Gregory Peck worked for free to make sure 600,000 factory workers kept their jobs.
80年代初免費為克來斯樂的車子打廣告。不自居，一生君子
李濠仲
把目光從林青霞轉到奧黛麗赫本
清華大學因邀請林青霞為畢業生致詞，引發許多議論。藉影視紅人為畢業典禮增色，在美國尤其常見，例如：維吉尼亞理工大學曾邀請NBC《今日秀》主持人霍達致詞，她向畢業生分享了自己早年求職碰壁的掙扎，以及身為一名癌症倖存者何以能擺脫悲劇；美國紅牌節目《艾倫秀》主持人艾倫在新奧爾良杜蘭大學畢業典禮上，則將個人的成功歸於忠於自我，包括勇敢出櫃；當歐普拉現身位在亞特蘭大的斯佩爾曼學院，其華麗登場，簡直像是現代版馬丁路德；史蒂芬史匹柏亦曾在哈佛大學向畢業生闡他「一生最偉大性格定義的時刻（遇到一生的摯愛）」；喜劇演員威爾法瑞爾在南加大的畢業致詞到現在還在網上流傳，被記住的不是他擅長的笑話，而是他如何克服對未知的恐懼…
基於大學畢業典禮是學生進入就業市場和「現實世界」之前獲得建議和智慧之言的最後機會，因此當校方在安排「名人致詞」時，自然多顧及了這層意義。倘若要兼具名人和給出智慧建言，已故的好萊塢巨星奧黛麗赫本或許更是最佳人選，只可惜她未能搭上這波風潮。
而就算沒有出現在大學畢業典禮，奧黛麗赫本也早被認定是最具啟發性的劃時代明星。理由不光是她擁有為數眾多、膾炙人口的作品（如《羅馬假期》、《蒂凡內的早餐》等），她獨有的機智、魅力、優雅和氣質，幾乎可滿足所有美國人對精緻和世俗的多面渴望，但這也不足以解釋她受歡迎的程度。此外，她的外顯形象，再和多部電影中扮演老練的年輕女性形成矛盾，這一「矛盾」，反又讓她贏得純熟不做作的演技美名，加以欠缺「銀幕外的缺陷」（少有負面私生活新聞），通俗描述，說她是「神級人物」並不為過。
當然，奧黛麗赫本的地位，不只因為她紅極一時。有別於同期影星瑪莉蓮夢露的性感，奧黛麗赫本輕盈的體態，卻是帶著艱苦童年的影子。她出身布魯塞爾，因父母離異，失去了原本優渥的生活，跟著母親返鄉荷蘭，再又遇上納粹占領，親眼目睹周遭親友被殺害、送進勞改營，她自己則和當時許多孩子一樣，因食物短缺而營養不良，直到戰爭結束，她才一路輾轉到倫敦尋找表演機會（她自小夢想成為芭蕾舞者），再赴美國參加表演班，如願發跡於百老匯。
她在美國電影圈嶄露頭角，關於她的成長背景才一一被挖出。所有人都非常訝異，她過去那段悲慘的童年，竟完全沒有減損她做為一名「有趣的演員」。面對瑪麗蓮夢露、伊莉莎白泰勒、蘇菲亞羅蘭等等同期巨星，略帶孩子氣的奧黛麗赫本儘管像隻弱小的天鵝，依舊一路贏得電影桂冠，登上奧斯卡最佳女主角。當時即有影評認為，奧黛莉赫本之所以能取得成功，更多的因素是來自一種令人不可抗拒的精神，而非性感（堪稱當年好萊塢女星的基本條件）。
但她的「奮鬥歷程」並未終止於舞台巔峰。息影後，不只沒有轉身貴婦般的安逸生活情調，還投入營救世界饑荒，經常利用自己明星的號召力為慈善機構募款，多次為蘇丹、委瑞內拉、孟加拉、索馬利亞等國家貧困的兒童提供援助，還成為聯合國國際兒童基金會（UNICEF）親善大使。
一名曾和奧黛麗赫本共事的聯合國官員這麼形容她：「你在奧黛麗赫本身上看到的就是她真正的樣子，沒有特別的公共或私人角色之分…這聽起來可能很無聊，但奧黛麗是我一生中遇到最特別的人之一。」這一說法，又更讓人欽佩奧黛麗赫本竟可以在複雜的好萊塢世界，以自己既有的模樣脫穎而出。奧黛麗赫本的兒子有次在接受媒體訪問時談到自己的母親，他說許多人都很讚賞自己母親不易屈服的個性，而他聽過最能代表母親的一句話就是：「戴著天鵝絨手套的鋼拳（as a steel fist in a velvet glove）」。
人生最後階段，她因為病得太重，無法前往洛杉磯接受美國演員工會獎，但她仍特別致函給多名導演和員工，謙遜地謝謝他們「引導和培養一個完全不知名、沒有安全感、缺乏經驗、骨瘦如柴的女人成為『有銷路的商品』。」從生命長度看，這位好萊塢巨星年僅63歲就過世（1993年），殊為遺憾；不過，若就生命厚度，奧黛麗赫本以倖存於歐洲戰爭起始，躍升為美國好萊塢巨星，最後再以「一名人道主義者」（1993年美國電影學院追授奧黛麗赫本人道主義獎）總結，如此人生篇章，似乎又比她任何一部電影都來得經典，其所謂巨星風采，對任何大學畢業生來說，這不才是儘管年輕人不認識，卻非常值得認識的一代影后。
（圖：美聯社）
"There IS a Fountain of Youth: It is your mind, your talents, the creativity you bring to your life and the lives of the people you love. When you learn to tap this source, you will truly have defeated age."
Sophia Loren (b. 1934)
Sophia Loren is an international film star who won an Academy Award for Best Actress for her role in Two Women. She has earned a record six David Di Donatello Awards for Best Actress, a Grammy Award, and five special Golden Globes, as well as the Honorary Academy Award in 1991.
pzaz.tv
#pzaztv #television #sophialoren #movies #actresses #Italy #quotesdaily #filmmaking #filmmaker #filmmakingsoftware
Audrey Hepburn, the actress who epitomized Hollywood chic in the 1950's and 60's, died yesterday at her home in Tolochenaz, near Lausanne, Switzerland. She was 63 years old and had undergone surgery for colon cancer in November.
In recent years, she made few movies, but traveled the world raising money and awareness for the U.N. organization. Her last screen role, in 1989, was a cameo as an angel easing the hero toward death in Steven Spielberg's "Always," a role in which the character's grace and serenity echoed the image Miss Hepburn had maintained throughout a 40-year career. An Oscar for a Princess
Her first major film role made her a star. In the 1953 romance "Roman Holiday," she played a princess who runs from her duties and falls in love with a journalist played by Gregory Peck. Audiences were enchanted by her combination of grace, elegance and high spirits, and she won an Academy Award as best actress.
***
https://en.wikipedia.org/wiki/Audrey_Hepburn
Audrey Hepburn | |
|---|---|
 Hepburn in 1956 | |
| Born | Audrey Kathleen Ruston 4 May 1929 Ixelles, Brussels, Belgium |
| Died | 20 January 1993 (aged 63) Tolochenaz, Vaud, Switzerland |
| Resting place | Tolochenaz Cemetery |
| Citizenship | British |
| Occupations |
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| Years active | 1948–1989 |
| Notable work | Full list |
| Spouses | |
| Partner | Robert Wolders (1980–1993) |
| Children | 2, including Sean |
| Parent |
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| Relatives |
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| Awards | Full list |
| Goodwill Ambassador for UNICEF | |
| In office 1989–1993 | |
| Signature | |
 | |
【電影《羅馬假期》背後的故事】
籌拍這部電影時，格列格雷畢克時年三十六歲，已經是名滿天下的大明星，而奧黛麗赫本只有二十三歲， 是個名不見經傳的女孩。她是他的影迷，第一次見他， 她激動得說不出話來。
他也如此。第一眼，他愛上她。
當電影拍完，製片方將主演人的名字先寫他時，他拒絕了，他說，先寫她。因為他知道，電影一公映， 她就不再是那個默默無聞的女孩了。果然，電影公映， 她一舉成名天下知。當年就獲得奧斯卡最佳女主角。
而她的愛，卻不能說。她愛上他，而他卻是有家庭的，儘管婚姻已到盡頭。
後來，她嫁給了導演。他參加了她的婚禮。並送給她一枚蝴蝶胸針。
再後來，他離了婚，又結婚。再後來，她離了婚又結婚。始終無法交集。
四十年中，光陰無數，只有那蝴蝶胸針始終陪伴她。
一九九三年，赫本離開人世。葬禮上，他來了，來看她最後一眼。她躺在花叢中，在他眼裡，仍如當初一般美麗。他吻著她額， 終於說，你是我一生最愛的女人。這句話，她等了一生。
十年後，拍賣會上，義賣她的物品。白髮蒼蒼的他來了，只為那枚蝴蝶胸針。他買下了它。
半生的光陰裡，他沒有告訴她，這不是普通的禮物，是他祖母的家傳。
幾十天后，他去世了，握著胸針，和他一生的愛戀...
| Roman Holiday | |
|---|---|
 Promotional poster for reissue |
|
| Directed by | William Wyler |
| Produced by | William Wyler |
| Screenplay by | Dalton Trumbo Ian McLellan Hunter John Dighton[1] |
| Story by | Dalton Trumbo |
| Starring | Gregory Peck Audrey Hepburn |
| Music by | Georges Auric Victor Young |
| Cinematography | Henri Alekan Franz Planer, ASC |
| Editing by | Robert Swink |
| Distributed by | Paramount Pictures |
| Release date(s) |
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| Running time | 118 minutes |
| Country | United States |
| Language | English |
| Budget | $1.5 million |
| Box office | $12,000,000 |
It was written by John Dighton and Dalton Trumbo, though with Trumbo on the Hollywood blacklist, he did not receive a credit; instead, Ian McLellan Hunter fronted for him. Trumbo's credit was reinstated when the film was released on DVD in 2003. On December 19, 2011, full credit for Trumbo's work was restored.[2][3]
The film was screened in the 14th Venice film festival within the official program.
In the 1970s, both Peck and Hepburn were approached with the idea of a sequel, but the project never came to fruition. The film was remade for television in 1987 with Tom Conti and Catherine Oxenberg, who is herself a member of a European royal family.
In 2012 a musical version of Roman Holiday, following the plot while using the songs of Cole Porter, was presented in Minneapolis at the Guthrie Theater. The cast included Stephanie Rothenberg as Princess Anne and Edward Watts as Joe Bradley. [4]
Contents |
Plot
The sedative eventually makes her fall asleep on a bench, where Joe Bradley (Peck), an expatriate American reporter working for the Rome Daily American, finds her. Not recognizing her, he offers her money so she can take a taxi home, but a very woozy "Anya Smith" (as she later calls herself) refuses to cooperate. Joe "finally" decides, for "safety's" sake, to let her spend the night in his apartment. He is amused by her regal manner, but less so when she appropriates his bed. He transfers her to a couch. The next morning, Joe, having already slept through the interview Princess Ann was scheduled to give, hurries off to work, leaving her still asleep.
When his editor, Mr. Hennessy (Hartley Power), asks why Joe is late, Joe lies, claiming to have attended the press conference for the princess. Joe makes up details of the alleged interview until Hennessy informs him that the event had been canceled because the princess had suddenly "fallen ill". Joe sees a picture of her and realizes who is in his apartment. Joe immediately sees the opportunity and proposes getting an exclusive interview for the newspaper for $5000. Hennessy, not knowing the circumstances, agrees to the deal, but bets Joe $500 that he will not succeed.
Joe hurries home and, hiding the fact that he is a reporter, offers to show Anya around Rome. He also surreptitiously calls his photographer friend, Irving Radovich (Eddie Albert), to tag along to secretly take pictures. However, Anya declines Joe's offer and leaves.
Later, Anya shares with Joe her dream of living a normal life without her crushing responsibilities. That night, at a dance on a boat, government agents finally track her down and try to escort her away, but a wild melee breaks out and Joe and Anya escape. Through all this, they gradually fall in love, but Anya realizes that a relationship is impossible. She finally bids farewell to Joe and returns to the embassy.
The next day, Princess Ann appears to answer questions from the press, and is alarmed to find Joe and Irving there. Irving takes her picture with the same miniature cigarette lighter/camera he had used the previous day. He then presents her with the photographs he had taken, discreetly tucked in an envelope, as a memento of her adventure. Joe lets her know, by allusion, that her secret is safe with them. She, in turn, works into her bland statements a coded message of love and gratitude to Joe. She then departs, leaving Joe to linger for a while, contemplating what might have been.
Cast
 Gregory Peckas Joe Bradley |
The role was originally written with Cary Grant in mind. Grant declined,[6] believing he was too old to play Hepburn's love interest (though he played opposite her ten years later in Charade.) Peck's contract gave him solo star billing, with newcomer Hepburn listed much less prominently in the credits. Halfway through the filming, Peck suggested to Wyler that he elevate her to equal billing — an almost unheard-of gesture in Hollywood. |
 Audrey Hepburnas Princess Ann (Anya "Smitty" Smith) |
This role was originally written for Elizabeth Taylor. Hepburn was cast after a screen-test. After she had performed a dignified, subdued scene from the film, the director called "cut", but the cameraman left the camera rolling, capturing the young actress suddenly become animated as she chatted with the director. The candid footage won her the role; some of it was later included in the original theatrical trailer for the film, along with additional screen test footage showing Hepburn trying on some of Anya's costumes and even cutting her own hair (referring to a scene in the film). Roman Holiday was not Hepburn's first American acting job—she appeared on a 1952 CBS Television Workshop production of Rainy Day in Paradise Junction—but it was her first major role, one which introduced her to the general public. |
The Telegraph; June 13th 2003
as the epitome of male virtue.
But a film had to be very bad indeed to undermine his appeal at the box office. From the 1940s to the 1980s he was the star of nearly every film he played in.
Certain parts stand out. In Roman Holiday (1953) Peck was at his most beguiling as an American journalist who determines to get a story from Audrey Hepburn's princess, but who is unable, when it comes to the point, to betray the romance of their encounter.
Audrey Hepburn was relatively unknown when they made the film, but Peck was so impressed by her performance that he insisted that she should receive equal billing. Forty years later, after her death, he showed that his feelings had not died when he paid tribute to her at the Oscar ceremonies of 1993.
Peck himself was nominated five times for an Oscar, for his roles in The Keys of the Kingdom (1944), The Yearling (1946), Gentleman's Agreement (1947), Twelve O'Clock High (1949) and To Kill a Mockingbird (1962). Only on the last occasion did he carry off the prize. The part of the liberal Southern lawyer battling racial prejudice in the film of Harper Lee's novel might have been written specially for him.
But Peck's effortless ability to radiate nobility and integrity against the odds carried with it the inference that there might be imperfections in the American way of life. Under President Nixon he received the supreme accolade of being listed by the White House as an enemy, though President Johnson, awarding him the Medal of Freedom in 1969, had called him "a humanitarian to whom Americans are deeply indebted".
Not that Peck always played the prince of virtue. In Duel in the Sun (1946) he was the leering and sardonic seducer of Jennifer Jones; in The Great Sinner (1949), a film inspired at some remove by Dostoevsky, he appeared as a young writer who becomes a compulsive gambler.
He made a respectable stab at Captain Ahab in Moby Dick (1956), and in The Boys from Brazil (1978) even attempted an out-and-out villain - a Nazi in hiding from Jewish revenge but still harbouring schemes of world domination.
Yet the quintessential Peck invariably gave the impression of being under moral stress. He excelled at portraying a conscience at work, and the audience were never surprised when he finally came to the righteous conclusion.
Twelve O'Clock High (1949) presented him dithering traumatically as the commander of an American bomber unit who is obliged to send his crews to their deaths over Nazi Germany. In The Gunfighter (1950) he was superb as Johnny Ringo, at once weary of shooting upstarts less quick on the draw and haunted by the eventual certainty of death at the hands of a younger man.
There were other good Westerns. In Yellow Sky (1948) Peck was the leader of a gang of robbers - albeit one that reformed by the end of the film - who are chased into a salt flat after holding up a bank. Though tortured with fatigue and thirst, and decidedly short on words, he remained every inch the man in charge.
In The Big Country (1958) he displayed moral grit by refusing all manner of provocation, and physical grit when he finally becomes involved in savage fisticuffs with Charlton Heston. The plot of the film turned on a battle for land - a subject dear to Peck, who acquired no fewer than seven cattle ranches.
He was still enduring against the odds in The Stalking Moon (1969), when he played a US Army General who retires to the New Mexico ranch which he has bought unseen by mail order. Other, less remarkable Westerns in which he appeared were Only the Valiant (1950), The Bravados (1958, with Joan Collins), How the West Was Won (1963), McKenna's Gold (1969), I Walk the Line (1970), Shootout (1971) and Billy Two Hats (1974).
For all his toughness and integrity on screen, in real life Peck was one of those heart-throbs who complain of insecurity and lack of self- confidence. Certainly, his early career did not give much cause for it.
Eldred Gregory Peck was born on April 5 1916 at La Jolla, California. His paternal grandmother Catherine Ashe had been born in Co Kerry in 1864, emigrated to America at the age of 16, and married Samuel Peck, of English descent. Though her husband died young, she subsequently made a considerable sum selling corsets, and was able to give her son Gregory (the film star's father) $10,000 to set up a drugstore at La Jolla.
Gregory senior married a girl from St Louis, who was obliged to become Roman Catholic. But soon after Gregory junior was born, the drugstore went bankrupt, the marriage failed, and his mother took him back to St Louis. Later he was returned to La Jolla, where he was brought up by his father and by grandparents.
After schooling at San Diego High School and St John's Military Academy, Los Angeles, young Gregory began to read Medicine at the University of California at Berkeley; but he soon switched subjects and took a degree in English. His free time was divided between rowing (at which he represented the university) and acting.
In 1939 Peck moved to New York to train at the Playhouse School of Dramatics. In 1941 he joined the Cape Playhouse at Cape Cod in 1941, and the following season he played on Broadway opposite Jill Esmond (Laurence Olivier's first wife) in Emlyn Williams's Morning Star. But when Peck took a screen test in 1941 he did not impress. "He photographs like Abe Lincoln," commented David Selznick, "but if he has a great personality, I don't think it comes through in the tests."
Peck decided that his future lay in the theatre. But a spinal injury kept him out of the Second World War, and in the absence of contemporaries who had been called up, he was employed to appear as a Russian partisan in Days of Glory (1944), opposite the Russian ballerina Tamara Toumanavia. The fee of $1,000 a week helped him to forget his devotion to the theatre.
Peck put in a serviceable performance, but made far more of an impression as Father Chisholm in The Keys of the Kingdom (1944), from A J Cronin's novel which traces the life of a Roman Catholic missionary in China. Nominated for an Oscar, he was suddenly in demand from all quarters.
Peck played a handsome steel magnate in The Valley of Decision (1945) opposite Greer Garson; an amnesiac head of a mental hospital cured by Ingrid Bergman's psychiatrist in Alfred Hitchcock's Spellbound (1945); and a father who is obliged to kill his boy's pet deer in The Yearling (1946).
In Gentleman's Agreement (1947) Peck posed as a Jew and a journalist to root out racial prejudice in a series of indignant magazine articles. The film established him among the top 10 stars of America - and no one received more fan mail.
"Let me spend the night with you," women would write. "It would make my dreams come true." "I'm all booked up," his secretary was instructed to reply.
In Hitchcock's The Paradine Case (1947) Peck showed refreshing signs of moral frailty as a British barrister, whose judgment is disastrously warped by his beautiful client (Alida Valli), on trial for murdering her husband.
Peck donned a tricorn hat for Captain Horatio Hornblower RN (1951); remained at sea in The World in his Arms (1952), this time as a seal pirate in the Bering Straits; took on the male lead in David and Bathsheba (1951), a film which, according to one critic, gained "hardly a single intentional laugh"; and appeared as a wounded hunter looking back over his life in The Snows of Kilimanjaro (1952), a hugely popular film based on various writings by Ernest Hemingway.
The Purple Plain (1955) gave Peck the opportunity to display his quietly confident heroics after his aircraft came down in the Burmese jungle. In The Man in the Gray Flannel Suit (1956) Peck was a New York executive who looks back on wartime adultery before deciding that his first loyalty lies with wife and children. Then came Designing Woman (1957), a comedy in which Lauren Bacall tips a plate of spaghetti in his lap.
Various military escapades followed - as a platoon commander with a conscience (as usual) in The Pork Chop Hill (1959), as an honourable soldier in The Guns of Navarone (1958) and as a submarine commander on the brink of nuclear war and Ava Gardner in On the Beach (1959).
In civilian dress he attempted, disastrously, to impersonate Scott Fitzgerald in Beloved Infidel (1959); and he found himself menaced by Robert Mitchum in the determinedly unpleasant Cape Fear (1962).
To Kill a Mocking Bird (1962) was Peck's last great film. The comedy Captain Newman MD (1963), in which he played opposite Tony Curtis, failed to catch fire; and Behold a Pale Horse (1964) presented him, unconvincingly, as a Spanish loyalist.
The comedy thrillers, Mirage (1965) and Arabesque (with Sophia Loren, 1966) represented some improvement, but The Most Dangerous Man in the World (1969), in which Peck played a scientist on a mission to Red China, was a feeble offering. Marooned (1970), which found him as a space mission controller, was an even bigger flop.
In the mid-1970s Peck turned unsuccessfully to producing. It was perhaps in desperation that he accepted a part that Charlton Heston had rejected in The Omen (1976). As the American ambassador in London, he is persuaded that he has to stab to death his (adopted) boy, who is demonically possessed, on a sacrificial altar with a special set of daggers.
In MacArthur the Rebel General (1977), Peck played the soldier who loses his command rather than conform to presidential orders; he caught MacArthur's intelligence but not the general's overweening pride and lunacy.
Peck essayed a British accent in Sea-Wolves (1980), directing a raid by fellow veterans of the Calcutta Light Horse on a German spy ship. In Amazing Grace and Chuck (1987) he played the American president, while in Old Gringo (1989) he attempted a portrait of the American satirist Ambrose Bierce, who vanished in New Mexico during the Revolution of 1914.
Having avoided television for much of his career he turned up in The Blue and the Grey (1982) and The Scarlet and The Black (1983). He appeared again in The Portrait (1993) and in 1998, he returned to Moby Dick, playing the part of Father Mapple in a television adaptation of the novel.
On the big screen his late appearances included the modern version of Cape Fear (1991), directed by Martin Scorsese, this time playing a shady lawyer called Lee Heller; the same year he appeared in Other People's Money. Two years later, he took the part of Atticus Finch in the short film Passage a l'acte, which dealt with an American family warring at the breakfast table.
From 1967 to 1970 Peck was President of the Academy of Motion Picture Arts and Sciences. He was also chairman of the trustees of the American Film Institute, which he had helped to found, and in 1966 served as chairman of the American Cancer Society. An active supporter of the campaign to strengthen regional theatre in the United States, he was a member of the American National Council on the Arts.
Gregory Peck married first, in 1942, Greta Konen Rice, a Finnish screen hairdresser; they divorced in 1954. They had three sons, one of whom died in 1975.
He married secondly, in 1955, Veronique Passani, whom he had met when she interviewed him for France Soir. When he telephoned her at Paris Presse a few months later to suggest a visit to the races, she abandoned an interview with Albert Schweitzer to accept. They had a son and a daughter.
Gregory Peck was a legendary actor known for his iconic roles in classic films such as "To Kill a Mockingbird" and "Roman Holiday". He was born on April 5, 1916, in La Jolla, California. Peck's career spanned over five decades, during which he won numerous awards, including an Academy Award for Best Actor for his role in "To Kill a Mockingbird".
Peck was not only a talented actor but also a humanitarian, using his fame to advocate for various social causes. He was a staunch supporter of civil rights and environmental conservation efforts. Peck's legacy continues to inspire actors and audiences alike, with his performances being celebrated for their depth and authenticity. He passed away on June 12, 2003, but his impact on the world of cinema and activism lives on.
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