Jill Clayburgh

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Jill Clayburgh (April 30, 1944 – November 5, 2010) was an American actress best known for her appearances in theatre, television, and film.

She is a recipient of the Cannes Film Festival Award for Best Actress for her role in Paul Mazursky's comedy "Average Woman (1978), portraying strong, independent women.

She will be given her second straight Academy Award nomination for Beginning Over (1979), as well as four Golden Globe nominations for her film appearances. Clayburgh made her Broadway debut in 1968 and appeared in the original Broadway revivals of The Rothschilds (1970) and Pippin (1972), then back in 1984 for the revival of the play Design for Living.

On television, she appeared in episodes of Medical Center, Maude, and The Rockford Files before starring in the 1975 television film Hustling, which earned her the first of two Emmy Award nominations.

She received her second Emmy nomination for her 2004 guest appearance in Nip/Tuck, and then went on to star in the drama series Dirty Sexy Money (2007–09).

Hanna K. (1981), Silver Streak (1976), La Luna (1979), Gable and Lombard (1979), Fools Rush (1991), Fools Rush (1987), Running with Scissors (2006) and Bridesmaids (2011).

Early life

Clayburgh was born in New York City, the daughter of Julia Louise (née Dorr), an actor and production secretary for producer David Merrick, and Albert Henry "Bill" Clayburgh, a manufacturing executive. Alma Lachenbruch Clayburgh, her paternal grandmother, was a concert and opera singer. Jim Clayburgh, her brother, is a scenic designer.

Her mother was Protestant and her father was Jewish, but she never discussed her religious origins or was raised in no faith. Clayburgh never got along with her parents and began therapy at an early age: "I was very rebellious as an adolescent," she said, despite having an unhappy, neurotic childhood. I can't wait to try it, but I can't afford to. I suspect I had a lot of energy and undirected need so I kind of rebelled in a general way. I found myself in a lot of debt, particularly with women. Therapy has made a difference in my life."

Clayburgh was inspired to be an actor as a child after seeing Jean Arthur as Peter Pan on Broadway in 1950. She was born on Manhattan's Upper East Side, where she attended the all-girls Brearley School. She continued to attend Sarah Lawrence College, where she studied religion, philosophy, and literature, but ultimately decided to be an actress. She underwent her acting training at HB Studios.

Personal life

Al Pacino, a clayburgh actor, appeared in films from 1967 to 1972. In 1979, she married screenwriter and playwright David Rabe. They had two children, Michael Rabe, and Lily Rabe, actress Lily Rabe.

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Career

Clayburgh began working in summer and then moved to Boston, where she encountered Al Pacino, another up-and-coming actor and future Academy Award-winning actor. They met after appearing in Jean-Claude Van Itallie's play America, Hurrah. They had a five-year marriage before moving back to New York City.

Clayburgh appeared off-Broadway in Israel Horovitz's The Indian Wants the Bronx and It's Called the Sugar Plum, also starring Pacino. In "Deadly Circle of Violence," an ABC television series NYPD episode, Clayburgh and Pacino were cast. Clayburgh was also on the soap opera Search for Tomorrow, playing Grace Bolton. Her father will help with money each month.

She made her Broadway debut in 1968 in The Sudden and Accidental Re-Education of Horse Johnson, co-starring Jack Klugman, which ran for five performances. She appeared in Calling in Crazy, an off-Broadway version of Henry Bloomstein's "Calling in Crazy" at the Andy Warhol-owned Fortune Theatre in 1969. She appeared in The Choice (1969), a TV pilot that did not sell, and The Nest (1970) appeared off Broadway.

Clayburgh made her screen debut in The Wedding Party, written and directed by Brian De Palma in 1969. The Wedding Party was shot in 1963 (during which Clayburgh was at Sarah Lawrence) but it wasn't announced until six years later. The film focuses on a soon-to-beancée's relationship with several relatives of his fiancée and friends of the wedding party; Clayburgh played the bride-to-be. Robert De Niro, who appeared in one of his early film roles, and Jennifer Salt were among her co-stars. Howard Thompson wrote, "As the harrassed engaged couple, two newcomers, Charles Pfluger, and Jill Clayburgh, are as appealing as they can be."

Clayburgh attracted notice when she appeared in the Broadway musical The Rothschilds (1970–72), which ran for 502 performances. She then went on to act Desdemona opposite James Earl Jones in 1971's Los Angeles production of Othello (1972–74), which attracted 1,944 performances. Clayburgh was described as "all sweet connivance as the widow goes out to get her man." Clive Barnes of The New York Times found Clayburgh to be "all sweet connivance as the widow goes out to get her man."

Clayburgh had a short appearance in film and television during this period. A few of these include a small part in The Telephone Book (1971) and Portnoy's Complaint (1972), Tiger on a Chain (1973), Shock-a-Bye, Baby (1974), and 1974's The Terminal Man, opposite George Segal.

Clayburgh appeared in Going Places (1973), after guest-starring on an episode of The Snoop Sisters (1973). She appeared on Medical Center, Maude, and The Rockford Files as a guest star. Leon Redbone, a musical guest, appeared on Saturday Night Live on February 28, 1976 (Season 1, Episode 15) with musical guest Leon Redbone. She appeared on Broadway later in Tom Stoppard's Jumpers, which was a show on Broadway. Despite her Broadway success, Clayburgh was captivated by film acting: "One of the things I love about the films is the adventure of it." "I love going to different places and I like doing a different scene every day."

Clayburgh was praised for her appearances in Hustling (1975), in which she appeared as a prostitute and The Art of Crime (1975). "Before I did Hustling I was always portrayed as a good wife," Hustling described her as a nice wife. I wasn't particularly good at it. It was a nice job and a departure from Hustling. People were taken in a different light." She received an Emmy nomination for her role in the TV film; later, she said it boosted her career. Clayburgh said, "It changed my career." "It was a role that I excelled at, and then people came to me." Sidney Furie saw me and wished for Gable and Lombard."

Carole Lombard was in the 1976 biopic Gable and Lombard, with James Brolin as Clark Gable. Variety rated it as a film with many major assets, not the least of which is Clayburgh's spectacular and smashing role as Carole Lombard" and Time Out London said she "produced a very modern interpretation of the Lombard larkishness." "She seems to be creating a character whenever the frighteningly bad screenplay encourages it," Vincent Canby of The New York Times said. "Miss Clayburgh was a good actress," he wrote, "Miss Clayburgh may have been an interesting actress but small actors try to portray the kind of giant legends that Gable and Lombard were." Both Gable and Lombard are still vibrant in their films on television and in repertory theaters, so it's impossible to connect with Mr. Brolin and Miss Clayburgh in a meaningful way."

She appeared in Griffin and Phoenix (1976), co-starring Peter Falk. It tells the tale of two ill-fated middle-aged characters who both suffer from terminal cancer and have months left to live. Clayburgh, in fact, contracted the same disease in this film as her character, before succumbing to it in 2010. She had her first big box office success in 1976, also starring Richard Pryor. Clayburgh had nothing to do with Silver Streak, according to critics, and The New York Times described her as "an actress of far too much intelligence to be able to fake identification with a job that is essentially that of a liberated ingenue."

Burt Reynolds and Kris Kristofferson appeared in Semi-Tough, a comedy set in American professional football, in 1977. Barbara Jane Bookman, who has a subtle love triangle with both Reynolds and Kristofferson's characters, was a clayburgh. "Miss Clayburgh, who has been asked to act zany heroines in Gable and Lombard and Silver Streak by people who failed to provide her with information," Vincent Canby wrote. She's charming, and the Washington Post loved her chemistry with Reynolds: "Reynolds and Clayburgh look fantastic together." They seem to harmonize in a way that would only be more apparent - and make their eventual recognition of being in love seem more appropriate." Both Semi-Tough and Silver Streak earned her a following as "a well-known modern stylist of screwball comedy," according to The Guardian, Clayburgh "had the kind of warmth and witty sophistication not seen in Hollywood since Carole Lombard and Jean Arthur."

Clayburgh's breakthrough came in 1978, when she was nominated for her first two Academy Awards for Paul Mazursky's An Unmarried Woman. Clayburgh played Erica, the brave widow who wrestles with her new'single' identity after her stockbroker husband abandons her for a younger woman in what would be her career-defining role. An Unmarried Woman received praise and was a hit at the box office for a brief period of time, including Clayburgh, who was 34 years old. Clayburgh's appearance earned some of the best reviews of her career, including Roger Ebert, who called the film "a journey that Mazursky makes into one of the funniest, truest, and often painful movies I've ever seen." And so much of what's best is due to Jill Clayburgh's appearance, which is, quite simply, luminous. In this film, Clayburgh takes risks. She's on a mental limb. "Miss Clayburgh is nothing less than stellar in what is the year's finest show to date," the New York Times wrote, "Miss Clayburgh is nothing less than extraordinary." We see intelligence combating emotion in her – reason backed against the wall by pushy demands."

Pauline Kael, a veteran critic and a writer for The New Yorker, wrote this article: "Pauline Kael, a veteran critic, said:

Clayburgh received her first Golden Globe nomination for Best Actress in a Motion Picture – Drama (both of which she lost to Jane Fonda for Coming Home) and received the Best Actress Award at the Cannes Film Festival, which she and Isabelle Huppert shared.

During this period, she took the lead in Norma Rae, a film that gained Sally Field her first Oscar. Nevertheless, Clayburgh had a career peak after appearing in two films that won her widespread acclaim in 1979. Bernardo Bertolucci's La Luna (1979), the first of which she made in Italy, was the first in a series. The film depicts an incestuous marriage between a mother and her heroin-addicted son, which was poorly received at the time. Clayburgh volunteered to star in this film because she felt that "most important parts of a film are concerned with something that is socially taboodoo." Bertolucci was particularly impressed with her art, having praised her ability to "go from one extreme to another in a single shot, be funny and dramatic within the same scene." Despite the film's controversies, Clayburgh's performance as a manipulative opera singer was generally lauded: critic Richard Brody called it "her most extravagant role" and a study in The New York Times found her "extraordinary under impossible circumstances." "Jill Clayburgh, seizing by the throat the opportunity of working with a great European director, gives a bravura performance: she is like the life force in person," Angela Carter wrote in the London Review of Books.

Alan J. Pakula's Beginning Over, a romantic comedy starring Burt Reynolds and Candice Bergen, was his second and last film of 1979. “The remarkable thing is that she’s so many people,” Pakula says. You don't know what you're going to get in a Jill Clayburgh film. "Miss Clayburgh's characterization of Reynold's divorced character throughout the first part of the story and unconvincing in the second was lauded by The New York Times," she said. Beginning with Over, she received her second Oscar and Golden Globe nomination for Best Actress. She appeared on In the Boom Boom Room as a go-goodie. She had been hoping to perform this role since 1972 when the play first premiered on Broadway, but she was unable to replace Madeline Kahn. Even though she was not involved in David Rabe's film, she later married him in 1979.

Mel Gussow, author Mel Gussow, suggested that Clayburgh be one of the few "stars" for the 1980s' fresh, natural anti-ingenues, along with Meryl Stenue and Diane Keaton, "these are stage actresses who have been able to come as clowns as well as play heroines." She was filmed opposite Michael Douglas in a romantic comedy called It's My Turn in 1980, where she teaches the snake lemma. Eleanor Bergstein, a screenwriter, was raving over Clayburgh's casting. Bergstein says, "To me." "Jill is one of the few actresses whose appearances seem to have envisioned her life.' In a sense, women whose intelligence animated their faces, which I think divides them. They have to be beautiful in order to be exactly who they are. Their minds direct their faces. Jill seems to be like that. A number of actresses are just the opposite. Clayburgh herself was attracted to the role because "Kate is the closest person to myself" I had ever seen. "Oh, An Unmarried Woman, that's you," people always say. Well, it's not.” She was a conservative Supreme Court justice in First Monday, a comedy with Walter Matthau, but of course, it wasn't.” Her performance was lauded, and she has been named for Best Actress in a Motion Picture – Comedian or Musical.

Clayburgh appeared in fewer and less successful films by the mid-1980s, despite upgrading to more dramatic content. In I'm Dancing as Fast as I Can (1981), written by David Rabe, she husband, she played a valium addict and documentarist. "I guess people think I'm a ladylike person," Clayburgh said, "but it isn't what I do best." "I do best with characters that are coming apart at the seams." The film received critical feedback, but Janet Maslin of The New York Times loved Clayburgh's role and wrote that she played her high-powered career woman "earnestly and vociferously." Hanna K. (1983), a court-appointed Israeli-American prosecutor who was assigned to defend a Palestinian man for director Costa-Gavras. The film was a box office flop that cost her career and ended her career. Clayburgh was upstaged by the film's premiere, but she had been away from cinema for three years, when she was busy raising her children.

Clayburgh revived No.l Coward's Design For Living (1984–85), starring George C. Scott, alongside then-rising actors Raul Julia and Frank Langella, on Broadway. "Jill Clayburgh's Gilda is not limited to sex and turmoil," John Beaufort wrote for the Christian Science Monitor. She can be sweetly feminine. She is a woman who is both trying to find herself and finding herself in this triangle. Miss Clayburgh is more than capable of comprehending the deeper facets of her story as well as the more amusing parts of her story.

Clayburgh began appearing in television films, including Where Are the Children, as her film career faded. (1986) As a divorcée who seeks revenge on her ex-spouse, and Miles to Go (1986). After Hanna K. Ebert's "most important part" after An Unmarried Woman in 1987, she returned to film in 1987, where she was recognized for portraying a shallow, sophisticated Manhattan magazine writer in Andrei Konchalovsky's little-seen independent film Shy People; although the film flopped, this was her most significant film role after she returned to film, after she had "amusing" her character.

Clayburgh played several characters in the television series Who Gets the Friends? (1988) and Fear Stalk (1989), where she portrayed a budding cartoonist in the former and a hard-willed soap opera actress in the latter, before becoming an investigator investigating a child abuse case in Unspeakable Acts (1990). Clayburgh received raves for her work as English actress and singer Jill Ireland in the television series Reason for Living (1991), which chronicles Ireland's fight against cancer and attempted to encourage her adopted son to get rid of his heroin use in 1991. Even though Clayburgh never visited Ireland, she read her book and listened to taped interviews with her in preparation. "In Reason for Living, Ken Tucker praised Clayburgh's accent, writing: "Within the absence of her smooth assurance, Clayburgh pulls off Ireland's English accent without drawing attention to herself." The New York Times' coverage of her small-screen performances was "a sign of the times": older actresses used to performing strong roles are finding their best work [in film] on television."

Clayburgh grew into a supporting character actor in the 1990s, portraying characters such as a notorious judge in Trial: The Price of Passion (1992) and Alan Alda's character in Whispers in the Dark (1992). She appeared in Beyond the Ocean (1990), as a kid in Bali, and in the unreleased Pretty Hattie's Baby (1991), and she became a popular maternal figure in Rich in Love (1992) and Eric Stoltz's single mother in Naked, New York (1993). Clayburgh "did] her best as the footloose mother" in Rich in Love, according to a People magazine article, while Roger Ebert praised her casting in Naked, New York, which was "exactly on target." In Honor Thy Father and Mother: The True Story of the Menendez Murders (1993), she also played Kitty Menendez, who was assassinated by her sons, but she had more to do with the script than Clayburgh's performance. In The Love of Nancy (1994), When Innocence Is Lost (1995), Fools Rush (1997), she was in "good form" as the tenacious, pushy stage mother in Crowned and Dangerous (1997).

Clayburgh appeared on episodes of Law & Order and Frasier in the late '90s, as well as a short-lived series, Trinity (1999).

She had her first leading role in Eric Schaeffer's comedy Never Again (1999) after appearing in My Little Assassin (1999) and The Only Living Boy in New York (2000). Roger Ebert lauded Clayburgh "for doing everything humanly possible to create a character that is sweet and believable," a clayburgh referenced, while Stephen Holden of the New York Times praised her for "giving "emotional weight" to the part of "a desperately single mother" in the role of "a desperately sad 54-year-old single mother." She appeared on both Falling and on The Practice as Ally McBeal's mother and on The Practice before becoming a regular in another short-lived series, Leap of Faith (2002).

In Bob Balaban's production of The Exonerated (2002–04), she appeared on off-Broadway as a falsely charged mother-of-two. Charles Isherwood, a writer for Variety magazine, praised Clayburgh for playing her part "with a strong sense of dignity." She appeared in Phenomenon II (2004) and was nominated for guest appearances in the series Nip/Tuck in 2005. She continued her burgeoning stage career with A Naked Girl on the Appian Way, which attracted 69 performances. The Busy World is Hushed (2005–06), a children's film that starred Christine Lahti and performed as a widowed Episcopal minister and scholar, was more popular. While refusing to define Hannah's questionable behavior and convictions as right or wrong, sound or unsound, Variety critic David Rooney praised her as "human."

She appeared in Patrick Wilson and Amanda Peet's Barefoot in the Park in 2006; she played Peet's mother, a role played by Mildred Natwick. It was a success at 109 performances and received mixed feedback. Nonetheless, Clayburgh's success earned praise, and New York Times reporter Ben Brantley lauded "her winning way" with a dialogue that might make synthetic one-liners seem like filigree epigrams. She is a glamorous eyeful in Isaac Mizrahi's rich dowager costumes, trim and blond. In Ryan Murphy's all-star ensemble dramedy Running with Scissors, a teen angst and mistrust based on the book, she returned to the screen the same year as a therapist's eccentric wife; also starring Annette Bening, Gwyneth Paltrow, and Evan Rachel Wood, Clayburgh's supporting actress won the St. Louis Gateway Film Critics Association's Best Supporting Actress award. Clayburgh played a wistful eccentric on off-Broadway in 2006 and was praised for her "goofy lightness" by the Post Gazette.

Clayburgh appeared on ABC television series Dirty Sexy Money from 2007 to 2009, playing wealthy socialite Letitia Darling. In Edward Zwick's Love & Other Drugs (2010) and Kristen Wiig's mother in Paul Feig's acclaimed blockbuster comedy Bridesmaids (2011), she appeared Jake Gyllenhaal's mother, which was the last film she directed for Clayburgh.

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