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The title is taken from the wonderful Thomas Hardy [1840-1928] novel which was set in Dorset, where Hardy came from. It was made into a very successful film but my favourite was the 1967 version with Julie Christie and Alan Bates. Is it any wonder that Hardy was inspired to write such amazing classics, being surrounded by the stunning Dorset countryside.
Here is a link to some information about him which is very interesting.
en.wikipedia.org/wiki/Thomas_Hardy
en.wikipedia.org/wiki/Julie_Christie
"It is difficult for a woman to define her feelings in language which is chiefly made by men to express theirs" [Thomas Hardy.]
[Obviously written long before "Mills and Boon!"]
Heres a version of the complete film which is fairly good.
www.youtube.com/watch?v=0dEOtotMB-M#t=28.99517
I do hope you like the photo which was taken from the slopes of Golden Cap..
P@t.
Yuri Zhivago and Tonya in a Moscow station, 1917.
Omar Shariff and Geraldine Chaplin in the old railway station Madrid-Delicias, 1965.
And a 2020 image of Delicias, now Railway Museum.
It was built in 1880.
Doctor Zhivago, directed by David Lean and based on the 1957 Boris Pasternak novel, was filmed mostly in Spain.
About this immensely popular movie:
en.wikipedia.org/wiki/Doctor_Zhivago_(film)
- - -
Yuri Zhivago y Tonya en una estación de Moscú, 1917.
Omar Sharif y Geraldine Chaplin en la antigua estación de Madrid Delicias, 1965.
Y una imagen de Delicias, ahora Museo del Ferrocarril, 2020.
Una gran parte de Doctor Zhivago, dirigida por David Lean y basada en el libro de Boris Pasternak, se rodó en España. Varias escenas en Madrid, y algunas de estas en la estación de Delicias.
Romanian postcard by Casa Filmului Acin, no. 586. Julie Christie in Far from the Madding Crowd (John Schlesinger, 1967). Collection: Alina Deaconu.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties, she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Oscar, the Golden Globe, the BAFTA, and the Screen Actors Guild Awards.
Julie Frances Christie was born in 1941 in Chukua, India, then part of the British Empire. She was the daughter of Frank St. John Christie, a tea planter, and his Welsh wife Rosemary (née Ramsden), who was a painter. Her younger brother, Clive Christie, would become a professor of Southeast Asian studies at Hull University. They grew up on their father's tea plantation in Assam. At 7, Julie was sent to England for her education. As a teenager at Wycombe Court School, she played the role of the Dauphin in a school production of George Bernard Shaw's Saint Joan. A fascination with the artist's lifestyle led to her enrolling in London's Central School of Speech and Drama training. Christie made her stage debut as a member of the Frinton Repertory of Essex in 1957. One of her first roles was playing Anne Frank in a London theatrical production of The Diary of Anne Frank. Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. She made her TV debut as an artificial girl created from the DNA of a deceased science lab assistant in the BBC Sci-fi series A for Andromeda (Michael Hayes, 1961). Her first film appearance was a bit part in the amusing comedy Crooks Anonymous (Ken Annakin, 1962), which was followed up by a larger ingénue role in the romantic comedy The Fast Lady (Ken Annakin, 1963) with Stanley Baker. Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress (Topsy Jane) originally cast in Billy Liar (John Schlesinger, 1963). Christie's turn in the film as the free-wheeling Liz, the supremely confident friend and love interest to Tom Courtenay's full-time dreamer Billy, was a stunner, and she had her first taste of becoming an icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute Daisy Battles in Young Cassidy (Jack Cardiff, John Ford, 1965), a biopic about Irish playwright Sean O'Casey. She made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (John Schlesinger, 1965). Schlesinger called on Christie to play the role of the manipulative young actress and jet setter Diana Scott when the casting of Shirley MacLaine fell through. As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from an immature sex kitten to a jaded socialite. For her complex performance, Christie won raves, including the Best Actress Oscar and the Best Actress BAFTA. Her image as the It Girl of the Swinging Sixties was further cemented by her appearance in the documentary Tonite Let's All Make Love in London (1967), which covered the hipster scene in England.
Julie Christie followed up Darling (1965) with the role of the tragic Lara Antipova in the two-time Academy Award-winning Doctor Zhivago (David Lean, 1965). Lean’s epic adaptation of Boris Pasternak's novel became one of the all-time box-office champs. Christie was now a superstar who commanded a price of $400,000 per picture. More interested in film as an art form than in consolidating her movie stardom, Christie followed up Doctor Zhivago (1965) with a dual role in Fahrenheit 451 (1966) for Francois Truffaut, a Nouvelle Vague director she admired. The film was, according to Jon C. Hopwood at IMDb, "hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the more-appropriate-for-the-role Terence Stamp". Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (John Schlesinger, 1967), which also starred Peter Finch and Alan Bates. Jon C. Hopwood at IMDb: “It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too ‘mod’ and thus untrue to one of Hardy's classic tales of fate.” She then met the man who transformed her life, undermining her pretensions to a career as a film star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a 'treadmill leading to more treadmills' and who was wealthy enough after Bonnie and Clyde (Arthur Penn, 1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of Far from the Madding Crowd (1967) and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends, four decades after their affair ended in 1974. Christie's last box-office hit in which she was the top-liner was Petulia (Richard Lester, 1968), a romantic drama about the romance between a staid doctor (George C. Scott) and a flighty but vulnerable socialite (Christie). According to Jon C. Hopwood, it is “a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an ‘arch-kook’ who was emblematic of the 1960s. It is one of the major films of the decade, an underrated masterpiece." Despite the presence of Scott and Shirley Knight, Hopwood claims that the film would not work without Julie Christie. "There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.”
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or to maintaining herself as a top-drawer working actress. She turned down the lead in They Shoot Horses, Don't They? (Sydney Pollack, 1969) and Anne of the Thousand Days (Charles Jarrott, 1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (Peter Wood, 1969), a critical and box office flop, to fulfil her contractual obligations, she spent her time with Beatty in California, renting a beach house in Malibu. She did return to form as the bored upper-class woman who ruins a boy's life by involving him in her sexual duplicities, in The Go-Between (Joseph Losey, 1970), written by playwright Harold Pinter. She won her second Oscar nomination for her role as a brothel 'madam' in Robert Altman's Western drama McCabe & Mrs. Miller (1971) that she made with her lover Beatty. Christie also turned down the role of the Russian Empress in Nicholas and Alexandra (Franklin J. Schaffner, 1971), another film that won the second-choice (Janet Suzman) Best Actress Oscar nomination. Two years later, she appeared in the dazzling mystery-horror film Don't Look Now (Nicolas Roeg, 1973), with its famously erotic love scenes between Christie and Donald Sutherland. Director Nicolas Roeg had been her cinematographer on Fahrenheit 451 (1966), Far from the Madding Crowd (1967) and Petulia (1968). In the mid-1970s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (Hal Ashby, 1975) and the comedy Heaven Can Wait (Buck Henry, Warren Beatty, 1978). Christie turned down the part of Louise Bryant in Reds (Warren Beatty, 1981), a part written by Beatty with her in mind, as Christie felt an American should play the role. Beatty's then lover, Diane Keaton, played the part and won a Best Actress Oscar nomination. Other interesting roles she turned down were parts in Rosemary's Baby (Roman Polanski, 1968), The Godfather (Francis Ford Coppola, 1972), Chinatown (Roman Polanski, 1974), Marathon Man (John Schlesinger, 1976), and American Gigolo (Paul Schrader, 1980).
Julie Christie moved back to the UK and became 'the British answer to Jane Fonda', campaigning for various social and political causes, including animal rights and nuclear disarmament. She was greatly in demand but became even more choosy about her roles as her own political awareness increased. Her sporadic film commitments reflected her political consciousness such as the animal rights documentary The Animals Film (Victor Schonfeld, 1981), and the feature The Gold Diggers (Sally Potter, 1983), a feminist reinterpretation of film history. Roles in The Return of the Soldier (Alan Bridges, 1982) with Alan Bates and Glenda Jackson, and Merchant-Ivory's Heat and Dust (James Ivory, 1983) seemed to herald a return to form, but then she essentially retired. A career renaissance came in the mid-1990s with her turn as Queen Gertrude in Kenneth Branagh's adaptation of William Shakespeare’s Hamlet (Kenneth Branagh, 1996). More rave notices brought her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man (Jonny Lee Miller) in Afterglow (Alan Rudolph, 1997). She received her third Best Actress Oscar nomination for her performance and showed up at the awards as radiant and uniquely beautiful as ever. Christie lived with left-wing investigative journalist and writer Duncan Campbell since 1979, before marrying in 2008. In addition to her film work, she has narrated many books on tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's Old Times, which garnered her superb reviews. In the decade since Afterglow (1997), she has worked steadily on film in supporting roles. She worked three times with director-screenwriter and actress Sarah Polley: co-starring with Polley in No Such Thing (Hal Hartley, 2001) and the Goya Award-winning La Vida secreta de las palabras/The Secret Life of Words (Isabel Coixet, 2005), and taking the lead in Polley's first feature film as a director, Away from Her (Sarah Polley, 2006). Christie made a brief appearance in the third Harry Potter film, Harry Potter and the Prisoner of Azkaban (Alfonso Cuarón, 2004), playing Madam Rosmerta, the landlady of the Three Broomsticks pub. That same year, she also appeared in two other high-profile films: Wolfgang Petersen's historical epic Troy (2004) and Marc Forster's Finding Neverland (2004), playing Kate Winslet's mother. The latter performance earned Christie a BAFTA nomination as a supporting actress in the film. In 2008, Christie narrated Uncontacted Tribes, a short film for the British-based charity Survival International, featuring previously unseen footage of remote and endangered peoples. She has been a long-standing supporter of the charity, and in February 2008, was named as its first 'Ambassador'. She appeared in a segment of the anthology film New York, I Love You (2008), written by Anthony Minghella, directed by Shekhar Kapur and co-starring Shia LaBeouf. She also played in Glorious 39 (Stephen Poliakoff, 2008), about a British family at the start of World War II. In 2011, Christie played a 'sexy, bohemian' version of the grandmother role in a gothic retelling of Red Riding Hood (Catherine Hardwicke, 2011) with Amanda Seyfried in the title role. Her most recent role was in the political thriller The Company You Keep (Robert Redford, 2012), where she co-starred with Robert Redford. And we conclude this bio with an observation of Brian McFarlane in The Encyclopedia of British Cinema: “Arguably the most genuinely glamorous, and one of the most intelligent, of all British stars, Julie Christie brought a gust of new, sensual life into British cinema.”
Sources: Jon C. Hopwood (IMDb), Brian McFarlane (Encyclopedia of British Cinema), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Romanian postcard by Casa Filmului Acin, no. 587. Julie Christie in Far from the Madding Crowd (John Schlesinger, 1967). Collection: Alina Deaconu. The hotel in the back is the Royal Hotel in Weymouth, Dorset, UK.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties, she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Oscar, the Golden Globe, the BAFTA, and the Screen Actors Guild Awards.
Julie Frances Christie was born in 1941 in Chukua, India, then part of the British Empire. She was the daughter of Frank St. John Christie, a tea planter, and his Welsh wife Rosemary (née Ramsden), who was a painter. Her younger brother, Clive Christie, would become a professor of Southeast Asian studies at Hull University. They grew up on their father's tea plantation in Assam. At 7, Julie was sent to England for her education. As a teenager at Wycombe Court School, she played the role of the Dauphin in a school production of George Bernard Shaw's Saint Joan. A fascination with the artist's lifestyle led to her enrolling in London's Central School of Speech and Drama training. Christie made her stage debut as a member of the Frinton Repertory of Essex in 1957. One of her first roles was playing Anne Frank in a London theatrical production of The Diary of Anne Frank. Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. She made her TV debut as an artificial girl created from the DNA of a deceased science lab assistant in the BBC Sci-fi series A for Andromeda (Michael Hayes, 1961). Her first film appearance was a bit part in the amusing comedy Crooks Anonymous (Ken Annakin, 1962), which was followed up by a larger ingénue role in the romantic comedy The Fast Lady (Ken Annakin, 1963) with Stanley Baker. Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress (Topsy Jane) originally cast in Billy Liar (John Schlesinger, 1963). Christie's turn in the film as the free-wheeling Liz, the supremely confident friend and love interest to Tom Courtenay's full-time dreamer Billy, was a stunner, and she had her first taste of becoming an icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute Daisy Battles in Young Cassidy (Jack Cardiff, John Ford, 1965), a biopic about Irish playwright Sean O'Casey. She made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (John Schlesinger, 1965). Schlesinger called on Christie to play the role of the manipulative young actress and jet setter Diana Scott when the casting of Shirley MacLaine fell through. As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from an immature sex kitten to a jaded socialite. For her complex performance, Christie won raves, including the Best Actress Oscar and the Best Actress BAFTA. Her image as the It Girl of the Swinging Sixties was further cemented by her appearance in the documentary Tonite Let's All Make Love in London (1967), which covered the hipster scene in England.
Julie Christie followed up Darling (1965) with the role of the tragic Lara Antipova in the two-time Academy Award-winning Doctor Zhivago (David Lean, 1965). Lean’s epic adaptation of Boris Pasternak's novel became one of the all-time box-office champs. Christie was now a superstar who commanded a price of $400,000 per picture. More interested in film as an art form than in consolidating her movie stardom, Christie followed up Doctor Zhivago (1965) with a dual role in Fahrenheit 451 (1966) for Francois Truffaut, a Nouvelle Vague director she admired. The film was, according to Jon C. Hopwood at IMDb, "hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the more-appropriate-for-the-role Terence Stamp". Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (John Schlesinger, 1967), which also starred Peter Finch and Alan Bates. Jon C. Hopwood at IMDb: “It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too ‘mod’ and thus untrue to one of Hardy's classic tales of fate.” She then met the man who transformed her life, undermining her pretensions to a career as a film star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a 'treadmill leading to more treadmills' and who was wealthy enough after Bonnie and Clyde (Arthur Penn, 1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of Far from the Madding Crowd (1967) and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends, four decades after their affair ended in 1974. Christie's last box-office hit in which she was the top-liner was Petulia (Richard Lester, 1968), a romantic drama about the romance between a staid doctor (George C. Scott) and a flighty but vulnerable socialite (Christie). According to Jon C. Hopwood, it is “a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an ‘arch-kook’ who was emblematic of the 1960s. It is one of the major films of the decade, an underrated masterpiece." Despite the presence of Scott and Shirley Knight, Hopwood claims that the film would not work without Julie Christie. "There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.”
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or to maintaining herself as a top-drawer working actress. She turned down the lead in They Shoot Horses, Don't They? (Sydney Pollack, 1969) and Anne of the Thousand Days (Charles Jarrott, 1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (Peter Wood, 1969), a critical and box office flop, to fulfil her contractual obligations, she spent her time with Beatty in California, renting a beach house in Malibu. She did return to form as the bored upper-class woman who ruins a boy's life by involving him in her sexual duplicities, in The Go-Between (Joseph Losey, 1970), written by playwright Harold Pinter. She won her second Oscar nomination for her role as a brothel 'madam' in Robert Altman's Western drama McCabe & Mrs. Miller (1971) that she made with her lover Beatty. Christie also turned down the role of the Russian Empress in Nicholas and Alexandra (Franklin J. Schaffner, 1971), another film that won the second-choice (Janet Suzman) Best Actress Oscar nomination. Two years later, she appeared in the dazzling mystery-horror film Don't Look Now (Nicolas Roeg, 1973), with its famously erotic love scenes between Christie and Donald Sutherland. Director Nicolas Roeg had been her cinematographer on Fahrenheit 451 (1966), Far from the Madding Crowd (1967) and Petulia (1968). In the mid-1970s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (Hal Ashby, 1975) and the comedy Heaven Can Wait (Buck Henry, Warren Beatty, 1978). Christie turned down the part of Louise Bryant in Reds (Warren Beatty, 1981), a part written by Beatty with her in mind, as Christie felt an American should play the role. Beatty's then lover, Diane Keaton, played the part and won a Best Actress Oscar nomination. Other interesting roles she turned down were parts in Rosemary's Baby (Roman Polanski, 1968), The Godfather (Francis Ford Coppola, 1972), Chinatown (Roman Polanski, 1974), Marathon Man (John Schlesinger, 1976), and American Gigolo (Paul Schrader, 1980).
Julie Christie moved back to the UK and became 'the British answer to Jane Fonda', campaigning for various social and political causes, including animal rights and nuclear disarmament. She was greatly in demand but became even more choosy about her roles as her own political awareness increased. Her sporadic film commitments reflected her political consciousness such as the animal rights documentary The Animals Film (Victor Schonfeld, 1981), and the feature The Gold Diggers (Sally Potter, 1983), a feminist reinterpretation of film history. Roles in The Return of the Soldier (Alan Bridges, 1982) with Alan Bates and Glenda Jackson, and Merchant-Ivory's Heat and Dust (James Ivory, 1983) seemed to herald a return to form, but then she essentially retired. A career renaissance came in the mid-1990s with her turn as Queen Gertrude in Kenneth Branagh's adaptation of William Shakespeare’s Hamlet (Kenneth Branagh, 1996). More rave notices brought her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man (Jonny Lee Miller) in Afterglow (Alan Rudolph, 1997). She received her third Best Actress Oscar nomination for her performance and showed up at the awards as radiant and uniquely beautiful as ever. Christie lived with left-wing investigative journalist and writer Duncan Campbell since 1979, before marrying in 2008. In addition to her film work, she has narrated many books on tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's Old Times, which garnered her superb reviews. In the decade since Afterglow (1997), she has worked steadily on film in supporting roles. She worked three times with director-screenwriter and actress Sarah Polley: co-starring with Polley in No Such Thing (Hal Hartley, 2001) and the Goya Award-winning La Vida secreta de las palabras/The Secret Life of Words (Isabel Coixet, 2005), and taking the lead in Polley's first feature film as a director, Away from Her (Sarah Polley, 2006). Christie made a brief appearance in the third Harry Potter film, Harry Potter and the Prisoner of Azkaban (Alfonso Cuarón, 2004), playing Madam Rosmerta, the landlady of the Three Broomsticks pub. That same year, she also appeared in two other high-profile films: Wolfgang Petersen's historical epic Troy (2004) and Marc Forster's Finding Neverland (2004), playing Kate Winslet's mother. The latter performance earned Christie a BAFTA nomination as a supporting actress in the film. In 2008, Christie narrated Uncontacted Tribes, a short film for the British-based charity Survival International, featuring previously unseen footage of remote and endangered peoples. She has been a long-standing supporter of the charity, and in February 2008, was named as its first 'Ambassador'. She appeared in a segment of the anthology film New York, I Love You (2008), written by Anthony Minghella, directed by Shekhar Kapur and co-starring Shia LaBeouf. She also played in Glorious 39 (Stephen Poliakoff, 2008), about a British family at the start of World War II. In 2011, Christie played a 'sexy, bohemian' version of the grandmother role in a gothic retelling of Red Riding Hood (Catherine Hardwicke, 2011) with Amanda Seyfried in the title role. Her most recent role was in the political thriller The Company You Keep (Robert Redford, 2012), where she co-starred with Robert Redford. And we conclude this bio with an observation of Brian McFarlane in The Encyclopedia of British Cinema: “Arguably the most genuinely glamorous, and one of the most intelligent, of all British stars, Julie Christie brought a gust of new, sensual life into British cinema.”
Sources: Jon C. Hopwood (IMDb), Brian McFarlane (Encyclopedia of British Cinema), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Romanian postcard by Casa Filmului Acin, no. 60. Collection: Alina Deaconu.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Oscar, the Golden Globe, the BAFTA, and the Screen Actors Guild Awards.
Julie Frances Christie was born in 1941 in Chukua, India, then part of the British Empire. She was the daughter of Frank St. John Christie, a tea planter, and his Welsh wife Rosemary (née Ramsden), who was a painter. Her younger brother, Clive Christie, would become a professor of Southeast Asian studies at Hull University. They grew up on their father's tea plantation in Assam. At 7, Julie was sent to England for her education. As a teenager at Wycombe Court School, she played the role of the Dauphin in a school production of George Bernard Shaw's Saint Joan. A fascination with the artist's lifestyle led to her enrolling in London's Central School of Speech and Drama training. Christie made her stage debut as a member of the Frinton Repertory of Essex in 1957. One of her first roles was playing Anne Frank in a London theatrical production of The Diary of Anne Frank. Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. She made her TV debut as an artificially girl created from the DNA of a deceased science lab assistant in the BBC Sci-fi series A for Andromeda (Michael Hayes, 1961). Her first film appearance was a bit part in the amusing comedy Crooks Anonymous (Ken Annakin, 1962), which was followed up by a larger ingénue role in the romantic comedy The Fast Lady (Ken Annakin, 1963) with Stanley Baker. Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress (Topsy Jane) originally cast in Billy Liar (John Schlesinger, 1963). Christie's turn in the film as the free-wheeling Liz, the supremely confident friend and love interest to Tom Courtenay's full-time dreamer Billy, was a stunner, and she had her first taste of becoming an icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute Daisy Battles in Young Cassidy (Jack Cardiff, John Ford, 1965), a biopic about Irish playwright Sean O'Casey. She made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (John Schlesinger, 1965). Schlesinger called on Christie to play the role of the manipulative young actress and jet setter Diana Scott when the casting of Shirley MacLaine fell through. As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from immature sex kitten to jaded socialite. For her complex performance, Christie won raves, including the Best Actress Oscar and the Best Actress BAFTA. Her image as the It Girl of the Swinging Sixties was further cemented by her appearance in the documentary Tonite Let's All Make Love in London (1967), which covered the hipster scene in England.
Julie Christie followed up Darling (1965) with the role of the tragic Lara Antipova in the two-time Academy Award-winning Doctor Zhivago (David Lean, 1965). Lean’s epic adaptation of Boris Pasternak's novel became one of the all-time box-office champs. Christie was now a superstar who commanded a price of $400,000 per picture. More interested in film as an art form than in consolidating her movie stardom, Christie followed up Doctor Zhivago (1965) with a dual role in Fahrenheit 451 (1966) for Francois Truffaut, a Nouvelle Vague director she admired. The film was, according to Jon C. Hopwood at IMDb, "hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the more-appropriate-for-the-role Terence Stamp". Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (John Schlesinger, 1967), which also starred Peter Finch and Alan Bates. Jon C. Hopwood at IMDb: “It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too ‘mod’ and thus untrue to one of Hardy's classic tales of fate.” She then met the man who transformed her life, undermining her pretensions to a career as a film star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a 'treadmill leading to more treadmills' and who was wealthy enough after Bonnie and Clyde (Arthur Penn, 1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of Far from the Madding Crowd (1967) and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends four decades after their affair ended in 1974. Christie's last box-office hit in which she was the top-liner was Petulia (Richard Lester, 1968), a romantic drama about the romance between a staid doctor (George C. Scott) and a flighty but vulnerable socialite (Christie). According to Jon C. Hopwood it is “a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an ‘arch-kook’ who was emblematic of the 1960’s. It is one of the major films of the decade, an underrated masterpiece." Despite the presence of Scott and Shirley Knight, Hopwood claims that the film would not work without Julie Christie. "There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.”
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or at maintaining herself as a top-drawer working actress. She turned down the lead in They Shoot Horses, Don't They? (Sydney Pollack, 1969) and Anne of the Thousand Days (Charles Jarrott, 1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (Peter Wood, 1969), a critical and box office flop, to fulfill her contractual obligations, she spent her time with Beatty in California, renting a beach house at Malibu. She did return to form as the bored upper-class woman who ruins a boy's life by involving him in her sexual duplicities, in The Go-Between (Joseph Losey, 1970), written by playwright Harold Pinter. She won her second Oscar nomination for her role as a brothel 'madam' in Robert Altman's Western drama McCabe & Mrs. Miller (1971) that she made with her lover Beatty. Christie also turned down the role of the Russian Empress in Nicholas and Alexandra (Franklin J. Schaffner, 1971), another film that won the second-choice (Janet Suzman) a Best Actress Oscar nomination. Two years later, she appeared in the dazzling mystery-horror film Don't Look Now (Nicolas Roeg, 1973), with its famously erotic love scenes between Christie and Donald Sutherland. Director Nicolas Roeg had been her cinematographer on Fahrenheit 451 (1966), Far from the Madding Crowd (1967) and Petulia (1968). In the mid-1970s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (Hal Ashby, 1975) and the comedy Heaven Can Wait (Buck Henry, Warren Beatty, 1978). Christie turned down the part of Louise Bryant in Reds (Warren Beatty, 1981), a part written by Beatty with her in mind, as Christie felt an American should play the role. Beatty's then lover, Diane Keaton, played the part and won a Best Actress Oscar nomination. Other interesting roles she turned down were parts in Rosemary's Baby (Roman Polanski, 1968), The Godfather (Francis Ford Coppola, 1972), Chinatown (Roman Polanski, 1974), Marathon Man (John Schlesinger, 1976), and American Gigolo (Paul Schrader, 1980).
Julie Christie moved back to the UK and became 'the British answer to Jane Fonda', campaigning for various social and political causes, including animal rights and nuclear disarmament. She was greatly in demand, but became even more choosy about her roles as her own political awareness increased. Her sporadic film commitments reflected her political consciousness such as the animal rights documentary The Animals Film (Victor Schonfeld, 1981), and the feature The Gold Diggers (Sally Potter, 1983), a feminist reinterpretation of film history. Roles in The Return of the Soldier (Alan Bridges, 1982) with Alan Bates and Glenda Jackson, and Merchant-Ivory's Heat and Dust (James Ivory, 1983) seemed to herald a return to form, but then she essentially retired. A career renaissance came in the mid-1990s with her turn as Queen Gertrude in Kenneth Branagh's adaptation of William Shakespeare’s Hamlet (Kenneth Branagh, 1996). More rave notices brought her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man (Jonny Lee Miller) in Afterglow (Alan Rudolph, 1997). She received her third Best Actress Oscar nomination for her performance, and showed up at the awards as radiant and uniquely beautiful as ever. Christie lived with left-wing investigative journalist Duncan Campbell (a Manchester Guardian columnist) since 1979, before marrying in 2008. In addition to her film work, she has narrated many books-on-tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's Old Times, which garnered her superb reviews. In the decade since Afterglow (1997), she has worked steadily on film in supporting roles. She worked three times with director-screenwriter and actress Sarah Polley: co-starring with Polley in No Such Thing (Hal Hartley, 2001) and the Goya Award-winning La Vida secreta de las palabras/The Secret Life of Words (Isabel Coixet, 2005), and taking the lead in Polley's first feature film as a director, Away from Her (Sarah Polley, 2006). Christie made a brief appearance in the third Harry Potter film, Harry Potter and the Prisoner of Azkaban (Alfonso Cuarón, 2004), playing Madam Rosmerta, the landlady of the Three Broomsticks pub. That same year, she also appeared in two other high-profile films: Wolfgang Petersen's historical epic Troy (2004) and Marc Forster's Finding Neverland (2004), playing Kate Winslet's mother. The latter performance earned Christie a BAFTA nomination as supporting actress in film. In 2008, Christie narrated Uncontacted Tribes, a short film for the British-based charity Survival International, featuring previously unseen footage of remote and endangered peoples. She has been a long-standing supporter of the charity, and in February 2008, was named as its first 'Ambassador'. She appeared in a segment of the anthology film New York, I Love You (2008), written by Anthony Minghella, directed by Shekhar Kapur and co-starring Shia LaBeouf. She also played in Glorious 39 (Stephen Poliakoff, 2008), about a British family at the start of World War II. In 2011, Christie played a 'sexy, bohemian' version of the grandmother role in a gothic retelling of Red Riding Hood (Catherine Hardwicke, 2011) with Amanda Seyfried in the title role. Her most recent role was in the political thriller The Company You Keep (Robert Redford, 2012), where she co-starred with Robert Redford. And we conclude this bio with an observation of Brian McFarlane in The Encyclopedia of British Cinema: “Arguably the most genuinely glamorous, and one of the most intelligent, of all British stars, Julie Christie brought a gust of new, sensual life into British cinema.”
Sources: Jon C. Hopwood (IMDb), Brian McFarlane (Encyclopedia of British Cinema), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Natasha was excited to put on this orange dress thingy, mainly due to the weird turtle neck that could be adjusted to make a tiny hood, "like Don't Look Back," she said.
Soon as she pulled that thing over her head, I fell in love.
With the dress.
I'm an artist! I can fall in love with a piece of clothing if I want!!
Remember the rules: accountant who falls in love with a dress = weirdo.
artist who falls in love with a dress = eccentric.
Romanian postcard by Casa Filmului Acin, no. 277.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Academy, Golden Globe, BAFTA, and Screen Actors Guild Awards.
Julie Frances Christie was born in 1941 in Chukua, India, then part of the British Empire. She was the daughter of Frank St. John Christie, a tea planter, and his Welsh wife Rosemary (née Ramsden), who was a painter. Her younger brother, Clive Christie, would become a professor of SouthEast Asian studies at Hull University. They grew up on their father's tea plantation in Assam. At 7, Julie was sent to England for her education. As a teenager at Wycombe Court School, she played the role of the Dauphin in a school production of George Bernard Shaw's Saint Joan. A fascination with the artist's lifestyle led to her enrolling in London's Central School of Speech and Drama training. She made her stage debut as a member of the Frinton Repertory of Essex in 1957. One of her first roles was playing Anne Frank in a London theatrical production of The Diary of Anne Frank. Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. She made her TV debut as an artificially girl created from the DNA of a deceased science lab assistant in the BBC sci-fi series A for Andromeda (1961, Michael Hayes). Her first film appearance was a bit part in the amusing comedy Crooks Anonymous (1962, Ken Annakin), which was followed up by a larger ingénue role in the romantic comedy The Fast Lady (1963, Ken Annakin) with Stanley Baxter. Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress (Topsy Jane) originally cast in Billy Liar (1963, John Schlesinger). Christie's turn in the film as the free-wheeling Liz, the supremely confident friend and love interest to Tom Courtenay's full-time dreamer Billy, was a stunner, and she had her first taste of becoming an icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute Daisy Battles in Young Cassidy (1965, Jack Cardiff, John Ford), a biopic about Irish playwright Sean O'Casey. She made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (1965, John Schlesinger). Schlesinger called on Christie to play the role of the manipulative young actress and jet setter Diana Scott when the casting of Shirley MacLaine fell through. As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from immature sex kitten to jaded socialite. For her complex performance, Christie won raves, including the Best Actress Oscar and the Best Actress BAFTA. Her image as the It girl of the Swinging Sixties was further cemented by her appearance in the documentary Tonite Let's All Make Love in London (1967), which covered the hipster scene in England.
Julie Christie followed up Darling (1965) with the role of the tragic Lara Antipova in the two-time Academy Award-winning Doctor Zhivago (1965, David Lean). Lean’s epic adaptation of Boris Pasternak's novel became one of the all-time box-office champs. Christie was now a superstar who commanded a price of $400,000 per picture. More interested in film as an art form than in consolidating her movie stardom, Christie followed up Doctor Zhivago (1965) with a dual role in Fahrenheit 451 (1966) for Francois Truffaut, a Nouvelle Vague director she admired. The film was, according to Jon C Hopwood at IMDb, hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the more-appropriate-for-the-role Terence Stamp. Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (1967, John Schlesinger), which also Peter Finch and Alan Bates. Jon C. Hopwood: “It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too ‘mod’ and thus untrue to one of Hardy's classic tales of fate.” She then met the man who transformed her life, undermining her pretensions to a career as a film star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a "treadmill leading to more treadmills" and who was wealthy enough after Bonnie and Clyde (1967, Arthur Penn) to not have to ever work again. Christie and Beatty had visited a working farm during the production of Far from the Madding Crowd (1967) and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends four decades after their affair ended in 1974. Christie's last box-office hit in which she was the top-liner was Petulia (1968, Richard Lester), a romantic drama about the romance between a staid doctor (George C. Scott) and a flighty but vulnerable socialite (Christie). According to Jon C. Hopwood it is “a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an ‘arch-kook’ who was emblematic of the 1960’s. It is one of the major films of the decade, an underrated masterpiece. Despite the presence of the great George C. Scott and the excellent Shirley Knight, the film would not work without Julie Christie. There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.”
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or at maintaining herself as a top-drawer working actress. She turned down the lead in They Shoot Horses, Don't They? (1969, Sydney Pollack) and Anne of the Thousand Days (1969, Charles Jarrott), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (1969, Peter Wood), a critical and box office flop, to fulfill her contractual obligations, she spent her time with Beatty in California, renting a beach house at Malibu. She did return to form as the bored upper-class woman who ruins a boy's life by involving him in her sexual duplicities, in The Go-Between (1970, Joseph Losey), written by playwright Harold Pinter. She won her second Oscar nomination for her role as a brothel 'madam' in Robert Altman's Western drama McCabe & Mrs. Miller (1971) that she made with her lover Beatty. Christie also turned down the role of the Russian Empress in Nicholas and Alexandra (1971), another film that won the second-choice (Janet Suzman) a Best Actress Oscar nomination. Two years later, she appeared in the dazzling mystery-horror film Don't Look Now (1973, Nicolas Roeg), with its famously erotic love scenes between Christie and Donald Sutherland. Director Roeg had been her cinematographer on Fahrenheit 451 (1966), Far from the Madding Crowd (1967) and Petulia (1968). In the mid-1970’s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (1975, Hal Ashby) and the comedy Heaven Can Wait (1978, Buck Henry, Warren Beatty). Christie turned down the part of Louise Bryant in Reds (1981, Warren Beatty), a part written by Beatty with her in mind, as she felt an American should play the role. Beatty's then lover, Diane Keaton, played the part and won a Best Actress Oscar nomination. Other interesting roles she turned down were parts in Rosemary's Baby (1968, Roman Polanski), The Godfather (1972, Francis Ford Coppola), Chinatown (1974, Roman Polanski), Marathon Man (1976), and American Gigolo (1980, Paul Schrader).
Julie Christie moved back to the UK and became the British answer to Jane Fonda, campaigning for various social and political causes, including animal rights and nuclear disarmament. She was greatly in demand, but became much more choosy about her roles as her own political awareness increased. Her sporadic film roles reflected her political consciousness such as the animal rights documentary The Animals Film (1981, Victor Schonfeld), and the feature The Gold Diggers (1983, Sally Potter), a feminist reinterpretation of film history. Roles in The Return of the Soldier (1982, Alan Bridges) with Alan Bates and Glenda Jackson and Merchant-Ivory's Heat and Dust (1983, James Ivory) seemed to herald a return to form, but then she essentially retired. A career renaissance came in the mid-1990’s with her turn as Queen Gertrude in Kenneth Branagh's adaptation of William Shakespeare’s Hamlet (1996, Kenneth Branagh). Rave notices brought her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man in Afterglow (1997, Alan Rudolph). She received her third Best Actress Oscar nomination for her performance, and showed up at the awards as radiant and uniquely beautiful as ever. Christie lived with left-wing investigative journalist Duncan Campbell (a Manchester Guardian columnist) since 1979, before marrying in 2008. In addition to her film work, she has narrated many books-on-tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's Old Times, which garnered her superb reviews. In the decade since Afterglow (1997, Alan Rudolph), she has worked steadily on film in supporting roles. She worked three times with director-screenwriter and actress Sarah Polley: co-starring with Polley in No Such Thing (2001, Hal Hartley) and the Goya Award-winning La Vida secreta de las palabras/The Secret Life of Words (2005, Isabel Coixet), and taking the lead in Polley's first feature film as a director, Away from Her (2006, Sarah Polley). Christie made a brief appearance in the third Harry Potter film, Harry Potter and the Prisoner of Azkaban (2004, Alfonso Cuarón), playing Madam Rosmerta, the landlady of the Three Broomsticks pub. That same year, she also appeared in two other high-profile films: Wolfgang Petersen's historical epic Troy (2004) and Marc Forster's Finding Neverland (2004), playing Kate Winslet's mother. The latter performance earned Christie a BAFTA nomination as supporting actress in film. In the Encyclopedia of British Cinema Brian McFarlane writes: “Arguably the most genuinely glamorous, and one of the most intelligent, of all British stars, Julie Christie brought a gust of new, sensual life into British cinema.”
Sources: Jon C. Hopwood (IMDb), Brian McFarlane (Encyclopedia of British Cinema), TCM, Wikipedia, and IMDb.
Romanian calender card by Casa Filmului Acin. Julie Christie in Far from the Madding Crowd (John Schlesinger, 1967). Collection: Alina Deaconu.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties, she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Oscar, the Golden Globe, the BAFTA, and the Screen Actors Guild Awards.
Julie Frances Christie was born in 1941 in Chukua, India, then part of the British Empire. She was the daughter of Frank St. John Christie, a tea planter, and his Welsh wife Rosemary (née Ramsden), who was a painter. Her younger brother, Clive Christie, would become a professor of Southeast Asian studies at Hull University. They grew up on their father's tea plantation in Assam. At 7, Julie was sent to England for her education. As a teenager at Wycombe Court School, she played the role of the Dauphin in a school production of George Bernard Shaw's Saint Joan. A fascination with the artist's lifestyle led to her enrolling in London's Central School of Speech and Drama training. Christie made her stage debut as a member of the Frinton Repertory of Essex in 1957. One of her first roles was playing Anne Frank in a London theatrical production of The Diary of Anne Frank. Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. She made her TV debut as an artificial girl created from the DNA of a deceased science lab assistant in the BBC Sci-fi series A for Andromeda (Michael Hayes, 1961). Her first film appearance was a bit part in the amusing comedy Crooks Anonymous (Ken Annakin, 1962), which was followed up by a larger ingénue role in the romantic comedy The Fast Lady (Ken Annakin, 1963) with Stanley Baker. Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress (Topsy Jane) originally cast in Billy Liar (John Schlesinger, 1963). Christie's turn in the film as the free-wheeling Liz, the supremely confident friend and love interest to Tom Courtenay's full-time dreamer Billy, was a stunner, and she had her first taste of becoming an icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute Daisy Battles in Young Cassidy (Jack Cardiff, John Ford, 1965), a biopic about Irish playwright Sean O'Casey. She made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (John Schlesinger, 1965). Schlesinger called on Christie to play the role of the manipulative young actress and jet setter Diana Scott when the casting of Shirley MacLaine fell through. As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from an immature sex kitten to a jaded socialite. For her complex performance, Christie won raves, including the Best Actress Oscar and the Best Actress BAFTA. Her image as the It Girl of the Swinging Sixties was further cemented by her appearance in the documentary Tonite Let's All Make Love in London (1967), which covered the hipster scene in England.
Julie Christie followed up Darling (1965) with the role of the tragic Lara Antipova in the two-time Academy Award-winning Doctor Zhivago (David Lean, 1965). Lean’s epic adaptation of Boris Pasternak's novel became one of the all-time box-office champs. Christie was now a superstar who commanded a price of $400,000 per picture. More interested in film as an art form than in consolidating her movie stardom, Christie followed up Doctor Zhivago (1965) with a dual role in Fahrenheit 451 (1966) for Francois Truffaut, a Nouvelle Vague director she admired. The film was, according to Jon C. Hopwood at IMDb, "hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the more-appropriate-for-the-role Terence Stamp". Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (John Schlesinger, 1967), which also starred Peter Finch and Alan Bates. Jon C. Hopwood at IMDb: “It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too ‘mod’ and thus untrue to one of Hardy's classic tales of fate.” She then met the man who transformed her life, undermining her pretensions to a career as a film star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a 'treadmill leading to more treadmills' and who was wealthy enough after Bonnie and Clyde (Arthur Penn, 1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of Far from the Madding Crowd (1967) and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends, four decades after their affair ended in 1974. Christie's last box-office hit in which she was the top-liner was Petulia (Richard Lester, 1968), a romantic drama about the romance between a staid doctor (George C. Scott) and a flighty but vulnerable socialite (Christie). According to Jon C. Hopwood, it is “a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an ‘arch-kook’ who was emblematic of the 1960s. It is one of the major films of the decade, an underrated masterpiece." Despite the presence of Scott and Shirley Knight, Hopwood claims that the film would not work without Julie Christie. "There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.”
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or to maintaining herself as a top-drawer working actress. She turned down the lead in They Shoot Horses, Don't They? (Sydney Pollack, 1969) and Anne of the Thousand Days (Charles Jarrott, 1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (Peter Wood, 1969), a critical and box office flop, to fulfil her contractual obligations, she spent her time with Beatty in California, renting a beach house in Malibu. She did return to form as the bored upper-class woman who ruins a boy's life by involving him in her sexual duplicities, in The Go-Between (Joseph Losey, 1970), written by playwright Harold Pinter. She won her second Oscar nomination for her role as a brothel 'madam' in Robert Altman's Western drama McCabe & Mrs. Miller (1971) that she made with her lover Beatty. Christie also turned down the role of the Russian Empress in Nicholas and Alexandra (Franklin J. Schaffner, 1971), another film that won the second-choice (Janet Suzman) Best Actress Oscar nomination. Two years later, she appeared in the dazzling mystery-horror film Don't Look Now (Nicolas Roeg, 1973), with its famously erotic love scenes between Christie and Donald Sutherland. Director Nicolas Roeg had been her cinematographer on Fahrenheit 451 (1966), Far from the Madding Crowd (1967) and Petulia (1968). In the mid-1970s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (Hal Ashby, 1975) and the comedy Heaven Can Wait (Buck Henry, Warren Beatty, 1978). Christie turned down the part of Louise Bryant in Reds (Warren Beatty, 1981), a part written by Beatty with her in mind, as Christie felt an American should play the role. Beatty's then lover, Diane Keaton, played the part and won a Best Actress Oscar nomination. Other interesting roles she turned down were parts in Rosemary's Baby (Roman Polanski, 1968), The Godfather (Francis Ford Coppola, 1972), Chinatown (Roman Polanski, 1974), Marathon Man (John Schlesinger, 1976), and American Gigolo (Paul Schrader, 1980).
Julie Christie moved back to the UK and became 'the British answer to Jane Fonda', campaigning for various social and political causes, including animal rights and nuclear disarmament. She was greatly in demand but became even more choosy about her roles as her own political awareness increased. Her sporadic film commitments reflected her political consciousness such as the animal rights documentary The Animals Film (Victor Schonfeld, 1981), and the feature The Gold Diggers (Sally Potter, 1983), a feminist reinterpretation of film history. Roles in The Return of the Soldier (Alan Bridges, 1982) with Alan Bates and Glenda Jackson, and Merchant-Ivory's Heat and Dust (James Ivory, 1983) seemed to herald a return to form, but then she essentially retired. A career renaissance came in the mid-1990s with her turn as Queen Gertrude in Kenneth Branagh's adaptation of William Shakespeare’s Hamlet (Kenneth Branagh, 1996). More rave notices brought her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man (Jonny Lee Miller) in Afterglow (Alan Rudolph, 1997). She received her third Best Actress Oscar nomination for her performance and showed up at the awards as radiant and uniquely beautiful as ever. Christie lived with left-wing investigative journalist and writer Duncan Campbell since 1979, before marrying in 2008. In addition to her film work, she has narrated many books on tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's Old Times, which garnered her superb reviews. In the decade since Afterglow (1997), she has worked steadily on film in supporting roles. She worked three times with director-screenwriter and actress Sarah Polley: co-starring with Polley in No Such Thing (Hal Hartley, 2001) and the Goya Award-winning La Vida secreta de las palabras/The Secret Life of Words (Isabel Coixet, 2005), and taking the lead in Polley's first feature film as a director, Away from Her (Sarah Polley, 2006). Christie made a brief appearance in the third Harry Potter film, Harry Potter and the Prisoner of Azkaban (Alfonso Cuarón, 2004), playing Madam Rosmerta, the landlady of the Three Broomsticks pub. That same year, she also appeared in two other high-profile films: Wolfgang Petersen's historical epic Troy (2004) and Marc Forster's Finding Neverland (2004), playing Kate Winslet's mother. The latter performance earned Christie a BAFTA nomination as a supporting actress in the film. In 2008, Christie narrated Uncontacted Tribes, a short film for the British-based charity Survival International, featuring previously unseen footage of remote and endangered peoples. She has been a long-standing supporter of the charity, and in February 2008, was named as its first 'Ambassador'. She appeared in a segment of the anthology film New York, I Love You (2008), written by Anthony Minghella, directed by Shekhar Kapur and co-starring Shia LaBeouf. She also played in Glorious 39 (Stephen Poliakoff, 2008), about a British family at the start of World War II. In 2011, Christie played a 'sexy, bohemian' version of the grandmother role in a gothic retelling of Red Riding Hood (Catherine Hardwicke, 2011) with Amanda Seyfried in the title role. Her most recent role was in the political thriller The Company You Keep (Robert Redford, 2012), where she co-starred with Robert Redford. And we conclude this bio with an observation of Brian McFarlane in The Encyclopedia of British Cinema: “Arguably the most genuinely glamorous, and one of the most intelligent, of all British stars, Julie Christie brought a gust of new, sensual life into British cinema.”
Sources: Jon C. Hopwood (IMDb), Brian McFarlane (Encyclopedia of British Cinema), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
And, please check out our blog European Film Star Postcards.
Romanian postcard by Casa Filmului Acin, no. 86. Julie Christie and Terence Stamp in Far from the Madding Crowd (John Schlesinger, 1967).
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties, she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Oscar, the Golden Globe, the BAFTA, and the Screen Actors Guild Awards.
Julie Frances Christie was born in 1941 in Chukua, India, then part of the British Empire. She was the daughter of Frank St. John Christie, a tea planter, and his Welsh wife Rosemary (née Ramsden), who was a painter. Her younger brother, Clive Christie, would become a professor of Southeast Asian studies at Hull University. They grew up on their father's tea plantation in Assam. At 7, Julie was sent to England for her education. As a teenager at Wycombe Court School, she played the role of the Dauphin in a school production of George Bernard Shaw's Saint Joan. A fascination with the artist's lifestyle led to her enrolling in London's Central School of Speech and Drama training. Christie made her stage debut as a member of the Frinton Repertory of Essex in 1957. One of her first roles was playing Anne Frank in a London theatrical production of The Diary of Anne Frank. Christie was not fond of the stage, even though it allowed her to travel, including a professional gig in the United States. She made her TV debut as an artificial girl created from the DNA of a deceased science lab assistant in the BBC Sci-Fi series A for Andromeda (Michael Hayes, 1961). Her first film appearance was a bit part in the amusing comedy Crooks Anonymous (Ken Annakin, 1962), which was followed up by a larger ingénue role in the romantic comedy The Fast Lady (Ken Annakin, 1963) with Stanley Baker. Christie first worked with the man who would kick her career into high gear, director John Schlesinger, when he choose her as a replacement for the actress (Topsy Jane) originally cast in Billy Liar (John Schlesinger, 1963). Christie's turn in the film as the free-wheeling Liz, the supremely confident friend and love interest to Tom Courtenay's full-time dreamer Billy, was a stunner, and she had her first taste of becoming an icon of the new British cinema. Her screen presence was such that the great John Ford cast her as the young prostitute Daisy Battles in Young Cassidy (Jack Cardiff, John Ford, 1965), a biopic about Irish playwright Sean O'Casey. She made her breakthrough to super-stardom in Schlesinger's seminal Swinging Sixties film Darling (John Schlesinger, 1965). Schlesinger called on Christie to play the role of the manipulative young actress and jet setter Diana Scott when the casting of Shirley MacLaine fell through. As played by Christie, Diana is an amoral social butterfly who undergoes a metamorphosis from an immature sex kitten to a jaded socialite. For her complex performance, Christie won raves, including the Best Actress Oscar and the Best Actress BAFTA. Her image as the It Girl of the Swinging Sixties was further cemented by her appearance in the documentary Tonite Let's All Make Love in London (1967), which covered the hipster scene in England.
Julie Christie followed up Darling (1965) with the role of the tragic Lara Antipova in the two-time Academy Award-winning Doctor Zhivago (David Lean, 1965). Lean’s epic adaptation of Boris Pasternak's novel became one of the all-time box-office champs. Christie was now a superstar who commanded a price of $400,000 per picture. More interested in film as an art form than in consolidating her movie stardom, Christie followed up Doctor Zhivago (1965) with a dual role in Fahrenheit 451 (1966) for Francois Truffaut, a Nouvelle Vague director she admired. The film was, according to Jon C. Hopwood at IMDb, "hurt by the director's lack of English and by friction between Truffaut and Christie's male co-star Oskar Werner, who had replaced the more-appropriate-for-the-role Terence Stamp". Stamp and Christie had been lovers before she had become famous, and he was unsure he could act with her, due to his own ego problems. On his part, Werner resented the attention the smitten Truffaut gave Christie. Stamp overcame those ego problems to sign on as her co-star in John Schlesinger's adaptation of Thomas Hardy's Far from the Madding Crowd (John Schlesinger, 1967), which also starred Peter Finch and Alan Bates. Jon C. Hopwood at IMDb: “It is a film that is far better remembered now than when it was received in 1967. The film and her performance as the Hardy heroine Bathsheba Everdene was lambasted by film critics, many of whom faulted Christie for being too ‘mod’ and thus untrue to one of Hardy's classic tales of fate.” She then met the man who transformed her life, undermining her pretensions to a career as a film star in their seven-year-long love affair, the American actor Warren Beatty. Living his life was always far more important than being a star for Beatty, who viewed the movie star profession as a 'treadmill leading to more treadmills' and who was wealthy enough after Bonnie and Clyde (Arthur Penn, 1967) to not have to ever work again. Christie and Beatty had visited a working farm during the production of Far from the Madding Crowd (1967) and had been appalled by the industrial exploitation of the animals. Thereafter, animal rights became a very important subject to Christie. They were kindred souls who remain friends, four decades after their affair ended in 1974. Christie's last box-office hit in which she was the top-liner was Petulia (Richard Lester, 1968), a romantic drama about the romance between a staid doctor (George C. Scott) and a flighty but vulnerable socialite (Christie). According to Jon C. Hopwood, it is “a film that featured one of co-star George C. Scott's greatest performances, perfectly counter-balanced by Christie's portrayal of an ‘arch-kook’ who was emblematic of the 1960s. It is one of the major films of the decade, an underrated masterpiece." Despite the presence of Scott and Shirley Knight, Hopwood claims that the film would not work without Julie Christie. "There is frankly no other actress who could have filled the role, bringing that unique presence and the threat of danger that crackled around Christie's electric aura. At this point of her career, she was poised for greatness as a star, greatness as an actress.”
After meeting Beatty, Julie Christie essentially surrendered any aspirations to screen stardom, or to maintaining herself as a top-drawer working actress. She turned down the lead in They Shoot Horses, Don't They? (Sydney Pollack, 1969) and Anne of the Thousand Days (Charles Jarrott, 1969), two parts that garnered Oscar nominations for the second choices, Jane Fonda and Geneviève Bujold. After shooting In Search of Gregory (Peter Wood, 1969), a critical and box office flop, to fulfil her contractual obligations, she spent her time with Beatty in California, renting a beach house in Malibu. She did return to form as the bored upper-class woman who ruins a boy's life by involving him in her sexual duplicities, in The Go-Between (Joseph Losey, 1970), written by playwright Harold Pinter. She won her second Oscar nomination for her role as a brothel 'madam' in Robert Altman's Western drama McCabe & Mrs. Miller (1971) that she made with her lover Beatty. Christie also turned down the role of the Russian Empress in Nicholas and Alexandra (Franklin J. Schaffner, 1971), another film that won the second-choice (Janet Suzman) Best Actress Oscar nomination. Two years later, she appeared in the dazzling mystery-horror film Don't Look Now (Nicolas Roeg, 1973), with its famously erotic love scenes between Christie and Donald Sutherland. Director Nicolas Roeg had been her cinematographer on Fahrenheit 451 (1966), Far from the Madding Crowd (1967) and Petulia (1968). In the mid-1970s, her affair with Beatty came to an end, but the two remained close friends and worked together in Shampoo (Hal Ashby, 1975) and the comedy Heaven Can Wait (Buck Henry, Warren Beatty, 1978). Christie turned down the part of Louise Bryant in Reds (Warren Beatty, 1981), a part written by Beatty with her in mind, as Christie felt an American should play the role. Beatty's then lover, Diane Keaton, played the part and won a Best Actress Oscar nomination. Other interesting roles she turned down were parts in Rosemary's Baby (Roman Polanski, 1968), The Godfather (Francis Ford Coppola, 1972), Chinatown (Roman Polanski, 1974), Marathon Man (John Schlesinger, 1976), and American Gigolo (Paul Schrader, 1980).
Julie Christie moved back to the UK and became 'the British answer to Jane Fonda', campaigning for various social and political causes, including animal rights and nuclear disarmament. She was greatly in demand but became even more choosy about her roles as her own political awareness increased. Her sporadic film commitments reflected her political consciousness such as the animal rights documentary The Animals Film (Victor Schonfeld, 1981), and the feature The Gold Diggers (Sally Potter, 1983), a feminist reinterpretation of film history. Roles in The Return of the Soldier (Alan Bridges, 1982) with Alan Bates and Glenda Jackson, and Merchant-Ivory's Heat and Dust (James Ivory, 1983) seemed to herald a return to form, but then she essentially retired. A career renaissance came in the mid-1990s with her turn as Queen Gertrude in Kenneth Branagh's adaptation of William Shakespeare’s Hamlet (Kenneth Branagh, 1996). More rave notices brought her turn as the faded movie star married to handyman Nick Nolte and romanced by a younger man (Jonny Lee Miller) in Afterglow (Alan Rudolph, 1997). She received her third Best Actress Oscar nomination for her performance and showed up at the awards as radiant and uniquely beautiful as ever. Christie lived with left-wing investigative journalist and writer Duncan Campbell since 1979, before marrying in 2008. In addition to her film work, she has narrated many books on tape. In 1995, she made a triumphant return to the stage in a London revival of Harold Pinter's Old Times, which garnered her superb reviews. In the decade since Afterglow (1997), she has worked steadily on film in supporting roles. She worked three times with director-screenwriter and actress Sarah Polley: co-starring with Polley in No Such Thing (Hal Hartley, 2001) and the Goya Award-winning La Vida secreta de las palabras/The Secret Life of Words (Isabel Coixet, 2005), and taking the lead in Polley's first feature film as a director, Away from Her (Sarah Polley, 2006). Christie made a brief appearance in the third Harry Potter film, Harry Potter and the Prisoner of Azkaban (Alfonso Cuarón, 2004), playing Madam Rosmerta, the landlady of the Three Broomsticks pub. That same year, she also appeared in two other high-profile films: Wolfgang Petersen's historical epic Troy (2004) and Marc Forster's Finding Neverland (2004), playing Kate Winslet's mother. The latter performance earned Christie a BAFTA nomination as a supporting actress in the film. In 2008, Christie narrated Uncontacted Tribes, a short film for the British-based charity Survival International, featuring previously unseen footage of remote and endangered peoples. She has been a long-standing supporter of the charity, and in February 2008, was named as its first 'Ambassador'. She appeared in a segment of the anthology film New York, I Love You (2008), written by Anthony Minghella, directed by Shekhar Kapur and co-starring Shia LaBeouf. She also played in Glorious 39 (Stephen Poliakoff, 2008), about a British family at the start of World War II. In 2011, Christie played a 'sexy, bohemian' version of the grandmother role in a gothic retelling of Red Riding Hood (Catherine Hardwicke, 2011) with Amanda Seyfried in the title role. Her most recent role was in the political thriller The Company You Keep (Robert Redford, 2012), where she co-starred with Robert Redford. And we conclude this bio with an observation of Brian McFarlane in The Encyclopedia of British Cinema: “Arguably the most genuinely glamorous, and one of the most intelligent, of all British stars, Julie Christie brought a gust of new, sensual life into British cinema.”
Sources: Jon C. Hopwood (IMDb), Brian McFarlane (Encyclopedia of British Cinema), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Seen 12-30-13 Poster of an old movie!
Everybody knows this movie, have seen and it still is marvellous!
Julie Christie, Omar Sharif. AND Geraldine Chaplin, my most favo star in this film!
(By the way I noticed Mr Sharif bites his fingernails!)
So I recently got a scanner and have started trying to salvage boxes and boxes of old negs, many of which are very mouldy. This one turned out okay, the amazing Julie Christie from about ten years ago or even more.
Directed by François Truffaut
Starring Julie Christie, Oskar Werner, Cyril Cusack
Based on Fahrenheit 451 by Ray Bradbury
In his novel “Doctor Zhivago” Boris Pasternak describes the dramatic changes in the early years of the Revolution in Russia. He writes about hopes and disillusionment.
Many of us like the movie with Omar Sharif and Julie Christie (called “Lara”).
My recommendation is to read the book. It is easy to read and outstanding literature. Pasternak received for his work the Nobel Prize for Literature in 1958. That was a critical time period between East and West, the period of “iron curtain”. But Pasternak's work is free of propaganda, it is a moving and touching lesson of history.
In seinem Roman "Doktor Schiwago" beschreibt Boris Pasternak die dramatischen Veränderungen in den ersten Jahren der Revolution in Russland. Er schreibt über Hoffnungen und Enttäuschungen.
Viele von uns kennen und lieben den gleichnamigen Film mit Omar Sharif und Julie Christie (genannt "Lara").
Ich empfehle das Buch zu lesen. Es liest sich leicht und ist doch hervorragende Literatur. Pasternak erhielt für seine Arbeit den Nobelpreis für Literatur im Jahr 1958. Das war eine kritische Zeit zwischen Ost und West, die Zeit des "Eisernen Vorhangs". Aber Pasternaks Werk ist frei von Propaganda, ist es eine bewegende und berührende Geschichtsstunde.
more about:
en.wikipedia.org/wiki/Doctor_Zhivago_%28novel%29
en.wikipedia.org/wiki/Boris_Pasternak
overall view:
www.flickriver.com/photos/97875468@N07/popular-interesting/
more flickr projects you can find in my profile:
One of the best British films of the '60s. Made Julie Christie an international star.
Directed by John Schlesinger who later worked in America and had a major hit with the equally "adult" and ground-breaking Midnight Cowboy.
Screenplay by Frederic Raphael.
Directed by François Truffaut
Starring Julie Christie, Oskar Werner, Cyril Cusack
Based on Fahrenheit 451 by Ray Bradbury
French postcard by Travelling Editions, Paris, no. CP 52. Caption: Julie Christie in 1967.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Academy, Golden Globe, BAFTA, and Screen Actors Guild Awards.
For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr or Pinterest.
Sarah Polley was a guest speaker at ACTRA's summer conference last Wednesday. She was a successful canadian child actor who made a beautiful transition to acclaimed adult roles. She also sings & writes. Her newest & already proven forte is directing. As director, her first canadian feature film, "Away From Her" starring Julie Christie & Gordon Pinsent, received international acclaim & success at the box office. Christie won the Golden Globe this year for best actress & was nominated for an Academy Award. Sarah was nominated for an Academy Award for her adapted screenplay, from an Alice Munro short story.
Sarah is 27 years old.!! And the canadian film industry's darling! Don't know her? You will :)
Poor focus on all of them! Big hall, considerable zoom required, limited portrait skills :))
But she was a fabulous subject to shoot....... beautiful, intelligent, animated, charismatic.
explore #15. That was a surprise:) Thank you all so much for your support of this project.
0ld Shepherds cottage, Bathshebas, cottage, used in film starring Julie Christie, Alan Bates, Terence Stamp #FarFromTheMaddingCrowd
Directed by François Truffaut
Starring Julie Christie, Oskar Werner, Cyril Cusack
Based on Fahrenheit 451 by Ray Bradbury
Romanian postcard by Casa Filmului Acin, nr. 554.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Academy, Golden Globe, BAFTA, and Screen Actors Guild Awards.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Spanish postcard by Raker, no. 1127.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Academy, Golden Globe, BAFTA, and Screen Actors Guild Awards.
For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr or Pinterest.
Horror/Science Fiction film from 1977 that was ahead of it's time--it had a computer that took control of the whole house and the people living in it.
Lifeboat, 1944
From left: Tang Wei, Josh Brolin, Casey Affleck, Eva Marie Saint, Ben Foster, Omar Metwally, and Julie Christie. Photograph by Mark Seliger.
Lifeboat presented a difficult challenge to Hitchcock’s determination to appear in a single shot in each of his films. “I thought of being a dead body floating past the lifeboat, but I was afraid I’d sink,” he said. Hitchcock was sincerely worried about his weight at the time, and had undertaken a strenuous diet. His solution to the cameo problem: he appeared in a newspaper read by one of the boat’s passengers, photographed before and after his diet in an advertisement for a fictional weight-loss drug.
30th july 2009 · attempting at a sixties magazine ad look · Relaxing between takes on the Marvel Family foto/film project
pose: cousin Sara · camera: uncle Ray · location: Snogebeck Beach, Bornholm
American postcard. Photo: MGM. Photo: Geraldine Chaplin, Omar Sharif and Julie Christie in Dr. Zhivago (David Lean, 1965).
Versatile English-American actress Geraldine Chaplin (1944) is the daughter of Charlie Chaplin. Her breakthrough was her role as Omar Shariff’s wife in David Lean’s classic Doctor Zhivago (1965). She became an internationally respected actress with her appearances in several films by Robert Altman and her starring roles in nine films by her former partner, Spanish director Carlos Saura.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Academy, Golden Globe, BAFTA, and Screen Actors Guild Awards.
For more postcards, a bio and clips check out our blog European Film Star Postcards Already over 3 million views! Or follow us at Tumblr or Pinterest.
Get more creative with the shots next time, this was just about how the model looked on camera and I wasn't really concerned with action or setting.... pull the finger out creatively next time.
Taken and originally posted in 2006.
Fire -- "the recurring symbol" of Nazi book-burning. The poster for Francois Truffaut's "Fahrenheit 451" catches the eye (especially with Julie Christie's picture on it).
Romanian postcard by Casa Filmului Acin, nr. 43 072.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Academy, Golden Globe, BAFTA, and Screen Actors Guild Awards.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Rumanian postcard by Casa Filmului Acin, nr. 43 072.
Smart and sexy Julie Christie (1941) is an icon of the new British cinema. During the Swinging Sixties she became a superstar with such roles as Lara in the worldwide smash hit Doctor Zhivago (1965). Since then she has won the Academy, Golden Globe, BAFTA, and Screen Actors Guild Awards.
For more postcards, a bio and clips check out our blog European Film Star Postcards.