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|Also Known As:||Margaret Mary Emily Anne Hyra||Died:|
|Born:||November 19, 1961||Cause of Death:|
|Birth Place:||Fairfield, Connecticut, USA||Profession:||actor, producer|
Biography CLOSE THE FULL BIOGRAPHY
at level of hatred directed her way. The relationship lasted less than a year, but it spelled the end of Ryan's and Quaid's seemingly storybook marriage.When she emerged from the other side of her personal shake-up and professional nightmare, Ryan unveiled a new image - a tougher, sexier look and a new dramatic direction. She co-starred in the absurd, time-travel romantic comedy "Kate and Leopold" (2001) opposite Hugh Jackman before taking an obvious risk with a role in Jane Campion's thriller "In the Cut" (2003). Perhaps feeling she had nothing to lose now, she portrayed a dark, alienated woman with masochistic leanings, entering into a potentially troubling relationship with a police detective following a violent robbery. Baring the darker corners of her soul on screen as never before, Ryan also bared her body in controversial full frontal nude scenes that were both a Campion trademark and a radical departure from her previous fare. She took on another non-cupcake role as hard-hitting real-life female boxing promoter Jackie Kallen in "Against the Ropes" (2003), whose movie poster showcased a Ryan whose plastic surgery had rendered her newly enhanced face - particularly her lips - nearly...
at level of hatred directed her way. The relationship lasted less than a year, but it spelled the end of Ryan's and Quaid's seemingly storybook marriage.
When she emerged from the other side of her personal shake-up and professional nightmare, Ryan unveiled a new image - a tougher, sexier look and a new dramatic direction. She co-starred in the absurd, time-travel romantic comedy "Kate and Leopold" (2001) opposite Hugh Jackman before taking an obvious risk with a role in Jane Campion's thriller "In the Cut" (2003). Perhaps feeling she had nothing to lose now, she portrayed a dark, alienated woman with masochistic leanings, entering into a potentially troubling relationship with a police detective following a violent robbery. Baring the darker corners of her soul on screen as never before, Ryan also bared her body in controversial full frontal nude scenes that were both a Campion trademark and a radical departure from her previous fare. She took on another non-cupcake role as hard-hitting real-life female boxing promoter Jackie Kallen in "Against the Ropes" (2003), whose movie poster showcased a Ryan whose plastic surgery had rendered her newly enhanced face - particularly her lips - nearly unrecognizable from her adorably tousled former self. Neither film brought in significant audience numbers and Ryan spent several years off the screen regrouping while movieg rs had fallen for a new breed of rom-com heroines like Kate Hudson and Drew Barrymore.
Ryan tipt d back onto the movie screen in the little-seen coming-of-age comedy "The Land of Women" (2007), where she played a suburban wife and mom who strikes up an unlikely friendship with a 20-something writer who moves in next door to tend to an ailing grandparent. Accepting of her middle-aged mom casting status, she donned a fat suit for the straight-to-video comedy "My Mom's New Boyfriend" (2007) and the following year, starred in her first wide release in years, "The Women" (2008), a loose remake of the George Cukor classic that placed Ryan at the center of an all-female ensemble comedy, including multigenerational stars Eva Mendes, Annette Bening and Cloris Leachman. Based on her relatively successful repositioning and movieg rs' limited recollection of Ryan's earlier fall from favor, the actress lined up further screen projects, including the feature directorial debut from Cheryl Hines, the dark comedy "Serious Moonlight" (2009), where Ryan starred as a high-powered attorney who gets even with her philandering husband. Ryan next appeared in several episodes of Lisa Kudrow's comedy series "Web Therapy" (Showtime 2011- ). In 2014, she was announced as the voiceover of the sitcom "How I Met Your Dad," starring Greta Gerwig, but the show's pilot was not picked up.e positive attention for her performance as a tough, desperate drifter in "Promised Land" (1987). In J Dante's sci-fi comedy "Innerspace" (1987) she played a journalist opposite Dennis Quaid, and the pair became romantically involved both on and off-screen. A newly minted couple, they headlined the unsuccessful noir remake "D.O.A." (1988). However, just as she was settling into romantic bliss with her more bankable movie star boyfriend, Ryan found her niche when she was cast opposite Billy Crystal in the wildly successful romantic comedy "When Harry Met Sally" (1989), directed by Rob Reiner and penned by Nora Ephron. Ryan augmented her girl-next-door cuteness with high maintenance flustering and hopeless romanticism - to say nothing of her over-the-top faking of an orgasm in a delicatessen - which won over audiences at first sight. In addition to earning the new star a Golden Globe nomination, the film more importantly made her an A-list star overnight. Off-screen, the bubbly blonde agreed to marry Quaid under the condition that he address his cocaine addiction, which he did. To the delight of fans and the popular media, the handsome pair was wed in 1989 and for years seemed the definition of a successful Hollywood union. The happy twosome gave birth to a son, Jack, in 1992. The only blight on Ryan's life was an estrangement from her mother, after she spoke to the press disapprovingly of her daughter's choice in men - namely the bad boy Quaid.
A proven box-office draw now, Ryan was cast opposite Tom Hanks in the flop "J Versus the Volcano" (1990), where she played several roles that ranged from ditzy to unconscious. Moving on to "spacey hippie," Ryan was seen as Jim Morrison's common-law wife in Oliver Stone's unintentional comedy "The Doors" (1991) and followed this up with the film adaptation of Craig Lucas' play "Prelude to a Kiss" (1992), where she tried to add some weight to her wide-eyed feistiness while playing an aspiring artist. Knowing her true niche, however, she found continued romantic comedy success (and a Golden Globe nomination) again with Ephron's hugely popular "Sleepless in Seattle" (1993), where she played a potentially perfect match for a widowed single dad. That success cemented Ryan's position as the romantic comedy "It Girl" of the 1990s as well as the weighty title of "America's Sweetheart." Attempts to go against type in the moody Texas-set romance "Flesh and Bone" (1993) - which starred her husband in their third outing together - and the better received "When a Man Loves a Woman" (1994) - in which Ryan played an alcoholic wife and mother - were less embraced by audiences who lined up to adore Ryan as a wholesome yet muddled romantic. At this time in her career, even her hairdo - the Meg Ryan shag - was just as popular as the actress herself.
Ryan delivered the charm in the 1950s-set romantic comedy "I.Q." playing an overly pragmatic mathematician niece of Albert Einstein (Walter Matthau) and love interest of a garage mechanic (Tim Robbins). The moderate hit was overshadowed by 1995's $100- million dollar earner "French Kiss," a predictably inane rom-com where befuddled Ryan played a jilted fiancée who gets involved with a jewel thief (Kevin Kline). The actress' attempts to stretch met with uneven success, but she attempted to branch out by undertaking the pivotal role of an Irish patient in a Quaker hospice who becomes romantically involved with a doctor (Robert Downey Jr.) in Michael Hoffman's drama "Restoration" (1995). She took on brainier characters including an Operation Desert Storm US Army captain in the hit courtroom drama "Courage Under Fire" (1996), and a surgeon romanced by a heavenly creature in "City of Angels" (1998), a runaway hit - albeit a ham-handed remake of Wim Wenders' Cannes winner, "Wings of Desire" (1987). Ryan flirted with indie film in the screen adaptation of "Hurlyburly" (1998), a limited release send-up of the film industry where she was a surprising sight as a drug-abusing go-go dancer involved with a second-rate actor.
Wrapping up a prolific year onscreen, Ryan teamed with Hanks and Ephron again with huge success in the holiday season release "You've Got Mail" (1998). A remake of the 1940 film "The Shop Around the Corner," this modern update involved New York bookstore-owning rivals wooing anonymously via email. Audiences lapped up the standard romantic mix-up to the tune of over $250 million dollars, but her next Ephron story "Hanging Up" (2000), did not interest movieg rs with its plot centered on three sisters (Ryan, Diane Keaton, Lisa Kudrow). Ryan's next departure - a starring role in the thriller "Proof of Life" (2000) - marked the end of the actress' over 10 year reign as a Hollywood A-lister and not because of its financial and critical failure. During production, Ryan began a romantic affair with co-star Russell Crowe, and the prudish press and public had a field day with word of the married actress' unsavory behavior. Nevermind it was Crowe who split up the couple. Because of Ryan's image of purity and "sweetheart" status, the brunt of criticism came down hard on the actress, who later admitted she was not emotionally prepared for th
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CAST: (feature film)
Milestones close milestones
Named Woman of the Year by Harvard's Hasty Puddding Theatricals in 1994.
"She is not 'pert' or 'perky' or soft at all. ... Meg is not to be messed around with. Some people havea tough job coming to terms with that." --Tom Hanks quoted in the London Times, June 14, 1998.
"I am just not a romantic. I am pragmatic or very sensible. But romantic? No. I can't think of the most romantic thing I've ever done or that has ever happened to me. I don't have my head in the clouds. My head is screwed on straight. I am not a sentimental person." --Meg Ryan to Garth Pearce in "She's a Fighter, Not a Lover" from the London Times, June 14, 1998.
"She has a rare gift. Even some great actors, even movie stars, don't have her gift. They rarely let people look right through them. What she is in films is what she is, which id a rare quality. She says to the audience, 'This is me, and I'm not phony and you can trust me.' She's not hiding behind her parts--she IS those parts. I like that. In her roles, she's saying 'I'm also giving of myself 100 percent'." --director Wim Wenders on Ryan quoted in Los Angeles Times, April 12, 1998.
"Fame is bizarre. As an end in itself, it's worthless. It's just a THING. It's also a test of character at times ... Sometimes I pass the test; sometimes I'm a pain in the ass. Sometimes I'm like, 'Oh, God! I just want to buy some tampons!'" --Meg Ryan to Vanity Fair, May 1995.
"I'm not sure being in hits is anything to aspire to. But I'm lucky, because I really like doing comedies, and they're usually an easier sell than a drama. I'm not a snob about it ... In fact, I think a television sitcom would be a great thing to do. I think it would be really fun to make your day all about finding the joke." --Ryan in Vanity Fair, May 1995.
"Nora Ephron ... called me America's Sweetheart, and, I don't know, I think that might have been a disservice. Not a disservice, but I would never in the world describe myself that way. I'm more ... I can be very relentless when I'm making a point, and sort of alienate people. I really have to catch that." --Ryan to Us, December 1994.
"I always think it's so shocking when couples break up and the men are instantly with other women. Women do't do that."-Ryan quoted in 1993 Premiere October 2, 2002
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