matter of time before someone writes a great part for her. She's in a way doing what Deneuve does in France.
Jessie Lange disappeared to raise kids and it's not easy for her, I think.
Streep seems to be above it all, working with young directors and all… But Nichols and Ephron are not going to be making films forever. She will always have Scott Rudin as her champion, though, which will help her in the 'future future'.
by: Anonymous reply 114 07/19/2010 @ 06:18PM
I read a quote attributed to her which went something like, 'I don't want the money to do the work, I want all the money to live my life this way'. She's always been shy and didn't really like the trappings of fame. She was on her way to being one of the greats, but seems to have lost her drive around the mid-90s. Her movies became Lifetime TV fodder: ONE FINE DAY, UP CLOSE & PERSONAL, DANGEROUS MINDS. They may have been hits, but they weren't the reason I liked Pfeiffer. Oh, and another great early performance: INTO THE NIGHT.
by: Anonymous reply 130 07/20/2010 @ 01:37PM
Pfeiffer is often criticised for having made unwise choice and for turning down roles in successful movies (Pretty Woman; Basic Instinct; Sleepless in Seattle; Thelma & Louise), however reading this post makes you wonder how many other actress in the last 30 years have done what Pfeiffer has done. Really, she had a very remarkable carreer. Very few actress of her generation have done what she has done, and her carreer spawned for something like almost 20 years, which is very rare. Probabily only Julia Roberts and Nicole Kidman had a more sucessful carreer than Pfeiffer among actress of her generation.
And let's not forget, Baker Boys was really more of an iconic role for her than Catwoman. She should have won the Oscar for Best Actress…IMO….. but Driving Miss Daisy was formidable competition. I remember an interview from the time where she talked about taking voice lessons for her role as Susie Diamond. Pfeiffer put a lot of work into it, not under any illusions about being a gifted singer but about learning enough to sing in the movie, which was impressive since voice dubs were so commonly used, and that she was eventually able to "relax and interpret the song" (her words, which I still remember).
Excellent point, Lebeau. Hindsight is 20/20 and in retrospect we can say an actor made a mistake turning down such-and-such movie that became a big hit, but over time I've realized that a film turns out the way it does (and people respond to it) based on exactly how it turned out with that exact cast and crew involved. Change the actors around, for example, and even if all the other components stay the same you do have a different film in most cases.
As you mentioned before in her write-up, Molly Ringwald was offered Pretty Woman but turned it down. Now I like Molly Ringwald, but I just cannot imagine her and Richard Gere having anywhere near that same magic chemistry that Gere had with Julia Roberts onscreen, and that was the key ingredient that made Pretty Woman not just a hit, but a blockbuster. Onscreen chemistry is something elusive, I think Gere and Roberts' follow-up collaboration a decade later, Runaway Bride, even shows that, because they just didn't have that same magical chemistry together again, they couldn't duplicate it, it's sort of lightning in a bottle in a way. But my point is, someone could say "Molly Ringwald made a mistake turning that movie down, it was huge!", but I don't think it would've hit any other way than the way it turned out. That's maybe not an absolute rule, I'm sure there's some examples of films that also would've been hits or even blockbusters with different actors involved, but I think this holds true for a majority of hit films.
Pfeiffer is another actress who married pretty well- David E Kelley produced a ton of TV shows The Practice, Boston Public, Chicago Hope- and she can spend time with her family if she doesn't like the roles being offered.
Oh- my brother has her as a client/customer- I don't know the ethics involved so I will keep the details to myself.
I'm sure I can say he really likes her- thinks she is smart and down to earth.
Re-watched Baker Boys during this Christmas break. Really, just amazing, it's one iconic movie that stands up well to the passage of time. The use of light and general cinematography from beginning to end about makes me hyperventilate and then we have the slamdunk acting chops trio of Bridges brothers plus Michelle. So glad to have this in my permanent collection!
I sense that Michelle has incurred real damage from "The Family." Also, at one the movie's premiers Michelle stated that she intends to be very busy in her career now that her son has entered college. Nonetheless, "Whatever Makes You Happy" and "Man Under" appear to be stuck on the launching pad. Michelle has gone eerily silent once more. The graph of her stock value on HSX has gone steadily downward. She has long been one of my favorite actresses and I miss seeing her with activity. LeBeau, what the hell is happening?
I'm now wondering if Annette Bening, the woman whom Michelle replaced as Catwoman in "Batman Returns" deserves a WTHHT:
Except for The Grifters, in which she was great, the rest of Bening's career consists of scenery chewing which would make you think she had just escaped from a North Korean internment camp.
by: Anonymous reply 5 01/06/2014 @ 03:01PM
Bening has given some memorable performances but also some pretty terrible ones. She is a talented but uneven actress who needs very firm direction, and lots of it. As far as her marriage, how many wonderful performances has Beatty given in the past 20 years?
All told, I think she's had a good run of it. We can't all be Meryl.
by: Anonymous reply 8 01/06/2014 @ 03:04PM
Yeah, Bening is rather inconsistent. But she never hit the top, regardless. That's the point. But maybe the lack of consistency/discipline or whatever was as much the issue with her career as Beatty was.
by: OP reply 44 01/06/2014 @ 04:23PM
Annette Bening made the choice early on to stay away from commercial films without what she considered to be high artistic merit. She came close to doing FREAKY FRIDAY and dropped out anyway and that script was about as good as family friendly studio movies get.
by: Anonymous reply 84 01/06/2014 @ 05:40PM
And speaking of Michelle Pfeiffer….:
I'd put Michelle Pfeiffer on the list – not just because of motherhood, but due to her dedication to big screen "Lifetime" movies from the mid 90s onwards.by: Anonymous reply 48 01/06/2014 @ 04:27PM
Didn't Pfeiffer voice Eris in the 2004 Sinbad: Legend of the Seven Seas?
Michelle is so hot that any mere mortal man would burst into flames if she were to make casual eye contact. Most beautiful women are nut jobs. They never aspire to their full potential because their beauty makes everything so easy for them. Michelle however, after 30-35 years is still here, still naturally beautiful, and competent. Is a career a sprint or a marathon?
There is no telling what goes through the mind of a woman like this when picking a movie.
"Dear, have you seen that script that came in the other day from Martin?" "I put it on the pile with the other ones in the study…"
"Dear, Gary called and said he was sending over a new script. Make sure you don't lose it, I need this one to keep up with Meg!"
Who knows the minds of women.
But,,,Oh, but the catnip, the catnip. I want to luxuriate in the catnip.
A brief departure from reality and back to real life…off to work.
Thanks for the article. I think I enjoyed the comments more than the article, which is a testament to the subject matter and the provocation the article evokes from the readers.
Brad Deal
Interesting video podcast from Grantland.com (Michelle is a major topic):
(it would not let me embed the link to make it clickable for some reason)
This whole podcast is about actresses and rom-coms/careers. I would recommend you skip ahead to the Michelle part at about 1:01:50 or so.
michelle i feel has potential. i think she work with tim burton again he bring out the best in her even though dark shadows sucked. He can give her a dark gritty role
i noticed how alot of the actors in the site had a role in batman films. Such as kilmer,keaton,michelle,carrey, kidman ,chris o donnell, silverstone and arnold lol maybe there should be an article how batman movies hurt actors career lol
i could of sworn i saw o donnell there well u have an idea for next article.it seems like bale clooney are the only actors that played batman and had a successful career
uma thurman i forget another actress who appeared in batman
i think richard gere should be on the list he has had a lot of flops hasn't had a hit since Chicago that was 12 years ago. the only hits he had were days of heaven american gigglo officer and genrlte runaway bride pretty women and chicago five hits out of so many movies he had more flops then hits like mothmen and autem in new york. He needs one
1989's Best Actress-winning performance highlighted a film many would rather forget:
by Mike D'Angelo
Truly great acting is seldom recognized in its own time—at least officially, with trophies and such. Performance Review takes a retrospective, highly opinionated look at past award-winners. Each entry focuses on a specific category in a given year, in several different awards ceremonies, in an effort to determine the year's most criminally overlooked performance.
Best Actress, 1989• Academy Award: Jessica Tandy, Driving Miss Daisy
Driving Miss Daisy wasn't exactly considered progressive even at the time of its release, and it had the further misfortune of coming out the same year as Spike Lee's incendiary Do The Right Thing, which made writer Alfred Uhry seem even more irrelevant with his warm, nostalgic memories of dignified African-American subservience. The most charitable way to look at the film (or the play, since it's still being produced these days) is not as social commentary, or even as a reminiscence, but as a vehicle (literally, much of the time) for two actors to have fun with an odd-couple bonding narrative. Tandy's age (she was 80 when she won) and rich Hollywood history (dating back to 1932) made her the sentimental favorite that year; she didn't pick up any of the major critics' awards, and her performance as Miss Daisy hasn't really endured. All the same, she's a pleasure to watch in the role, finding just the right balance of imperiousness and vulnerability.
Driving Miss Daisy works best as a droll comedy—when Uhry strives for gravity, it risks seeming patronizing—and Tandy's nervous energy bounces beautifully off Morgan Freeman's unflappability, particularly during the early scenes in which Miss Daisy is critical of every single thing Hoke does, as well as things she's merely concerned that he might do. At no point does she telegraph her awareness that the character is faintly ridiculous, which is always a strong temptation for an actor playing a potentially unsympathetic person. Tandy was a class act for her entire career—she kept working right up until her death five years later—and while this wasn't necessarily the best performance by an actress that year, it's hard to begrudge her the belated recognition, arriving four decades after she won a Tony as the original Blanche Du Bois (opposite Brando) in A Streetcar Named Desire. Not a bad legacy at all.
• New York Film Critics Circle: Michelle Pfeiffer, The Fabulous Baker Boys
Many iconic performances are embodied in the cultural consciousness by key lines of dialogue. "You talkin' to me?" "You know how to whistle, don't you?" "Get to the choppa!" But Michelle Pfeiffer in The Fabulous Baker Boys lives on for most people as a slinky red dress sliding over a grand piano. It's easy to forget, if you haven't seen it in a long time, that there was more to the movie—and to Pfeiffer's terrific work therein—than that one intensely erotic scene. For one thing, the character's name is Susie Diamond, and she's written like a woman named Susie Diamond, and Pfeiffer plays her, to the hilt, like a woman named Susie Diamond. For an actress embarrassed that she got her big break in Grease 2, it must have seemed like an opportunity to demonstrate that she could pull off Sandy and Rizzo at the same time; she's pure lusciousness behind the microphone, sarcastic and world-weary offstage. Her best scenes are the ones in which Susie talks candidly about her former life as an "escort," and while she's given valuable assistance by Jeff Bridges (one of the best silent listeners in the business), it's remarkable how she can make a lengthy, here's-my-psyche-in-a-nutshell monologue and sound natural and impromptu, while still coming across as delectably movie-star glamorous. She also did her own singing, and while her versions of "Makin' Whoopee" and "My Funny Valentine" won't make anyone forget Ella Fitzgerald, she's good enough to make it credible that Susie's presence would resuscitate the Baker Boys' floundering act. All three of the critics' groups named her Best Actress (though the L.A. critics ended up with a tie; see below), and she won the dramatic Golden Globe as well, with Tandy taking Comedy/Musical. Does anybody remember much more than the piano-as-mattress moment, though, 25 years later? I wonder.
• Los Angeles Film Critics Association: Andie MacDowell, Sex, Lies, And Videotape and Michelle Pfeiffer, The Fabulous Baker Boys
LAFCA went with Pfeiffer as well, but also found room for the year's most unexpected triumph. When Steven Soderbergh cast Andie MacDowell in his debut feature, he was well aware that she wasn't highly regarded; writing in his journal at the time, he described the reaction from his casting agent as "Uh-oh, Steven fell for the model." And the truth is that MacDowell has rarely distinguished herself elsewhere. She tends to lean hard on the same faintly irritating mannerisms in various rom-coms and second-tier dramas. (Her appearance in Robert Altman's Short Cuts verges on awful; thankfully, it's a huge ensemble film.) Apparently, though, Soderbergh is some kind of wizard who can coax great performances from actors who can't really act (including, on the actress side, Gina Carano, Debbie Doebereiner, Sasha Grey, and arguably Jennifer Lopez).
MacDowell is sublime as Ann Mullany in Sex, Lies, And Videotape, right from the opening scene, in which she blushes and stammers and can't keep from laughing when Ann's therapist asks her whether she masturbates. It's a gorgeously realized portrait of sexual repression, deftly avoiding the usual pitfalls involved in playing bottled-up types; Ann comes across not as a withered husk but merely as someone whose libido has never quite been fully charged, until now. As Soderbergh himself noted (during shooting, no less), MacDowell needed to walk a fine line between a lack of self-awareness and outright stupidity, and she almost never falters. She only strains for effect when she's required to be angry, though it probably also helps that Soderbergh opted to ditch most of the dialogue he wrote for Ann and Graham (James Spader) in their final scenes together. In any case, this performance seems even more like a miracle in hindsight.
• National Society of Film Critics: Michelle Pfeiffer, The Fabulous Baker Boys
Pfeiffer must have known it was her year when even the NSFC couldn't come up with some relatively obscure pick instead of her. The year's other Oscar nominees besides Tandy and Pfeiffer fall squarely in the "solid" category, though it's significant that one of them was in a foreign language—still rare to this day, even though subtitles have become much more commonplace on television. Isabelle Adjani does ferocious work in the title role of Camille Claudel, despite being stuck in a standard biopic that requires her to skip from one emotion to another as the historical record dictates; she's frequently mesmerizing to watch, but director Bruno Nuytten (then Adjani's offscreen partner) clearly believes that tempestuous behavior is a magical cure-all for narrative torpor, and leans on her energy a bit too hard.
The category was rounded out by one perennial and one newcomer. Jessica Lange gives good anxiety in Music Box, as an attorney defending her father from charges of Holocaust-related war crimes. The role (written by Joe Eszterhas, a few years before he turned into a punchline) is one-dimensional, and the film (directed by Costa-Gavras) has largely been forgotten, but Lange manages to dig in and find a few gut-wrenching moments as her character struggles to come to terms with a grim family history. And then there was Pauline Collins, reprising her award-winning (Tony, Drama Desk, etc.) stage performance in Shirley Valentine, a pleasant bit of fluff about a British housewife emotionally liberated by a vacation in Greece. It's fair to say that Collins owns the role, but it's also fair to say that she's playing a dotty wish-fulfillment fantasy figure with no rough edges or hidden substance. Amusing, but nothing more.
• Performance Review's Most Overlooked: Winona Ryder, Heathers
[Full disclosure: I know Daniel Waters, who wrote Heathers, very slightly. He participates in an annual survey I conduct, I've been to a couple of parties at his house, and he read a screenplay I wrote. We're in touch maybe twice a year. Had no bearing on my choice here, I firmly believe, but I note it for the record anyway.]
Though Winona Ryder made a bit of a splash in 1988 in Beetlejuice, in which she's hilariously deadpan (befitting a character who starts out more interested in death than life), she truly became a star when she landed the lead role in one of the most demented high-school comedies ever made. "My teen-angst bullshit has a body count," Veronica Sawyer scribbles into her diary at one point. Ryder, playing the sardonic nucleus of Heathers' over-the-top orbital mayhem, introduced a new variety of adolescent heroine—Molly Ringwald crossed with a mean girl. The movie's deck is admittedly stacked in Veronica's favor, as she's surrounded by broad caricatures who are at best merely horrible, at worst lethally dangerous. Still, Heathers asks viewers to identify with someone who'd be the token weirdo in a normal teen movie, à la Ally Sheedy in The Breakfast Club, and Ryder succeeds in making her simultaneously abrasive and likable, mostly by carefully modulating her performance relative to the other actors. In scenes involving the Heathers, she places herself at a phlegmatic remove, channeling Barbara Bel Geddes in Vertigo; when Veronica is alone in her room, narrating her thoughts, the intensity meter goes into the red. And she finds the happy medium opposite Christian Slater's J.D., reveling in "harmless" bad behavior until self-awareness of her naïveté transforms her into an avenging Fury. In fact, the role pretty much exhausted her range, which she's spent the rest of her career struggling to expand, taking wildly un-Veronica roles in films like Edward Scissorhands and The Age Of Innocence. Apart from the Chicago Film Critics Association and the fledgling Indie Spirit awards, however, nobody paid much attention at the time. "The extreme always seems to make an impression," J.D. tells Veronica. Not in this case, for whatever reason.
she is strong actress she will make a comeback she still has appeal and bar non is probaly the most sucessful actress on the list
Derailed Film Stars: Retracing Michelle Pfeiffer:
Michelle Pfeiffer recently starred alongside Robert De Niro in Luc Besson's latest crime drama The Family. This is proof that, well, it ain't over, till it's over. The film may not have achieved massive box office success, nor was it a critically-acclaimed masterpiece, but it's not like she's headed for Dancing with the Stars or something equally horrifying. Michelle Pfeiffer is a true Hollywood talent. The three-time Oscar nominee got her early start as a beauty pageant queen, but it wasn't that pretty face that won over movie audiences around the globe. Pfeiffer has always commanded a stage, and a scene, which is why many of us are still rooting for her Daryl Hannah/Kill Bill-style comeback. As we patiently await a casting announcement in Quentin Tarantino's upcoming The Hateful Eight, let's take a look back at some of her most memorable performances.
The Birth of an Icon
Even a fearless, ruthless drug kingpin like Tony Montana had his weakness, and Elvira Hancock was it. In 1983, Al Pacino stunned movie-goers in Scarface, and Michelle Pfeiffer stunned everyone with her ability to be the seemingly vapid, fierce, unattainable, and unforgettable Elvira. Celebrity women everywhere are still requesting that iconic Michelle Pfeiffer elevator look, but to no avail. There can only be one.
Big Hair, Big Dreams
Married to the Mob was such a huge deal — as was the Angela de Marco style — women in jumpsuits with big hair actually looked cool… if only for a moment. Pfeiffer had traded in the heroin chic look from Scarface to play a mob widow who ended up developing an unlikely relationship with the detective on her trail. Now, more than twenty years later, there's a collection of VH1 Mob Wives who have Pfeiffer to thank for their 15-20 minutes of fame. Jonathan Demme would go on to direct major cinematic achievements, with Philadelphia and Silence of the Lambs. Let's hope he hits up an old friend for his next project.
Tic, Tac, Toe
It's interesting to look back at one of the most beloved Catwomen, now that the new FOX series, Gotham, is underway, and we've met Camren Bicondova (who is, at least in terms of physical makeup, an eerie Pfeiffer clone). Years from now, superfans will continue to debate about who was the greatest — Eartha Kitt? Pfeiffer? Anne Hathaway? (Yes, someone will name Hathaway… and maybe Halle Berry.) This version of Selina Kyle/Catwoman was unique because she instantly became a favorite among comic book nerds, feminists, and pretty much everyone else. This role is hugely important for Pfeiffer — and for understanding her fascinating career — because audiences learned that she could get weird, dark, and twisted beyond belief. Batman Returns introduced us to a new brand of Pfeiffer, of which we saw far too little as the years passed.
Southern Comfort
Earning one of her three Oscar nominations, Pfeiffer proved that she could fuse the slightly deranged with the dramatic in Love Field. Her performance as Lurene Hallett put a brilliant spin on the historical context of John F. Kennedy's assassination, and the celebrity status of his widow Jackie Kennedy. Hallett was an obsessed housewife whose compulsions resulted in a great story where race, politics, crime, family, and fame in 1960s America all gathered under one plot.
Armed and Dangerous
Coolio may have become the breakout star of Dangerous Minds, thanks to his hit song, "Gangster's Paradise," but Pfeiffer delivered a powerful performance as ex-marine-turned-inner-city-teacher, LouAnne Johnson. She was tough as nails, and she delivered a mean monologue.


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The Andersons, Inc. (NASDAQ:ANDE)
An entrepreneurial, customer-focused company with diversified interests in the agriculture and transportation markets and has developed specific core competencies in risk management and an understanding of commodity markets.
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This stock was added to the Zacks #1 Rank stocks list, on the day it was placed in the CAPS portfolio.
Beat earnings est. Things have been a little rocky, but generally on the rise over the past couple of years.
low P/E cash fountain, on sale
This stock is diversified into 4-segments in the agriculture and transportation markets. It's not a simple play on ethanol as some people seem to think. They are in fertilizer, retail, grains, and a very stable company that in the $34.40-$34.80 range should pop back to the $40.00 range as they saw this just a few months ago.
diversified product lines
Peak Oil production has passed the time for Biofuels has come. This company is ahead of the curve for managing grains and ethanol plants. They should lose their supermarkets and focus on core competencies.
This met a high level screen to indicate a buy and strong outperform against its peers (other tickers in its industry). My 1st version of this spreadsheet devles deep into the company's balnace sheet and recent income statements, combined with other relevant price data for the company including insider/institutional holdings, short interest, debt levels, etc.
Testing capabilities of this 1st version of my automated, valuation spreadhseet matched with my personal criteria and see how it holds up.
Cyclical action in an uncertain market in an adverse environment.
Luvb2b's pitch
Ethanol looks worse every day.
love this company, their stores are great
will drop below 40 on or around april 13th and return with modest gains. steer clear for now.
will all this rain ruin crops, dont think so
Performing fairly well during this down period. Main focus is "Ethanol" - it's not history yet!
Fall/4th qtr is the time for ANDE. Basically stable since split, but always profitable and will show great Fall quarter numbers, as always. Carry a "ethanol" ball and chain but regional terrific, lots of mega-infrstructure. Have infrastucture, origination, transportation, and diversified Ag sectors. $60 in 6.
The Andersons is a perpetual favorite of mine. It's a well run company with frequently rosy earnings.
This is a diversified ethanol, rail play....

subset: commoncrawl


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How to Meet Goths in Your Area
There may not be many Gothics around in your area, but you can't be the only one! Here are tips to meet other Gothics in your area:
1Look around at your school. It's impossible you are the only Goth around!Ad
2Hang out where you buy your clothes. Other Gothics should be there as well, right?
3Go to 'Gothy places' such as the graveyard, you might even find some people in your local library. If you live in a big city this shouldn't be hard for you.
4Go to concerts in your area. There should be many Gothics there as well.
5Search on Facebook, ASL-page, Twitter and others. Maybe you'll find some people.Ad
We could really use your help!
female accessories?
mousetrap cars?
nail polish?
- Always be yourself.
- Don't freak people out. Don't try to track them down or be pushy.
Article Info
Categories: Goth | Making Friends
Thanks to all authors for creating a page that has been read 4,705 times.


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A brief history lesson for the uninformed. Linkin Park is an Agoura Hills, CA based rock outfit, emerging in the height of popularity of other "rock-rap" acts like Korn and Limp Bizkit, but have arguably seen more success and longevity than their peers in the genre. Perhaps this credit is owed to frontman Mike Shinoda, who doubles as the group's producer and emcee, and also has a true understanding of hip-hop music. This fact became evident on 2002′s Reanimation, a Linkin Park remix album, which tapped the likes of Pharoahe Monch, Black Thought, Jurassic 5, Alchemist, and Evidence, rather than using whatever "hot" producers in hip-hop of the time. The point was further driven home on Shinoda's 2005 solo hip-hop record, Fort Minor, which found him joined by various members of The Demigodz, as well as Common, Ghostface Killah, among others. And there was that little Collision Course mash-up album with some guy named Jay-Z.
All of that being said, with the production for Linkin Park's new album, Minutes To Midnight, being handled by legendary Def Jam producer Rick Rubin, hip-hop fans are ready to give the group a chance – but is this album for them? For those living under a rock, Rubin may have cut his teeth producing classic acts like The Beastie Boys and Run DMC, but he's also softened up a bit in his later years. Most recently receiving accolades (read: Grammys) for producing 2006 albums for The Dixie Chicks and Red Hot Chili Peppers – so this could go either way.
Truth be told, Linkin Park's Minutes To Midnight may be the album that finally got the hip-hop fans to listen, but in essence this is their most rock oriented disc yet. It begins with the abrasive, explosive "Given Up", which finds lead vocalist Chester Bennington doing what he does best – screaming his emotionally charged vocals, in key. Focusing less on the rapped Shinoda vocals the group is usually accompanied with, the LP features many well-executed, aggressive rock tracks in this vein. Case in point is the album's lead single, "What I've Done", featuring trademarked Shinoda eerie pianos and snapping funk drums; or again on the politically charged "No More Sorrow". Politics rear their ugly head later on the album's last track, the Hurricane Katrina inspired "The Little Things Give You Away".
Shinoda's rhyme element hasn't been completely sacrificed here, as two of the LP's best tracks feature him getting his Fort Minor on. After the album's first few straightforward rock tracks, the beautifully executed "Bleed It Out" features Shinoda exercising a Luda-esque flow with a barrage of poignant lyrics ("candy paint on his brand new hearse"), while Chester's addictive hook eggs him on. Later on "Hands Held Out", Shinoda speaks inspiring words on the fucked-up state of affairs the world is in, over marching drums, while the crew backs him up like a tattooed and messy-haired men's choir.
The other side of Linkin Park is their soft ballads, which offsets Chester's scream and Shinoda's attitude. But some of these tracks work better than others. "Leave Out All The Rest" is too much of a downer after being sandwiched in between the energetic pair of "Given Up" and "Bleed It Out". "Shadow Of The Day" is a bit of an improvement, however seems a bit too lovey-dovey for the rest of the LP (guess they can't forget those female TRL fans). Treading the line between hard and soft cores is potential hit, "Valentine's Day" – however next February may be too far off to market that one. The best of the bunch is actually "In Between", which finds Shinoda taking up the singing chores from Chester, almost channeling RJD2′s "Making Day's Longer".
It's hard to pick up on Rick Rubin's influence on the new Linkin Park album – so those expecting them to go all Beastie and turn out another "99 Problems" throwback jam, look elsewhere. It seems more like Rubin sat back and worked more as a composer, rather than programming a drum machine. With Minutes To Midnight, Linkin Park has definitely matured, and perhaps this growth will land them the Grammy nods they are obviously striving for – but truth be told – we miss the rhymes.
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Some days in winter
This photo was shot on film. Taken by egor_post with a Canon T70 loaded with Fuji Superia 200 (35mm) film in Kostroma, Russian Federation. These tags describe this photo: winter, kostroma, walks, snow, smena, and february. Date: 2012-02. Time: Afternoon. This photo can also be found in the album Winter walks.Please login to get more out of this site
You are currently not logged in, do so now to add comments, like articles as well as photos, submit to competitions, translate articles and gain access to unlimited photo upload! If you are not registered yet, go here to find out more about Lomography and join now! If you just want a limited account for now you can use Twitter or Facebook. We would love to have you as a member here!
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@hervinsyah thanks a lot! ))
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Trailer (RA. One)
Title: | Ra.One Trailer (RA. One) |
Description: | Trailer for RA. One |
Related Titles: | Ra.One |
Related Names: | Joe Egan, Alex Moore, Shah Rukh Khan, Sanjay Dutt, Shahana Goswami, Suresh Menon, Dalip Tahil, Kareena Kapoor, Ben Hawkey, Satish Shah, Arjun Rampal |
Content Rating: | Not Rated |
Video URL: | http://www.imdb.com/video/screenplay/vi1860607513/ |
Courtesy of: | Screenplay, Inc. |
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Transport Report The Transport Report is a periodic newsletter from NCSL's Transportation Programs that focuses on state and federal transportation news, trends and analysis.
Webinar | Technology to Combat Drunken Driving: Ignition Interlocks This webinar discusses the technology that combats drunken driving with state ignition interlocks legislation.
School Bus Safety This page provides access to a variety of resources dealing with school bus safety.


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New King James Version (NKJV) | New International Version (NIV) |
5 For the Lord is good; His mercy is everlasting, And His truth endures to all generations. | 5 For the LORD is good and his love endures forever; his faithfulness continues through all generations. |
Scripture taken from the New King James Version. Copyright © 1982 by Thomas Nelson, Inc. Used by permission. All rights reserved. (New King James Version) | Scripture quoted by permission. Quotations designated (NIV) are from THE HOLY BIBLE: NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by Biblica. All rights reserved worldwide. (New International Version Bible Online) |


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Texas Longhorns (10-4)
@9 Iowa St. Cyclones (11-3)
Wednesday, January 04
James H. Hilton Coliseum
Attendance: 12,248
9 Iowa St.
Ames, IA (Sports Network) - Iowa State hit 10 three-pointers, as the Cyclones topped the Texas Longhorns, 77-71 in Big 12 action at Hilton Coliseum this evening.
Chris Babb led the charge with 17 points and was responsible for five of the team's 10 treys, as Iowa State (11-3, 1-0 Big 12) ended a seven-game losing streak to the Longhorns. Four other Cyclones notched double digits in the win, as Royce White tallied 14 points, followed by Chris Allen, Scott Christopherson and Anthony Booker, who chipped in with 13, 12 and 11 points, respectively.
Texas (10-4, 0-1) received 19 points each from J'Covan Brown and Clint Chapman, while Chapman completed a double-double with a game-high 14 rebounds. Sheldon McClellan added 14 points for the Longhorns in the setback.
Texas shot 47.8 percent from the floor in the first half and went a strong 11- of-14 from the free-throw line, but still trailed 44-34 at intermission, as the Cyclones were red-hot, hitting 59.1 percent from the floor in the first 20 minutes of action, including 9-of-12 from behind the arc. The Longhorns were able to outscore Iowa State 37-33 after the break, but sent the Cyclones to the free-throw line 24 times in the frame, of which ISU knocked down 12 charity tosses.
Iowa State was outrebounded 38-29 in the game, but delivered on 51.1 percent from the floor overall, including 10-of-21 from three-point range, compared to a 3-of-14 effort by the Longhorns.
Paul Janssen, Rick Crawford, Rick Randall


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The Darby Translation (DBY) | New International Version (NIV) |
12 whose winnowing fan [is] in his hand, and he shall thoroughly purge his threshing-floor, and shall gather his wheat into the garner, but the chaff he will burn with fire unquenchable. | 12 His winnowing fork is in his hand, and he will clear his threshing floor, gathering his wheat into the barn and burning up the chaff with unquenchable fire." |
The Darby Translation is in the public domain. (The Darby Translation Bible Online) | Scripture quoted by permission. Quotations designated (NIV) are from THE HOLY BIBLE: NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by Biblica. All rights reserved worldwide. (New International Version Bible Online) |


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ksecus commented on the blog post Mirror, Mirror, On the Wall
They keep coming back. Dubya should've ended them but it's like he never even happened. Go figure huh?
ksecus commented on the blog post SEC Enforcement Chief Whines that Trying Cases Takes a Lot of Effort
Shorter SEC
Putting Banksters in jail is bad for my social life.
ksecus commented on the blog post Gingrich Still Holds Big Leads in the Early Southern Contests
ah, when will the south evolve?
ksecus commented on the blog post Cass Sunstein's OIRA: The Most Powerful Regulation-Smiting Agency You've Never Heard Of
Start electing Liberals and progressives.
ksecus commented on the blog post Black Friday sales up 7% – was it worth this?
People are broke. They need that savings that early shopping provides. It says more about this economy than it says about anything else. People are broke and desperate.
ksecus commented on the blog post Republican's Latest Super Committee Offer is a 181:1 Ratio of Spending Cuts to Tax Increases
Dont worry. The spineless wonders will cave like always. Its all rigged to make it appear that one party is working for us. Both are paid shills of the one percent. Dems are a mirage. A giant propaganda train that always caves to the rich while claiming to be on our side. We need a Liberal Party. Not a Democratic mirage.
ksecus commented on the diary post The Long Blue Line by Eclair.
Funny…I dont remember these lines of cops confronting the teabagger protesters..
ksecus commented on the blog post Pelosi Signals Her Willingness to Cut Medicare and Social Security Benefits
Time to find another candidate to replace her. She wants to play games we will play games
ksecus commented on the blog post Walker Spokesman, Two Others Granted Immunity in John Doe Investigation
Walker is a scumbucket.
We knew it the minute he was elected. The sorry thing is he will hide behind the evangelicals claiming his holiness is above mere mortals and shouldnt be subject to our laws.
ksecus commented on the blog post Late Night FDL: Uh, Where Are You Going with Our Banner, Mr. President?
Obama IS a conservative.
I dont need a satellite to fall down on my house to see thats what is the truth.
Im staying home on election day. I wont be a part of electing a lying traitor who flips me off constantly.
ksecus commented on the blog post 81% of Jobs Created in Texas Since 2007 Went to Immigrants
I would also like someone to ask Tollbooth Perry if he plans on selling our Interstate Highway System to multinationals and erecting tollbooths every 20 miles. From what Ive read he seems to love the idea of privitising our highways and making them pay tolls.
ksecus commented on the blog post The Not-So-Bold Obama Bold Jobs Plan
How can the economy get any better when Backstabbin Barry agrees with Scary Perry on economic issues?
ksecus commented on the blog post Obama's Job Approval Drops Below 50% with Hispanics
"President Obama's job approval number has dipped below 50 percent among Hispanics for the first time in his presidency."
Hes become backstabbin Barry. He thinks we will vote for him regardless of how many times he backstabs us. I, for one, and the 7 or so new voters I recruited for his first election will be 7 voters stayin home.
I'd rather not vote at all than vote for this prick.
ksecus commented on the diary post Department of "Justice"? by fathergeoff.
Hell, Im still waiting on the Justice Department to go after the Goldman Sachs CEO. And about a thousand other banksters.
ksecus commented on the diary post Cheney's Kettle Logic by David Swanson.
Perfect for Cheney. Also he does stuff just to piss people off. Thats a great trait in a leader.
ksecus commented on the blog post #WeAreAllFirebaggersNow
Hes doing exactly the same things as Bush did. Hardly a dimes difference. Trickle downers both.
For the life of me I just cant figure out why the left is so angry at Obama….
ksecus commented on the blog post White House Trying to Win Independents with Economic Policies That Do Nothing
Dont blame me. I voted for Hillary.
ksecus commented on the blog post Rick Perry Calls Social Security and Medicare "Ponzi Schemes"
His state is bankrupt, has the worst educational program, has huge poverty levels and terrible living standards..
Yea, ill listen to this guy..
ksecus commented on the blog post Completing The Theft From The Social Security Trust Fund
And Obama is all for that theft.
We need a new country.
ksecus commented on the blog post Americans' Economic Confidence Plummets
Sadly, I am losing confidence in every part of America . Not just the economy .
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