Biography of Warren Beatty (1937-VVVV)

Actor, producer, screenwriter and director of American cinema, also actor of theater, whose full name is Henry Warren Beaty. He was born March 30, 1937, in Richmond (Virginia, United States).

Life

Charismatic actress Shirley MacLaine, the young Warren Beatty's younger brother stood out quickly at (Northwester University, Evanston, Illinois) by its size, for their dramatic skills and, especially in these early years, by his athletic skills, which led to several universities, which offered substantial scholarships to rifaran it. But, finally, he agreed to travel to New York to study drama with Stella Adler (the discoverer of Marlon Brando and one of the precursors of the famous Stanislavskymethod) in Acting School. Between 1959 and 1960 he got a role in the television series The Many Loves of Dobie Gillis, who introduced him into the world of the spectacle. At the end of 1960, the all-powerful Metro-Goldwyn-Mayer offered him a contract, but in the midst of negotiations, these were broken by the two parties. On the other hand, got the role protagonist of the play Compulsion, which got recognition within the theatrical scene. Attended a representation the director Joshua Logan and the playwright William Inge, who, impressed by the young actor's performance, he was offered to interpret the work which at the time were preparing on Broadway, A Loss of Roses, which, although it was not the hit that expected, was decisive in the race of Beatty, as Inge, who was writing the screenplay - why then would win an Oscar - splendor in the grass (1961)honestly convinced of their sexual potential, convinced his friend Kazan to accept him as the handsome actor, Bud Stamper, which is separated from the girl want it (Natalie Wood) by the pressures of his powerful family, who thinks that the girl does not have sufficient social category to marry his son. A psychological and grandiose history, where, naturally, he will finish being a loser and she, crazy love for him, interned in a mental institution.

Immediately afterwards, in full sweetness of success, played Italian gigolo who accompanies an aged Vivien Leigh in the Roman spring of Mrs. Stone (1961), of José Quintero. The uneven film based on the only novel by the playwright Tennessee Williams, attempts to reflect on the sex and is only interesting to contemplate, in his penultimate appearance on-screen, Vivien Leigh, and Beatty in full physical splendor; with him on screen, the film earned, but nor yet was able to save it. Nor his following film, his own hell (1962), John Frankenheimer, was no commercial hit, but was not a bad film, quite the opposite, the film contains excellent performances of Eva Marie Saint and the own Beatty and non-absorbent, although little credible, screenplay by William Inge.

But the American public is difficult, and Lilith (1964), Robert Rossen, failed miserably. In Europe, however, this beautiful melodrama got to be appreciated as it was. The story, of unstable personalities, tells how an employee of a psychiatric (Beatty) falls head over heels for a sick (a delicious Jean Seberg), who leads him, practically, the way of bitterness; Finally, he will need help from psychiatrists. Hounded (1965), Arthur Penn, meant a turning moment in the career of Beatty. It got removed the "guaperas" as and offered a magnificent performance by personifying a comedian of night-club that gets involved in a myriad of difficult output problems. Although the film was not struck, Beatty took out two things clear: that quote was under minimum and that was time not be eternally in the service of the so-called '' establishment '', but had to try in other areas of the industry. And thus was born the legendary Bonnie and Clyde (1967), of Arthur Penn, where Warren Beatty, apart from being the cripple Clyde Barrow, produced the film, in an intelligent and skilful, attempt to revitalize a career that seemed to have bottomed too soon. To do so, Beatty overturned all its energies in the history of Bonnie Parker and Clyde Barrow, famous characters from the America of the early thirties, two modern converted in true Robin Hood thieves. Built with a musical rhythm, the film of Penn has with humor and tenderness the picaresque Odyssey of these two young and seductive heroes for whom the theft is both a game and a need. The end, in one of the scenes most cold and raw history, returns the Viewer to a tragic reality, giving the film a brutal bitterness that had not appeared until then. Of course, the film, a year after its premiere, had converted to Beatty in billionaire.

From here, although in the first six years of career he had played eight films in the following six only intervened in four, among them, only fit highlight an atypical western, lifestylers (1971), of Robert Altman, who starred together in a, by then, his girlfriend, the only Julie Christie (Dr. Zhivago unforgettable Lara). Film and the interpretation of Beatty were praised by critics, but the public returned to turn our backs on the seductive actor.

He returned with force production with Shampoo (1975), Hal Ashby, a self-assured and cruel satire about lightweight Californian society in the age of Nixon. Beatty, as well as produce and interpret, was nominated, along with its prestigious co-writer, Robert Towne, the Oscar for best screenplay, and, even though vista today, much leaves to be desired, was all a hit in its time; What originated that Beatty, three years later, is launched, apart already usual work of actor, producer, and lately writer, to the address. Heaven can wait (1978), which he co-directed with the actor Buck Henry, was also a curious fantastic comedy remake of the classic, and splendid, the late protest (1941) by Alexander Hall, with Beatty in the role of angel dressed in tracksuit grey, in a naive story of a famous football player who died in an accident and thatclimbing to the sky, discover that it is not the time of their passage to a better life. Few special effects, no makeup, all natural, good feelings and a visible enthusiasm by Beatty; details returned to prove, of course, in his, until the moment, most famous production, reds (1981), the Oscar best director (only in his career of many nominations) and an unused prestige earned him as serious author (once again, as well as director and producer, screenwriter and actor). Taking as reference the political misadventures of the idealistic, supporter of communism, John Reed, synthesized in his work ten days that they shook the world, Beatty built a film with epic dyes, which left audiences and critics just as happy as that to the journals of the heart, then began a love affair with the by that "former" era of Woody Allen, Diane Keaton, heroine of the film.

After ringing failure which meant Ishtar (1987), of Elaine May, where he was an actor and producer, did not return to appear on stage until his then controversial, but today considered cult, Dick Tracy (1990), where he produced and directed an interesting attempt to transfer to the film style of the comics. It starred the famous detective private fiction, created by Chester Gould. Faithful to the universe of this, Beatty restored with much care the dark world and the dreamlike atmosphere that the product required, no doubt aided by his director of photography (Vittorio Storaro) and art direction, which got an eerie atmosphere, playing with colors, the ruptures of tone and the deformations of the faces of Al Pacino, James CaanSeymour Cassel and Dick Van Dyke. The truth is that visually Dick Tracy is a prodigy.

Warren Beatty, who has a reputation for having little view as an actor (refused the role of two men and a destination, the coup, last tango in Paris or as we were, among others), accepted the main role of which will be, without a doubt, the best performance of his career, Bugsy (1991), of Barry Levinson, a brilliant exercise in reconstruction of the mafia in the North America in the 1940s and a powerful recreation by Ben Beatty, Bugsy Siegel, the first man to believe that Las Vegas could be the tumultuous city of the game that it is today; Finally, delved into a product with little future, a matter of love (1994), remake of the mythical you and I, Leo McCarey, which interprets, wrote the script and produced for brilliance of Annette Bening, his then girlfriend, the last known relationship of an innumerable list of conquests, that they have done nothing but increase his fame of inveterate seducer.

Filmography

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Actor

1961: Splendor in the grass; The Roman spring of Mrs. Stone. 1962: His own hell. 1964: Lilith.1965: harassed. 1966: A magnificent villain; Promise you anything. 1967: Bonnie and Clyde (and producer). 1970: the only game in town. 1971: Lifestylers; Dolares.1974: The last witness. 1975: Shampoo (and co-producer and coguion); Two crooks and a legacy. 1987: Ishtar (and producer). 1991: Bugsy (and co-producer). 1994: A matter of love (producer and coguion).

Director

1978: Heaven can wait (Co-Director, producer, actor and coguion). 1981: Red (and producer, coguion and actor). 1990: Dick Tracy (producer and actor). 1998: Bullworth (and co-producer, screenplay and actor).