Paul Scofield

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David Paul Scofield (21 January 1922 – 19 March 2008) was an English actor of stage and screen who was known for his dramatic presence, distinctive voice, and the apparent and effortlessness of his delivery.

Scofield, who is regarded as one of the best Shakespearean actors of all time, preferred the stage to film.

This, as well as his decision to prioritize his family, has resulted in him not being well known outside of the United Kingdom as some other actors. Scofield is best known for his Academy, Golden Globe, and BAFTA Award-winning appearance in the 1966 film A Man for All Seasons.

Scofield had appeared on stage in the West End and in a Tony Award-winning performance on Broadway.

Scofield is also one of the few actors to achieve the "Triple Crown of Acting" and does so in the shortest time frame. Helen Mirren, an actress who appeared in Scofield's 1989 film When the Whales Came, said of him, "He aspires to the soul rather than the story."

He has no inclination to succeed in life.

He's one of our best, leading actors.

We're lucky to have him. Mel Gibson, a Scofield father who appeared in Franco Zeffirelli's Hamlet in 1990, likened the experience to being "thrown into the ring with Mike Tyson."

Early life

Paul Scofield was born in Edgbaston, Birmingham, England, on January 21, 1922, the son of Mary and Edward Harry Scofield. When Scofield was a few weeks old, his family moved to Hurstpierpoint, Sussex, where his father served as the headmaster at Hurstpierpoint Church of England School. Scofield's biographer, Garry O'Connor, said that his upbringing was split. His father was an Anglican, and his mother, a Roman Catholic. Scofield was baptized into his mother's faith "some days we were little Protestants and, on others, we were all devout little Catholics." "A lack of direction in spiritual matters is also with me," he explained.

"I was a dunce at school," Scofield says. But I went to Varndean School in Brighton, where I discovered Shakespeare at the age of twelve. Every year, they appeared in one of his shows, and I lived just for it."

Scofield left school at the age of seventeen and began training at the Croydon Repertory Theatre in 1939. Scofield arrived for a physical examination shortly after the outbreak of the Second World War and was found unfit for service in the British Army. "They discovered I had crossed toes," he later remembered. I was unable to wear boots. "I was deeply ashamed."

Personal life

On May 15, 1943, Paul Scofield married actress Joy Mary Parker. They had met when he played Hamlet to her Ophelia. "Joy and I just agreed to be married," Scofield later said. We were both of age and were determined. Any questions from our families were answered, and they were the normal ones – too young, etc. At the end of The Moon Is Down tour, we had a week out and then headed straight to the Whitehall Theatre.

Both Paul and Joy Scofield had two children: Martin (born 1945), who became a senior lecturer in English and American literature at the University of Kent and Sarah (born 1951). Scofield replied, "If you have a family, that is how to be remembered," Garry O'Connor asked how he wanted to be remembered." "One of the few happily married couples I've ever encountered," filmmaker Michael Winner once described the Scofields as "one of the few most happy married couples I've ever encountered."

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Career

Scofield began his stage career in 1940 with a debut appearance in Eugene O'Neill's Desire Under the Elms at the Westminster Theatre, and was soon compared to Laurence Olivier. He appeared at the Birmingham Repertory Theatre. He travelled to the Shakespeare Memorial Theatre in Stratford, where he appeared in Walter Nugent Monck's 1947 revival of Perpetles, Prince of Tyre.

Scofield appeared as Hamlet at the Shakespeare Memorial Theatre in Stratford in 1948, as Ophelia, as well as a young Claire Bloom. Scofield's success was so high that he was named "The Hamlet of his generation" when he was dubbed "the Hamlet of his generation." As an Attendee, he was also Bassanio in The Merchant of Venice as an Attendee.

"He is simply a timeless Hamlet," J.C. Trewin said, "We can't forget Scofield's pathos, the face folded in grief, at: "I'll blessing beg of you." We've heard many correctly, almost formal Hamlet's, aloof from Elsinore. Scofield was never a prisoner within its boundaries: the world had many confines, wards, and dungeons, with Denmark being one of the worst.

Later, John Harrison remembered 'Get thee to a nunnery,'" so often delivered with rage or scorn, he says. You can imagine moments of stillness and prayer. Ophelia's future is in jeopardy.

Claire Bloom's book Leaving a Doll's House: A Memoir, she recalls that during the production she had a serious crush on Scofield. Bloom hoped only "to be flirted with and taken note of" as Scofield's happily married father and the father of a son. However, Scofield never bothered to look at Bloom or some of the other beautiful actresses in the film.

Two Hamlets appeared in the film, as Scofield and Robert Helpmann took turns in the title role. "I could never make up my mind which of my two Hamlets I found the more tragic: the openly homosexual, charismatic Helpmann, or the charming, shy young man from Sussex," Bloom later said.

When asked about Bloom decades later, Scofield recalled, "I think sixteen years old" – so young and young, she seemed radiant, but she bore a worrying attitude of barely timid reticence that defied entirely her inexperience. Ophelia was a very good Ophelia."

Scofield's versatility during his career is exemplified by his appearances in musical performances as varied as the musical Expresso Bongo (1958) and Peter Brook's celebrated production of King Lear (1962).

Peter Brook wrote about Scofield's versatility in his book Threads of Time:

Scofield appeared in many Shakespeare performances and appeared in many Shakespeare plays, as well as in Ben Jonson's Volpone in Peter Hall's production (1977).

"One of the theater's greatest strengths is that it is ephemeral," Scofield said in a 1994 interview. It does exist only in what you remember, and you can't worry about it after you say, 'That's not as good as I remember.' If any performance I've ever given stays in someone's mind, it's so much better than being able to stick it on the video and watch it again. I don't want to take risks, but the opposite is true. However, the more you learn about acting, the more you're aware of the risks and the more nerve-racking it becomes. I wasn't anxious when I was growing up. I had a go at Hamlet even though I was doing Hamlet."

The roles of Sir Thomas More in Robert Bolt's "A Man for All Seasons (1960); Charles Dyer in Dyer's play Staircase; and Antonio Salieri in Peter Shaffer's first stage performance (1979) are among Scofield's career highlights;

In another play by Robert Bolt, a children's drama The Thwarting of Baron Bolligrew, he was later the voice of the Dragon. Other actors were filming Expresso Bongo, Staircase, and Amadeus, but Scofield appeared in the film versions of A Man for All Seasons (1966) and King Lear (1971).

The art-obsessed Wehrmacht Colonel von Waldheim's biography In Edward Albee's A Delicate Balance (1974), Professor Moroi and Robert Redford's film version (1996) of Arthur Miller's The Crucible; the former British Prime Minister in the film adaptation (1996) of Arthur Miller's The Crucible; and Deputy Governor Thomas Danforth in Nicholas Hytner's script adaptation (1996).

Scofield appeared in Sir Randolph Nettleby's lead role in 1985's The Shooting Party, but he was forced to cancel due to an injury he sustained on set. Scofield and the other male lead actors were supposed to be shot by the renowned film horse-master George Mossman in the first shot of the first day of filming, according to the DVD extras documentary about the film. As they reached the first corner, the plank that Mossman was standing on snapped in two and collapsed forward and down, sliding between the sets of wheels and taking the reins with him. He was struck by a horse's hoof and concussed. The horses screamed and screamed into a shamrocket.

Rupert Frazer, an actor, admitted that he was the first to jump off and land safely, but he was bruised. As the horses were confronted by a stone wall, they rolled to the right, throwing the shooting suspension to halt completely, transforming the actors into a heap of scaffolding stacked next to the wall. Robert Hardy stood up and noticed that he had been unhurt. Edward Fox stood up, "turn completely green, and collapse in a heap," he said, having broken five ribs and his shoulder blade. "I noticed that his shin-bone was sticking out through his trousers," Scofield's skipped. The filmmakers had to make a decision whether to postpone filming for a year or re-cast the film as the film takes place in October during the partridge-shooting season. The Shooting Party's schedule was eventually altered to enable James Mason to take over Sir Randolph Nettleby's role six weeks later. Scofield's broken leg also deprived him of the part of O'Brien in Nineteen Eighty-Four, in which he was replaced by Richard Burton.

"He aspires to the soul rather than the appearance," Helen Mirren, who appeared in Scofield in 1989's When the Whales Came, said. He has no desire to develop personally. He's one of our finest, leading actors. We're lucky to have him." In Franco Zeffirelli's 1990 film adaptation of Hamlet starring Mel Gibson in the title role, Scofield also portrayed the Ghost. Gibson, who had adored Scofield, likened the enjoyment of performing Shakespeare alongside him to being "thrown into the ring with Mike Tyson."

In the 1956 New Year Honours, Scofield was appointed Commander of the Order of the British Empire (CBE). He received the Academy Award for Best Actor for A Man For All Seasons and was selected as the Best Supporting Actor for the Quiz Show. A 1962 Tony Award for A Man for All Seasons was among the atrical awards.

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