Judy Davis

At 69 years old, Judy Davis physical status not available right now. We will update Judy Davis's height, weight, eye color, hair color, build, and measurements.

Career

Davis first gained acclaim in her debut in the buddy comedy High Rolling (1977), for which she received BAFTA Awards for Best Actress and Best Newcomer. Davis was praised for her appearance; Janet Maslin of The New York Times lauded her for bringing "unique vigor to every scene she's in, even in a film that's as consistently animated as this one," while Luke Buckmaster, a reporter for The Guardian, in 2014, said Davis gave Davis "a rousing performance as bull-headed protagonist Sybylla Melvyn." The word "once in a lifetime" tends to be slapped around like a bumper sticker, but this meaty role lives up to the honor. Her success with lead roles in the Australian New Wave films Winter of Our Dreams (1981), as a revolutionary Sydney tenant organizer; and the thriller Hoodwink (1981) as a sexually-repressed clergyman's wife. Roger Ebert summed up "Davis brought a kind of neisty intelligence to My Brilliant Career," she said, playing an Australian farm woman who presumably did it her own way. She's back again this week as an unsecured, mistrustful, skinny street waif in a completely different role. [She] performs her movement with a magnificent grace.

Golda Meir, Ingrid Bergman's younger sister, appeared in the television docudrama A Woman Called Golda (1981), for which she received a Primetime Emmy Award for Outstanding Supporting Actress – Miniseries or a Movie nomination. She appeared in Who Dares Wins (1982), a British film in which she played a terrorist.

Adela Quested was cast in David Lean's last film A Passage to India (1984), an extension of E. M. Forster's book, and she was nominated for the Academy Award for Best Actress. Variety praised Davis for having "the rare gift of being able to be plain (as the job seeks for) at one point and then at another. "Diagnostic for a leading lady, Davis is a color of smudged ivory, her pallor enhanced by off-white linens she dresses," The Washington Post said. Davis' neuroticism, her way of twitching and thrusting her jaw and reaching up hungrily beneath her straw hat's brim, brings to life Miss Quested's voluminous sexuality.

As a foot-loose mother attempting to reunite with her teenage daughter who is being raised by her paternal grandparents, she returned to Australian cinema for her next two films, Kangaroo (1987), as a German-born writer's wife and High Tide (also 1987). Her success in the latter brought her laud. "As one of three backup singers for a touring Elvis imitator, Judy Davis is disrespectful of the cruddy act, insulting herself." Pauline Kael called Davis "a genius at moods." Judy Davis' emotional suggestiveness makes it almost a primal woman's picture: She's been compared to Jeanne Moreau in the movie's heyday, but she's Moreau without the cultural swank, the high-fashion gloss. She speaks to us more explicitly. For High Tide's brief American theatrical run, she received two Australian Film Institute Awards for both roles, as well as a National Society of Film Critics award. She appeared in two films of the decade, Georgia (1988), as a mother and her daughter Nina. Davis received another Australian Film Institute Award for Best Actress for her role.

In Woody Allen's Alice (1990), Davis made her first appearance in an Allen-directed film. Barton Fink, which received the Palme d'Or at the Cannes Film Festival, and David Cronenberg's adaptation of the hallucinogenic book Naked Lunch were among her appearances over the next year. She returned to Forster, England, where Angels Fear Tread and won an Independent Spirit Award for her role as mannish woman author George Sand in Impromptu, a romantic period romance with Hugh Grant as her consumptive lover, Frédéric Chopin. Davis was particularly praised for her appearance as Sand, and Hal Hinson of The Washington Post wrote, "Judy Davis makes her entrances as if she were straddling a cyclone." She doesn't just walk in; she bursts in on a torrent of exhilarating self-confidence and a wild mood. Sand, the locus of this gloriously high-spirited romp about the circle of writers and musicians in 1830s Paris, never does anything half; her life is an experiment in full throttle, passionate immersion, and that's why Davis is the right actress for the role. She is one of the most empathetic of actors, and perhaps the only one around capable of streaking the screen with lightning." In the CBS Hall of Fame presentation One Against the Wind, she received an Emmy nomination and her first Golden Globe Award for Best Actress – Miniseries or Television Film. "Judy Davis, one of the finest and least "star" actresses around, plays Lindell, and she has the same emotion as she did in A Passage to India, according to Radio Times' Adrian Turner.

Davis appeared in Woody Allen's Husbands and Wives (1992), as Sally Simmons, one half of a divorcing couple. Husbands and Wives were well-received, and Davis' appearance drew scathing criticism. "Sally must be one of Mr. Allen's most endearingly difficult characters ever written," Ms. Davis almost sings "a whole new facet of her character that never appeared on television before," Vincent Canby of The New York Times wrote. She received both Oscar and Golden Globe Awards for her role as Best Supporting Actress for this appearance.

Denis Leary played a thief who advises their marriage while Kevin Spacey appeared in The Ref (1994), depicting a married couple whose marriage is in jeopardy. Roger Ebert praised Davis for her ability to "create a manic counterpoint" in her Spacey arguments "that elevates them to a kind of art form." Davis was "combustibly funny," according to Rolling Stone magazine's Peter Travers, who found nuance even in nonsense." Davis' other roles include the unexplained, schizophrenic mother of a teenager in On My Own (1993), the lifelong Australian Communist Party leader, as well as a highly paid White House Chief of Staff in Absolute Power (1997). Davis "in recent years has succeeded Diane Keaton and Mia Farrow as Allen's misfit muse," he said after appearing in celebrity.

Much of her late nineties' work was for television, earning a number of Emmy Award nominations. In Serving in Silence: Glenn Close's Closet In addition, she received her first Emmy award for her portrayal of Lillian Hellman in Dash and Lilly (1999), and her frigid society matron (1999).

Davis received her second Emmy Award for her role as Judy Garland in the television biographical film Life with Judy Garland: Me and My Shadows (2001). Nancy Reagan's role in the tense biopic The Reagans earned her another Emmy nomination in 2003. She co-starred with Richard Dreyfus in Coast to Coast in 2004. She received her ninth Emmy award for her role in the television film A Little Thing Called Murder in July 2006. In 2007, she was nominated for Outstanding Supporting Actress in the US miniseries The Starter Wife, for which she was honoured the Emmy. In August 2007, she appeared alongside Sam Waterston in an episode of ABC's anthology series Masters of Science Fiction. She appeared on Diamonds, a television mini-series from 2008 to 2009.

She continued to gain good praise for her support for Swimming Upstream (2003) as a working-class mother and in the films The Break-Up (2006) and Marie-Antoinette. Davis appeared in Page Eight (2011), where she was nominated for an Emmy. Dorothy de Lascabanes appeared in The Eye of the Storm (2011), a film based on Patrick White's book "A Leading Role," for which she received the Australian Film Institute Award for Best Actress in a Leading Role. In his To Rome with Love, she played Woody Allen's psychiatrist wife.

In The Young and Prosperious T.S., Davis co-starred Helena Bonham Carter and Callum Keith Rennie. Spivet (2013). She reprised her role as Jill Tankard in Salting the Battlefield (2014) and costarred with Kate Winslet in The Dressmaker (2015), for which she received an AACTA Award for Best Supporting Actress. Despite mixed reviews, Davis' supporting role was lauded by reviewers: "Davis," her booze-swilling, dementia-addled, and infernally sharp-tongued old matriarch, is enough of a joke to make one wonder what she might have done with the role of Violet Weston in August: Onstage or onstage.

Davis received a Primetime Emmy Award in 2017 for her role as Hedda Hopper in Ryan Murphy's anthology television series Feud. In the six-part ABC television series Mystery Road, Davis co-starred Aaron Pederson the following year. Davis' appearance as the local police sergeant was lauded, and The New York Times wrote, "The thing that really sets Mystery Road apart is the actress who signed on to play Emma James, the great Jennifer Davis, playing a detective for the first time in nearly 40 years." Ms. Davis is so clearly identified in the American mind with ferocious, often neurotic characters that it takes an episode or two to get used to her climbed in and out of a police vehicle in the gritty, deserted landscapes, wearing a baggy blue uniform that swallows her tiny body. At first, it seems that she may not be right for the role, but that later she is impeccable. James is a tenacious woman stuck in the middle of nowhere due to family and tradition, and Ms. Davis' preternatural intelligence and tightcapped energy make her thrive.

Davis will appear in Netflix's drama series Ratched, which will premiere in January 2019.

Davis' stage presence has mainly been restricted to Australia. She appeared in Juliet opposite Mel Gibson's Romeo early in her career. She appeared in Visions by Louis Nowra at the Sydney Theatre Company in 1978. In Stephen Barry's production of the Pam Gems play Piaf at the Perth Playhouse in 1980, she portrayed French chanteuse Edith Piaf. She appeared in a 1984 staging of King Lear by the Nimrod Theatre Company, and later appeared in its productions of Strindberg's Miss Julie, Chekhov's Inside The Island, and, later, the title role played by Ibsen's Hedda Gabler for the Sydney Theatre Company.

In 2004, she appeared in and co-directed Howard Barker's Victory as a Puritan woman determined to locate her husband's dismembered body. The School For Scandal and Barrymore by William Luce's are two other stage direction attempts (all three for the Sydney Theatre Company). She appeared in Terry Johnson's Insignificance at the Royal Court in London, receiving an Olivier Award nomination, and appeared in a brief 1989 Los Angeles production of Tom Stoppard's Hapgood. As she is filming, David Fox found her "marvelous in the title role, as charismatic and commanding on stage as she is in film."

In Anton Chekhov's The Seagull at Sydney's Belvoir St Theatre in 2011, she played Irina Arkadina. "Davis aims to instill Irina with not only a diva's haughty air and crafty manipulation but also with the right hint of fragility," Variety's Irina's fear of being upstaged by the youthful and beautiful Nina.

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