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WARNING FROM PAKISTAN

This morning, from a cave somewhere in Pakistan, Taliban Minister of Migration, Mohammed Omar, warned the United States that if military action against Iraq continues, Taliban authorities will cut off America's and Canada's supply of convenience store managers.

And if this action does not yield sufficient results, cab drivers will be next, followed by Dell and Sprint customer service reps.

It's getting ugly.

Oh, my God, hawkman. What should we do? It is getting ugly.

Thanks, Bob, for the smile and the bio's. Will await you know who with you know what until further observation.

My word, folks. Don't you find it odd that we should listen to Andrea Bocelli do a solo on Time to Say Goodbye? Now we see that he and Sarah did a duet. Odd, that.

Well, here is one by Sarah Brightman, whose voice, to me, reflects perfect intonation and clear and vibrato free tones.

Here's one by her.

Here With Me


I didn't hear you leave
I wonder how am I still here
I don't want to move a thing
It might change my memory

Oh I am what I am
I'll do what I want
But I can't hide

Chorus:
I won't go
I won't sleep
I can't breathe
Until you're resting
Here with me
I won't leave
I can't hide
I cannot be
Until you're resting
Here with me

I don't want to call my friends
They might wake me from this dream
And I don't wanna leave this bed
Risk forgetting all that's been

Oh I am what I am
I'll do what I want
But I can't hide

Chorus -- 2x

Oh I am what I am
I'll do what I want
But I can't hide

Chorus -- 2x

Oh-oh-oh ...

Good morning.
You know who reporting with you know what.




and another song from Sarah:

No more talk of darkness
Forget these wide-eyed fears
I'm here
Nothing can harm you
My words will warm and calm you
Let me be your freedom
Let daylight dry your tears
I'm here
With you, beside you
To guard you and to guide you

Say you love me every weakening moment
Turn my head with talk to summertime
Say you need me with you now and always
Promise me that all you say is true
That's all I ask of you

Let me be your shelter
Let me be your light
You're safe
No one will find you
Your fears are far behind you

All I want is freedom
A world with no more night
And you
Always beside me
To hold me and to hide me

Then say you'll share with me one love,
One lifetime
Let me lead you from your solitude
Say you want me
And you need me
Beside you
Anywhere you go, let me go too
That's all I ask of you

Say you'll share with me one love
One lifetime
Say the word and I will follow you
Share each day with me,
Each night, each morning
Say you love me
You know I do
Love me, that's all I ask you
Love me, that's all I ask of you

There's our What and Who puppy. Hey, PA, great photo's for our gallery. I always loved trios, and those are perfect.

Ahhhh, I do remember that song, Raggedy. Once again it makes my eyes tear up a bit.

How about one from Steve, folks.



Artist Name - Steve Martin
Song Lyrics - King Tut

King Tut (King Tut)
Now when he was a young man,
He never thought he'd see
People stand in line to see the boy king.

(King Tut) How'd you get so funky?
(funky Tut) Did you do the monkey?
Born in Arizona,
Moved to Babylonia (king Tut).

(king Tut) Now, if I'd known
they'd line up just to see him,
I'd trade in all my money
And bought me a museum. (king Tut)

Buried with a donkey (funky Tut)
He's my favorite honkey!
Born in Arizona,
Moved to Babylonia (king Tut)

Dancin' by the Nile, (Disco Tut)
The ladies love his style, (boss Tut)
Rockin' for a mile (rockin' Tut)
He ate a crocodile.

He gave his life for tourism.
Golden idol!
He's an Egyptian
They're sellin' you.

Now, when I die,
now don't think I'm a nut,
don't want no fancy funeral,
Just one like ole king Tut. (king Tut)

He coulda won a Grammy,
Buried in his Jammies,
Born in Arizona, moved to Babylonia,
He was born in Arizona, got a condo made of stone-a,
King Tut!

Sarah Brightman - The music of the night

Nighttime sharpens, heightens each sensation
Darkness stirs and wakes imagination
Silently the senses abandon their defences

Slowly, gently, night unfurls its splendour
Grasp it, sense it, tremulous and tender
Turn your face away from the garish light of day
Turn your face away from cold, unfeeling light
And listen to the music of the night


Close you eyes and surrender to your darkest dreams
Leave all thoughts of the world you knew before
Close your eyes, let your spirit start to soar
And you'll live as you've never lived before


Softly, deftly, music shall caress you
Hear it, feel it, secretly possess you
Open up your mind, let your fantasies unwind
In this darkness which you know you cannot fight
The darkness of the music of the night


Let your mind start a journey through a strange, new world
Leave all thoughts of the world you knew before
Let your soul take you where you long to go
Only then can you belong to me


Floating, falling, sweet intoxication
Touch me, trust me, savour each sensation
Let the dream begin, let your darker side give in
To the harmony which dreams alone can write
The power of the music of the night


You alone can make my song take flight
Help me make the music of the night




--------------------------------------------------------------------------------


Music: Andrew Lloyd Webber.
Lyrics: Charles Hart; additional lyrics by Richard Stilgoe.
Show: "The phantom of the opera" (1986).
The melody was originally written for Sarah Brightman and was intended for an early draft of "Aspects of love". However, it found its way into "Phantom", sung by the Phantom. Sarah Brightman has sung the song in concert for several years and this is the first time she has reclaimed it on record. [from the CD-booklet]
From: Surrender, The unexpected songs (1995)
and The Andrew Lloyd Webber Collection (1997)
and Classics - European release (2006).

The song appears also on: Sings the music of Andrew Lloyd Webber (1992). Steven Phillips wrote me that this is a slightly but noticeably different version, though the one on "Surrender" has been recorded also in 1992 (according to the CD-booklet): the version on the "Surrender" CD is engineered for a fuller, richer sound than the one on "Sings the music of ALW".

Source of the lyrics: written down myself, with help and corrections from Lauren Carlos and Aimee Birdsong -- thanks!!

There are, it appears, different version of "The music of the night"; I have received the lyrics of a second version and a third version; the latter differs by only five lines from the above and is the version sung by the Phantom in the original musical The Phantom of the Opera. Andrew Lloyd Webber is notorious for changing his mind about his songs and where and how to use them ...
"The Music of the Night" was actually the very first song Andrew wrote for Sarah, then called "Married Man", and had lyrics by Trevor Nunn. Later Andrew chose to use it for the role of the Phantom in Phantom of the Opera, but Sarah sitll loves singing it, so she says at her concerts.

and to think, Bob, that I almost did NOT rent that movie. I was so taken with it that I have watched it on TV twice.

Love the song, of course.

Had no idea that Sarah sang this one, folks.

I close my eyes, only for a moment and the moment's gone.
All my dreams pass before my eyes in curiosity.
Dust in the wind.
All they are is dust in the wind.
Same old song.
Just a drop of water in an endless sea.
All we do crumbles to the ground, though we refuse to see.
Dust in the wind.
All we are is dust in the wind.

Don't hang on, nothing lasts forever but the earth and sky.
It slips away and all your money won't another minute buy.
Dust in the wind.
All we are is dust in the wind.
Dust in the wind.
Everything is dust in the wind.

The summer wind, came blowin in - from across the sea
It lingered there, so warm and fair - to walk with me
All summer long, we sang a song - and strolled on golden sand
Two sweethearts, and the summer wind

Like painted kites, those days and nights - went flyin by
The world was new, beneath a blue - umbrella sky
Then softer than, a piper man - one day it called to you
And I lost you, to the summer wind

The autumn wind, and the winter wind - have come and gone
And still the days, those lonely days - go on and on
And guess who sighs his lullabies - through nights that never end
My fickle friend, the summer wind

Warm and Tender

Make me yours, make me yours, make me yours

When my lips are touching yours, my love
Heaven opens up its doors, my love
Warm and tender soul, warm and tender love
Lips that you grant me just seem to enchant me
We kiss and I know I've been kissed

When I'm lost in your embrace, my love
It's like flyin' into space, my love
Warm and tender soul, warm and tender your
Arms hold me tightly, they thrill and excite me
And I'd be a fool to resist you

The moment you're near my life can start
When we're apart, my life is through
Each single tingle deep down in my heart
Just beats for you, beats for you, beats for you!

With each yearning burning in my soul
Loving only you will be my goal
Warm and tender in sweet surrender I
Offer my lips and I offer my arms and I
Offer my heart that implores
Won't you make me yours?

Make me yours
Make me yours

Johnny Mathis

edgar, your "summer wind" reminded me of this one, Texas.

BREEZE AND I, THE (ANDALUCIA)

THE BREEZE AND I
ARE SAYING WITH A SIGH

THAT YOU NO LONGER CARE.

THE BREEZE AND I

ARE WHISPERING GOODBYE

TO DREAMS WE USED TO SHARE.


OURS WAS A LOVE SONG

THAT SEEMED CONSTANT

AS THE MOON,

ENDING IN A STRANGE,

MOURNFUL TUNE;

AND ALL ABOUT ME,

THEY KNOW YOU HAVE DEPARTED WITHOUT ME,

AND WE WONDER WHY,

THE BREEZE AND I.


(Spanish Lyric by Emilio de Torre)

ANDALUCIA,

SUELO ENCANTADOR,

LA FLOR DE AMOR,

QUIEN VINO A TI

JAMAS TE OLVIDDARA,

FELIZ SERA!

TUS CARMENES GRANADINOS

DE ILUSION

DONDE LAS FONTANAS CANTAN,

MURMURANDO SU PASION.

ANDALUIA,TIERRA DE PASION,

MI CORAZON.

DE AMORES EMBRIAGADO SUSPIRO;

CON TU ALIENTO PERFUMADO

SE EMBRIAGO,

SE EMBRIAGO.

TUS NOCHES DAN ENCANTO

AL CORAZON.

NO HAY TIERRA MAS PRIMOROSA

QUE ANDALUCIA,

TIERRA DE ALEGRIA Y DE AMOR,

DONDE LAS FLORES PERFUMAN

Y LAS MUJERES SON FLORES DE AMORE.

ANDALUCIA,

FLOR DE AMOR.

since Salvador Dali was mentioned earlier, here's probably my favorite painting by him. as was often the case with Dali, it's technically impressive, but hard to say what latent meaning it might have.

good evening , listeners !
care to listen to eddy arnold doing a "lovesick" song ?

since i visit the argentinian tango site quite often - i like the music but can't fully understand the songs - here is carlos gardel !





for info on :
CARLOS GARDEL - he was actually born in touluse/france but went to argentina with his mother when only two years old .

Ah, there's our Mr. Honu in the company of Dali. Like that one, M.D. It appears to be an optical illusion. Have to look at it twice to see. Perhaps that is what Salvador intended. Hope all is well on da big island and that Flossie turns out to be just a gentle breeze. <smile>

And not too far behind, listeners, is hbg singing one of my favorites. There are so many different lyrics to Careless Love, Canada. Unfortunately, folks, although Carlos Gardel looks as though he could do the tango as well as Valentino, the words escape us. No matter, they are lovely nonetheless.

Well, the summer re-runs are still running and Meet Joe Black was among them, so here's one that I have come to love.

This version by Nat Cole.

there may be trouble ahead,
but while theres moonlight and music and love and romance,
let's face the music and dance.

before the fiddlers have fled,
before they ask us to pay the bill,
and while we still have the chance,
let's face the music and dance.

soon, we'll be without the moon,
humming a different toon,
and then,
there may be tear drops to shed.
so while theres moonlight and music and love and romance,
let's face the music and dance,
let's face the music and dance.

(musical break)

soon, we'll be without the moon,
humming a different toon,
and then,
there may be tear drops to shed.
so while theres moonlight and music and love and romance,
let's face the music and dance,
let's face the music and dance.

I think that I shall let Sarah say goodnight for me.

Oft in the stilly night
Ere slumber's chain has bound me,
Fond Mem'ry brings the light
Of other days around me:
The smiles, the tears of boyhood's years,
The words of love then spoken;
The eyes that shone,
Now dimm'd and gone,
The cheerful hearts now broken!
Thus in the stilly night
Ere slumber's chain has bound me,
Sad Mem'ry brings the light
Of other days around me.

When I remember all
The friends, so link'd together,
I've seen around me fall
Like leaves in wintry weather,
I feel like one
Who treads alone
Some banquet-hall deserted,
Whose lights are fled,
Whose garlands dead,
And all but he departed!
Thus in the stilly night
Ere slumber's chain has bound me,
Sad Mem'ry brings the light
Of other days around me.

Goodnight, my friends
From Letty with love

Ms. Letty, we already had a little excitement last night with a magnitude 5.3 quake, so we hope Flossie turns into a tempest in a teapot. :wink:

Good morning, WA2K listeners and contributors.

Wow! I hope all is well with M.D. and J.M. This song goes out to them and all islanders.

O bird of paradise - To me come fly tonight.
Give wing to this my prayer - Your love forever share.
As the beauty of the sea - Waves of love bring to me.
From the mist above the falls - To me Hawaii calls.
To me Hawaii calls.

O bird of paradise - Flame of love is in your eyes.
Your touch, your sweet refrain - Rainbows will smile again.
Spread wing and come to me - Be mine now endlessly.
Hawaii calls and to me flies - My bird of paradise.
My bird of paradise.

O bird of paradise - Islands sing of your delights.
Here fly and bring your love - Stars shine for me above.
Like music for my soul - In my heart your love will flow.
Tell the song and I recall - To me Hawaii calls.
To me Hawaii calls.

O bird of paradise - Flame of love is in your eyes.
Your touch, your sweet refrain - Rainbows will smile again.
Spread wing and come to me - Be mine now endlessly.
Hawaii calls and to me flies - My bird of paradise.
My bird of paradise.

Ethel Barrymore
From Wikipedia, the free encyclopedia

Birth name Ethel Mae Blythe
Born August 15, 1879
Philadelphia, Pennsylvania, USA
Died June 18, 1959 (aged 79)
Los Angeles, California, USA
Spouse(s) Russel Griswold Colt (1909-1923)
[show]Awards
Academy Awards
Best Supporting Actress
1944 None but the Lonely Heart (1944)

Ethel Barrymore (August 15, 1879 - June 18, 1959) was an Academy Award-winning American actress and a member of the famous Barrymore family.




Early life

Ethel Barrymore was born Ethel Mae Blythe in Philadelphia, Pennsylvania, the second child of the actors Maurice Barrymore and Georgiana Drew. She spent her childhood in Philadelphia, Pennsylvania, and attended Catholic schools while there.

She was the sister of actors John Barrymore and Lionel Barrymore, the aunt of actor John Drew Barrymore, and the great-aunt of actress/producer Drew Barrymore.


Career

Ethel Barrymore was highly regarded as a charming and charismatic stage actress in New York City and a major Broadway performer. Her first appearance in Broadway was in 1901, in a play called Captain Jinks of the Horses Marines. She was a great Nora in A Doll's House by Ibsen (1905), and a passionate Juliet in Romeo and Juliet by Shakespeare (1922).


She was also a strong supporter of the Actors' Equity Association and had a high-profile role in the 1919 strike. In 1926, she scored one of her greatest successes as the sophisticated spouse of a philandering husband in W. Somerset Maugham's comedy, The Constant Wife. In July 1934 she starred in the play Laura Garnett, by Leslie and Sewell Stokes, at Dobbs Ferry, New York State.

She made her first motion picture in 1914 and in the 1940s, she moved to Hollywood, California and started working in motion pictures. The only two films that featured Ethel with her two brothers, John and Lionel, were National Red Cross Pageant(1917) & Rasputin and the Empress (1932).

She won the Oscar for Best Supporting Actress for her role in the 1944 film None but the Lonely Heart opposite Cary Grant, but made plain that she was not overly impressed by it. On March 22, 2007, her Oscar was offered for sale on eBay. She made such other classic films as The Spiral Staircase (1946), a wonderful thriller directed by Robert Siodmak, Pinky (1949), and Kind Lady (1951). Her last film appearance was in Johnny Trouble (1957). She also made a number of television appearances in the 1950s. Her later roles were usually that of a kindly but sophisticated, and wise, older woman.


Private life

Winston Churchill proposed to her but she turned him down. Ethel married Russell Griswold Colt on March 14, 1909; they divorced in 1923.

Being a devout Roman Catholic, she didn't remarry. She was involved romantically with men from time to time, but never remarried.

She had 3 children by Colt, including Ethel Barrymore Miglietta, who appeared on Broadway in Stephen Sondheim's "Follies". Both of Ethel's sons, Samuel and John Drew Colt, also tried their hand at acting.

Ethel died from heart disease in 1959 at her home in Hollywood, California two months shy of her 80th birthday. She is interred in the Calvary Cemetery, East Los Angeles.

The Ethel Barrymore Theatre in New York City is named after her.

Edna Ferber
From Wikipedia, the free encyclopedia


Born: August 15, 1885
Kalamazoo, Michigan, USA
Died: April 16, 1968
New York City, New York, USA
Occupation: Novelist, Playwright
Nationality: American

Edna Ferber (August 15, 1885 - April 16, 1968), was an American novelist, author and playwright.

Edna Ferber was born in Kalamazoo, Michigan (in 1885, not 1887 as sometimes stated), to a Hungarian-born Jewish storekeeper and his Milwaukee, Wisconsin-born wife, Jacob Charles and Julia (Neumann) Ferber. She would become a leading American author who wrote a number of successful books and plays.

After living in Chicago and Ottumwa, Iowa, at age 12, Ferber and her family moved to Appleton, Wisconsin, where she graduated from high school and briefly attended Lawrence University. She took jobs at the Appleton Daily Crescent and the Milwaukee Journal before publishing her first novel. She covered the 1920 Republican and Democratic national conventions for the United Press Association.

Her novels generally featured a strong female as the protagonist, although she fleshed out multiple characters in each book. She usually highlighted at least one strong secondary character who faced discrimination ethnically or for other reasons; through this technique, Ferber demonstrated her belief that people are people and that the non-so-pretty persons have the best character.

Due to her imagination in scene, characterization and plot, several theatrical and film productions have been made based on her works, including: Show Boat, Giant, Saratoga Trunk, Cimarron (which won an Oscar) and the 1960 remake. Two of these works - Show Boat and Saratoga Trunk - were developed into musicals. (When composer Jerome Kern proposed turning the very serious Show Boat into a musical, Ferber was shocked, thinking it would be transformed into a typical light entertainment of the 1920's, and it was not until Kern explained that he and Oscar Hammerstein II wanted to create a different type of musical that Ferber granted him the rights. Saratoga (musical) was written at a much later date, after serious plots had become acceptable in stage musicals.)

In 1925, she won the Pulitzer Prize for her book So Big, which was made into an early talkie movie in 1932, starring Bette Davis, Barbara Stanwyck and George Brent. It was the only movie Stanwyck and Davis ever appeared in together, and Stanwyck played Davis' mother-in-law, although only a year older in real life, which allegedly displeased her, as did the attitude of the hoydenish Davis. A 1953 remake of So Big starred Jane Wyman in the Stanwyck role, and is the version most often seen today.

Ms. Ferber was a member of the Algonquin Round Table, a group of wits who met for lunch every day at the Algonquin Hotel in New York. Ferber and another member of the Round Table, Alexander Woollcott, were long-time enemies, their antipathy lasting until Woollcott's death in 1943 ... although Howard Teichmann states in his biography of Woollcott that this was due to a misunderstanding. According to Teichmann, Ferber once described Woollcott as "a New Jersey Nero who has mistaken his pinafore for a toga".

Edna Ferber died on April 16, 1968, at her home in New York City, of cancer, at the age of 82. The New York Times said, "she was among the best-read novelists in the nation, and critics of the 1920s and 1930s did not hesitate to call her the greatest American woman novelist of her day".

Ferber had no children, never married, and is not known to have engaged in a romance or sexual relationship with anyone of either gender. She has been credited with the witticism "Being an old maid is like death by drowning: really a delightful sensation after one gives up the initial struggle." Ferber did take a maternal interest in the career of her niece Janet Fox, an actress who performed in the original Broadway casts of Ferber's plays Dinner at Eight and Stage Door.

Ferber was portrayed by Lili Taylor in Mrs. Parker and the Vicious Circle. She currently graces the USPS eighty-three cent commemorative stamp as part of the "Distinguished Americans" series. Artist Mark Summers, well known for his scratchboard technique, created this portrait for the stamp referencing a black-and-white photograph of Ferber taken in 1927.[1]

Wendy Hiller
From Wikipedia, the free encyclopedia

Birth name Wendy Margaret Hiller
Born August 15, 1912
Bramhall, Stockport, England
Died May 14, 2003 aged 90
Beaconsfield, England
Spouse(s) Ronald Gow (1937-1993)
[show]Awards
Academy Awards
Best Supporting Actress
1958 Separate Tables

Dame Wendy Margaret Hiller DBE (August 15, 1912 - May 14, 2003) was a distinguished English film and stage actress. The Academy Award-winning actress enjoyed a varied acting career that spanned nearly sixty years. Despite many notable film performances, she chose to remain primarily a stage actress.

Born in Bramhall, Stockport, in Cheshire, the daughter of Frank Watkin Hiller and Marie Stone, she began her professional career as an actress in repertory at Manchester in the early 1930s. She first found success as Sally Hardcastle in the stage version of Love on the Dole in 1934. This play also saw her West End debut in 1935, and she married the play's author Ronald Gow in 1937. In the early 1940s they moved to Beaconsfield, where they had two children and lived together in the house called "Spindles" until Gow's death in 1993.

Despite a busy professional career, throughout her life she continually took an active interest in aspiring young actors by supporting local amateur drama societies. [1]. Dame Wendy Hiller eventually retired from acting in 1992, spending the last decade of her life in quiet retirement at her home in Beaconsfield. She died of natural causes at home, aged 90. [2].

Regarded as one of Britain's great dramatic talents, she was created an Officer of the British Empire (OBE) in 1971 and raised to Dame Commander (DBE) in 1975. Her style was disciplined and unpretentious, and she disliked personal publicity. The writer Sheridan Morley described Hiller as being remarkable in her "extreme untheatricality until the house lights went down, whereupon she would deliver a performance of breathtaking reality and expertise".








Stage career

The huge popularity of Love on the Dole took the production to New York in 1936, where her performance attracted the attention of George Bernard Shaw. Shaw cast her in several of his plays, including Saint Joan, Pygmalion and Major Barbara. She was reputed to be Shaw's favorite actress of the time. Unlike other stage actresses of her generation, she did relatively little Shakespeare, preferring the more modern dramatists such as Henrik Ibsen and new plays adapted from the novels of Henry James and Thomas Hardy among others.

In the course of her stage career, Wendy Hiller won popular and critical acclaim in both London and New York. She excelled at rather plain but strong willed characters. After touring England as Viola in Twelfth Night (1943) she returned to the West End to be directed by John Gielgud in Cradle Song (Apollo, 1944). The string of notable successes continued with The First Gentleman (Savoy, 1945) with Robert Morley, Playboy of the Western World (Bristol Old Vic, 1946) and Tess of the d'Urbervilles (Bristol Old Vic, 1946, transferring to the West End also in 1946), which was adapted for the stage by her husband Ronald Gow.

In 1947, Wendy Hiller originated the role of Catherine Sloper, the painfully shy, vulnerable spinster in The Heiress on Broadway. The play, based on the Henry James novel Washington Square , also featured Basil Rathbone as her emotionally abusive father. The production enjoyed a year-long run at the Biltmore Theater in New York and would prove to be her greatest triumph on Broadway. Olivia de Havilland would later win the Oscar for the role in the film version in 1949. Upon returning to London, Hiller again played the role in the West End production in 1950.

Her stage work remained a priority and continued with Ann Veronica (Piccadilly, 1949), which was another collaboration with Gow, who wrote the play with his wife as leading lady. She did a two year run in N.C. Hunter's Waters of the Moon (Haymarket, 1951-52), alongside Sybil Thorndike and Edith Evans. A season at the Old Vic in 1955-56 produced a notable performance as Portia in Julius Caesar among others. Other stage work at this time included The Night of the Ball (New Theatre, 1955), the new Robert Bolt play Flowering Cherry (Haymarket, 1958, 1959 Broadway), The Wings of the Dove (Lyric, 1963), A Measure of Cruelty (Birmingham Repetory, 1965), The Sacred Flame (Duke of York's Theatre, 1967) with Gladys Cooper and The Battle of Shrivings (Lyric, 1970) with John Gielgud.

In 1957, Wendy Hiller went to New York to star as Josie Hogan in Eugene O'Neill's A Moon for the Misbegotten, a performance which garnered her a nomination for Broadway's Tony Award as Best Dramatic Actress. Her last appearance on Broadway was in the 1962 production of Michael Redgrave's new play The Aspern Papers, adapted from the Henry James novella.


As she matured, she demonstrated a strong affinity for the plays of Henrik Ibsen, as Irene in When We Dead Awaken (Cambridge, 1968), as Mrs. Alving in Ghosts (Edinburgh, 1972), Aase in Peer Gynt (BBC, 1972) and as Gunhild in John Gabriel Borkman (Old Vic, 1975), in which she appeared with Ralph Richardson and Peggy Ashcroft. Later West End triumphs such as Queen Mary in Crown Matrimonial (Haymarket, 1972) proved she was not limited to playing dejected, emotionally deprived women. She later revisited some earlier plays playing older characters, as in West End revivals of Waters of the Moon (1977 Chichester Festival, Haymarket, 1978) with Ingrid Bergman and The Aspern Papers (Haymarket, 1984) with Vanessa Redgrave. Her final West End performance was the title role in Driving Miss Daisy (Apollo, 1988).


Film career

At Shaw's insistence, she starred as Eliza Doolittle in the film Pygmalion (1938) with Leslie Howard as Professor Higgins. This performance earned her her first Oscar nomination and became one of her most famous film roles. She was the first actress to curse in a British film, when Eliza utters the line "Not bloody likely, I'm going in a taxi!". She followed up this success with another Shaw adaptation, Major Barbara with Rex Harrison and Robert Morley, in 1941. The ground-breaking film team of Powell & Pressburger signed her for their 1943 film The Life and Death of Colonel Blimp, but she was forced to back out due to pregnancy. The role eventually went to Deborah Kerr. Determined to work with Hiller, it would not happen until 1945, when she starred in I Know Where I'm Going!, which became a classic of British cinema.

Despite her early film success and offers from Hollywood, she returned to the stage full-time after 1945 and only occasionally accepted film roles. With her return to film in the 1950's, she portrayed an abused colonial wife in Carol Reed's Outcast of the Islands (1952), but had already transitioned into mature, supporting roles with Sailor of the King (1953) and a memorable victim of the Mau Mau uprising in Something of Value (1957). She won the Oscar for Best Supporting Actress in 1959 for the film Separate Tables (1958), as a lonely hotel manageress, a role she had played on stage. She remained uncompromising in her indifference to film stardom, as evidenced by her surprising reaction to her Oscar win "never mind the honour, cold hard cash is what it means to me". [3] She received a third Oscar nomination for her performance as the simple, unrefined but dignified Lady Alice More, opposite Paul Scofield as Thomas More, in A Man for All Seasons (1966). The southern gothic Toys in the Attic (1963) earned her a Golden Globe nomination as a doting spinster sister. Her portrayals of a possessive mother in Sons and Lovers (1960), a class-conscious Russian princess in Murder on the Orient Express (1974), a Jewish refugee in Voyage of the Damned (1976) and a formidable hospital matron in The Elephant Man (1980) were also considered memorable.

Other film work includes:

Lancashire Luck (1937)
How to Murder a Rich Uncle (1958)
The Cat and the Canary (1978)
Miss Morison's Ghosts (1981)
Making Love (1982)
Attracta (1983)
The Lonely Passion of Judith Hearne (1987)
Awards
Preceded by
Miyoshi Umeki
for Sayonara Academy Award for Best Supporting Actress
1958
for Separate Tables Succeeded by
Shelley Winters
for The Diary of Anne Frank


Television career

She made numerous television appearances, in both Britain and in the United States. In the 1950's and 1960's, she performed in episodes of American drama series such as "Studio One" and "Alfred Hitchcock Presents" among others. In 1965, she starred in an episode of the acclaimed dramatic series "Profiles in Courage", in which she played Anne Hutchinson, a free-thinking woman charged with heresy in Colonial America. In Britain, in the 1960's, she appeared in the drama series "Play of the Month", Play for Today as well as on the children's TV programme Jackanory, reading the stories of Alison Uttley.

Throughout the 1970's and 1980's, she appeared in many television films including a memorable Duchess of York in the BBC Television Shakespeare production of Richard II (1978), the irrasible Edwardian Oxford academic in Miss Morrison's Ghosts (1981) and in the BBC dramatization of the Vita Sackville-West novel All Passion Spent (1986), she was the quietly defiant Lady Slane. Her last appearance, before retiring from acting, was the title role in The Countess Alice (1992) with Zoe Wanamaker.