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|Also Known As:||Dudley Stuart John Moore||Died:||March 27, 2002|
|Born:||April 19, 1935||Cause of Death:||pneumonia as a complication of progressive supranuclear palsy|
|Birth Place:||Dagenham, Essex, England, GB||Profession:||Cast ... actor pianist composer musician screenwriter producer|
n their relationship for years.
Moore returned to features with "Wholly Moses!" (1980), a dismal Biblical comedy about a reluctant Old Testament prophet, but rebounded with "Arthur" (1981), a sparkling, old-fashioned romantic comedy about an alcoholic playboy who falls for a shoplifter (Liza Minnelli). A major hit in the summer of 1981, its success was due entirely to Mooreâ¿¿s ebullient performance, which captured both the manic, childlike glee of his character and the long-simmering hurt of a man forgotten by a father who pawned him off on a frosty valet (John Gielgud). Moore received a Golden Globe for his iconic turn, as well as an Oscar nomination. Sadly, it would also serve as the beginning of the end of his film career.
Mooreâ¿¿s next project, a melodramatic romantic comedy called "Six Weeks" (1982), was largely dismissed by critics and viewers, as were "Lovesick" (1983) and "Romantic Comedy" (1983). He rebounded briefly with "Micki + Maude" (1984), which reunited him with Blake Edwards for a giddy comedy about a reporter (Moore) who juggles relationships with his wife (Ann Reinking) and mistress (Amy Irving), both of whom are pregnant. The film earned Moore a Golden Globe award, and seemed to signal a comeback, but a 1984 remake of Preston Sturgesâ¿¿ "Unfaithfully Yours" (1948) and "Best Defense" (1984), a military comedy with Eddie Murphy, were both failures. During this period, Moore was offered "Splash" (1984), but unwittingly launched Tom Hanksâ¿¿ movie career by turning it down.
By 1985, Mooreâ¿¿s star was on the wane. The expensive, effects-laded fantasy "Santa Claus: The Movie" (1985) received a blockbuster publicity build-up, but failed at American box offices. Follow-ups, including "Like Father Like Son" (1987) and even "Arthur II: On the Rocks" (1988) met similar fates, but a even more troubling problem was developing for Moore. He found himself struggling to remember lines and even keep his balance on movie sets and in public, which the press interpreted as a drinking problem, a la Arthur. Frustrated, he poured his energies into playing the piano and composing, and developed a pair of television miniseries, 1991â¿¿s "Orchestra!" and 1993â¿¿s "Concerto for Showtime that introduced viewers to the sections of a classical orchestra and the concerto, respectively. But his physical ailments continued to haunt him, and eventually hampered his ability to perform live. He returned briefly to feature films, but the results, including 1990â¿¿s "Crazy People," failed to revive his career. Moore then tried his hand at television with a pair of sitcoms, but neither "Dudley" (CBS, 1993) or "Daddyâ¿¿s Girls" (CBS, 1994) lasted a single season. He would make one final one-camera appearance, in the 1995 comedy-documentary "The Disappearance of Kevin Johnson," before the ailments that had been plaguing him took over his life.
Moore was devastated by the news of his old partner Peter Cookâ¿¿s death in 1995, and fellow mourners at his funeral noted that Moore himself seemed gravely ill. Most attributed it to drinking or the personal problems that had overwhelmed his life; his fourth marriage to Nicole Rothschild had been marred by a 1994 arrest for alleged domestic abuse. He struggled to get through a 1996 music tour of Australia, and made headlines for losing the lead role in "The Mirror Has Two Faces" (1996) because of his inability to remember his lines. The following year, Moore underwent quadruple bypass surgery, which preceded four minor strokes. He recorded his final performance as the legendary King Kong and his discoverer, Carl Denham, in the animated feature "The Mighty Kong" (1998) before announcing that he was suffering from progressive supranuclear palsy, a rare and terminal degenerative brain disease that had produced the symptoms that had plagued him for years.
Mooreâ¿¿s condition quickly deteriorated, leaving him mute and wheelchair bound. Onlookers were shocked by his appearance at a 2001 ceremony at Buckingham Palace, where he was made a Commander of the Order of the British Empire. The following year, Moore succumbed to pneumonia on March 27, 2002. His work with Cook received numerous tributes in the years that followed, most notably the 2004 television drama "Not Only But Always" (Channel 4) and the stage play "Pete and Dud: Come Again" (2005). When "Arthur" (2011) was remade with British comic Russell Brand in the quintessential Moore role, it sparked interest in the 1981 film, as well as defense of the late actor as the only actor to truly deliver the goods in that particular role.black comedy about a lovelorn short order cook (Moore) who sells his soul to the Devil (Cook) in exchange for the heart of the woman (Eleanor Bron) he loves. Moore co-wrote the filmâ¿¿s script with Cook, as well as its pop-psychedelic score. A misfire upon its release, the Stanley Donen fantasy-comedy eventually developed a devoted cult following.
Moore took a solo turn as star, co-writer and composer of "30 is a Dangerous Age, Cynthia" (1968), a harmless romantic comedy co-starring his first wife, actress Suzy Kendall, before reuniting with Cook for "The Bed-Sitting Room" (1969), comic Spike Milliganâ¿¿s bizarre and hauntingly surreal comedy about survivors in a post-apocalyptic London. The duoâ¿¿s movie fortunes faltered after a string of failed pictures, including the period comedy "Monte Carlo or Bust" (1969), so they took to the road with a stage show called "Behind the Fridge," which was built around their best "Not Onlyâ¿¦ But Also" sketches. The production won a Tony Award, but Cookâ¿¿s growing dependency on alcohol put a severe strain on their working and personal relationships. To ease tensions, Cook would frequently book a recording studio and improvise routines with Moore as Derek and Clive, who were a besotted variation on Pete and Dud. The rambling, frequently profane dialogues eventually made their way onto bootleg record releases, beginning with 1976â¿¿s Derek and Clive (Live). The duo also reunited for a final comedy film, but the result was a dismal and crass comic take on "The Hound of the Baskervilles," with Cook as the master detective and Moore as Dr. Watson.
Meanwhile, across the pond, Moore had landed a supporting role in "Foul Play" (1978), a romantic comedy-mystery starring Chevy Chase and Goldie Hawn. Though his role was supporting, Moore made the most of his character, a diminutive lothario blissfully unaware of his lack of appeal. The performance earned him a Golden Globe nomination for Best Supporting Actor, and launched his career as a solo performer in the United States. The following year, Mooreâ¿¿s star ascended even further with "10" (1979), a smart and sexy comedy about a middle-aged composer who leaves his longtime girlfriend (Julie Andrews) for a fantasy woman (Bo Derek). Initially envisioned as a project for George Segal, Moore delivered a winning performance that perfectly balanced the romantic and dramatic aspects of his role with the more outrageous slapstick moments. A major hit with moviegoers, it established Moore as a leading man and made Bo Derek and overnight sex symbol. Around this time, he also developed a reputation as an unlikely ladiesâ¿¿ man, enjoying lengthy relationships with such beauties as the towering actress-model Susan Anton and Tuesday Weld, whom he married in 1975 and divorced in 1980.
As Mooreâ¿¿s star rose in Hollywood, he was mortified to discover that the Derek and Clive albums had developed a cult following among comedy listeners. Nevertheless, he relented to recording a final collection of routines with Cook, which was also filmed for a documentary. The resulting picture, "Derek and Clive Get the Horn" (1979), showed both the best and worst aspects of their relationship: Cook was still able to reduce Moore to peals of laughter, but also displayed a streak of angry jealously over his partnerâ¿¿s solo success, and delivered a stinging personal attack that drove Moore from the studio and closed the door o
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