Actress | Actress and politician Glenda Jackson, face of English cinema of the 60s and 70s, dies



In the sixties, after the revolution that led to Free cinema in the British film industry, There has never been a more important actress English cinema From Glenda Jackson. Only Vanessa Redgrave and Julie Christie from “Doctor Zhivago”, “Darling” and “Petulia” have overshadowed it and become more famous. Jackson, who passed away today at the age of 87, was A very cohesive profession artistically and ideologically: he was a member of the Labor Party Participated in the British Parliament. He left cinema for politics between 1991 and 2019, but he always made very political cinema.

After the prestige obtained on the theatres, it forms a part of The Royal Shakespeare Company Since the late 1950s, he made his screen debut in one of the most important works of “free cinema” by outraged filmmakers and writers: Naive Brutality (1963), the first feature film directed by Lindsey Andersoncentering on the personal turmoil of a Welsh miner who becomes a rugby star.

With a career apart, as if from the start he had patiently chosen which films he was going to step into, he later emerged in Marat / Sade movie directed by Peter Brook in 1967, and in “Sunday, Damn Sunday” (1969) by John Schlesinger, which describes the controversial emotional triangle—at the time—between Jackson, Peter Finch, and a young Murray Head.

Also notable around this time was his association with bombshell and baroque Ken Russell, who starred in another movie with a built-in scandal.Women in Love (1969), based on the novel by D. H. Lawrence, for which he won his first two Academy Awards; and “La pasión de vivir” (1970), in which he gives life to the emotional and neurotic young Antonia Miloqua, the woman whom gay composer Pyotr Tchaikovsky (played by Richard Chamberlain) marries.

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with a more “British” and academic production style, Jackson engaged to Vanessa Redgrave in Mary, Queen of Scots (1971), the former as the Anglican Queen Elizabeth I Tudor and the latter her Catholic cousin Mary Stuart. Jackson’s realistic makeup was one of the film’s strengths. was the actress A certain body, nothing charming, especially photogenic, Through it he knew how to adapt a series of characters and the many psychological interpretations, with the presence of screen immersion. That same year, she reprized the character of Queen Elizabeth in the miniseries “Elizabeth R”, for which she won an Emmy Award.

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He also experimented with a more romantic and relaxed comedy style with A Touch of Distinction (1973) – which brought him a second Academy Award – and A touch more upscale (1979), both with Georges Segal, but his great ’70s movie remains A Romantic Englishwoman (1975), a clever proposition by Joseph Lucy With a screenplay by Tom Stoppard, Jackson re-enacts one of his film’s usual themes, the (spoiled) emotional triangle: Jackson and Michael Caine play a bourgeois couple who forge a liaison with a younger man also recently played by the late Helmut Berger.

He co-starred with Julie Christie in The Return of the Soldier (1982), reprized it with Ken Russell in a remake of “Salome” (1988), based on a script by Oscar Wilde, and got along well with American independent Robert Altman, with whom he worked on “Health” (1980) and “Three on a Diwan.” (1986). He had just completed The Great Escaper, a film that saw his reunion with Michael Caine after four and a half decades as A Romantic Englishwoman.

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