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|Also Known As:||Maria De Lourdes Villiers Farrow||Died:|
|Born:||February 9, 1945||Cause of Death:|
|Birth Place:||Hollywood, California, USA||Profession:||actor|
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by a turn opposite French New Wave icon Jean-Paul Belmondo in director Claude Chabrolâ¿¿s sex comedy "High Heels" (1972). Amidst great fanfare, Farrow was next cast as narcissistic jazz-era socialite Daisy Buchanan in the lavish remake of "The Great Gatsby" (1974), starring opposite screen idol Robert Redford in the title role. While the interpretation of F. Scott Fitzgeraldâ¿¿s indictment of Americaâ¿¿s upper-class managed to follow the bookâ¿¿s details, critics, by and large, felt that it missed the emotional core of the characters, focusing instead upon gorgeous set designs and the ephemeral beauty of its cast. As for her involvement, it was not so much Farrowâ¿¿s performance that was found lacking, as much as the widely-held opinion that she was simply miscast.On the other hand, Farrow was delightful as "Peter Pan" (NBC, 1976) in a "Hallmark Hall of Fame" production that drew favorable comparisons to Mary Martinâ¿¿s iconic portrayal. She revisited the horror genre in the British ghost story "The Haunting of Julia" (1977), as a wealthy woman victimized by a vengeful spirit. The following year, Farrow offered a trio of performances in a series of vastly dissimilar films. Intriguing as a mute...
by a turn opposite French New Wave icon Jean-Paul Belmondo in director Claude Chabrolâ¿¿s sex comedy "High Heels" (1972). Amidst great fanfare, Farrow was next cast as narcissistic jazz-era socialite Daisy Buchanan in the lavish remake of "The Great Gatsby" (1974), starring opposite screen idol Robert Redford in the title role. While the interpretation of F. Scott Fitzgeraldâ¿¿s indictment of Americaâ¿¿s upper-class managed to follow the bookâ¿¿s details, critics, by and large, felt that it missed the emotional core of the characters, focusing instead upon gorgeous set designs and the ephemeral beauty of its cast. As for her involvement, it was not so much Farrowâ¿¿s performance that was found lacking, as much as the widely-held opinion that she was simply miscast.
On the other hand, Farrow was delightful as "Peter Pan" (NBC, 1976) in a "Hallmark Hall of Fame" production that drew favorable comparisons to Mary Martinâ¿¿s iconic portrayal. She revisited the horror genre in the British ghost story "The Haunting of Julia" (1977), as a wealthy woman victimized by a vengeful spirit. The following year, Farrow offered a trio of performances in a series of vastly dissimilar films. Intriguing as a mute bridesmaid in Robert Altman's romantic drama "A Wedding" (1978) and devilishly nasty as a jilted lover in the all-star Agatha Christie adaptation "Death on the Nile" (1978), Farrow was completely wasted opposite Rock Hudson in the subpar mountain disaster movie "Avalanche" (1978). After her amicable divorce from Previn â¿¿ the conductor had spent much of their marriage away on tour â¿¿ Farrow made her Broadway debut in 1979 opposite Anthony Perkins in "Romantic Comedy," followed by a turn in the Dino De Laurentiis-produced misfire, "Hurricane" (1979). Eager to pair the actress with her "Rosemaryâ¿¿s Baby" director again, Polanski had been originally slated to helm the big-budget feature. However, his arrest on charges of having sex with a 13-year-old girl delayed his involvement, and ultimately led to his being replaced as the filmâ¿¿s director at the last minute, a sudden change of plan reflected in the poorly executed final production.
Introduced to filmmaker Woody Allen by Michael Caine in 1982, the actress was immediately smitten by the neurotic New York intellectual, and soon assumed the role of his artistic muse. Beginning with the lightweight "A Midsummer Night's Sex Comedy" Farrowâ¿¿s collaborations with the prolific director created a truly astonishing array of characters. Her best work under Allen's guidance included the 1920s psychiatrist in "Zelig" (1983), the brassy gangster's moll in "Broadway Danny Rose" (1984), the downtrodden wife in "The Purple Rose of Cairo" (1985) and the luminous sibling center of "Hannah and Her Sisters" (1986), with the latter filmed in large part at Farrowâ¿¿s Central Park West apartment. Other notable work with Allen included turns in "Radio Days" (1987) and "Crimes and Misdemeanors" (1989), as well as her underappreciated characterization of "Alice" (1990), a unique Allen-esque spin on Lewis Carroll's tale. Her final two films with Woody Allen â¿¿ "Shadows and Fog" (1991) and "Husbands and Wives" (1992) â¿¿ arrived in theaters just as the life she had created with the venerated director â¿¿ which included a son and two more adopted children â¿¿ began to unravel. Upon discovering several pornographic photographs in his home, a stunned Farrow realized that Allen had begun a romantic relationship with one of the adopted daughters from her earlier marriage, 21-year-old Soon-Yi Previn, who had posed for his camera. Instantly, the sordid affair became fodder for an insatiable tabloid media, driven to a near frenzy when Farrow later accused Allen of molesting another of their younger adoptive children.
The disturbing, vindictive and messy battle played itself out in the press and the courtroom for more than a year, concluding with molestation charges against Allen being dropped, full custody of the children being awarded to Farrow, and Soon-Yi marrying the unrepentant director. Meanwhile, the emotionally battered actress sought comfort in the two usual places â¿¿ family and work. Adopting six more children between 1992 and 1995, she embarked on the next phase of her career, sans Allen. She employed her seemingly fragile persona to good effect in the dark comedy "Widow's Peak" (1994). Farrow then joined the ensemble cast of the poorly-received romantic comedy "Miami Rhapsody" (1995), before taking part in another misfire, the dark comedy "Reckless" (1995), adapted from the stage play of the same name by Craig Lucas. As the 1990s wound down, the actress returned to the small screen to play a Danish woman aiding Jews during WWII in "Miracle at Midnight" (ABC, 1998), and essayed a victim of Alzheimer's disease in "Forget Me Never" (CBS, 1999). Farrow also made a rare appearance in episodic television â¿¿ something she had not done since her days on "Peyton Place" â¿¿ with a recurring role as Mona Mitchell on the drama "Third Watch" (NBC, 1999-2005). One of the few high points in the film, Farrow was perfectly cast as the satanic nanny, Mrs. Baylock, in the otherwise disappointing remake of "The Omen" (2006). Also that year, she voiced the character of Granny for "Arthur and the Invisibles" (2006), the first of three entries in the animated fantasy series, produced by French filmmaker, Luc Besson.
Other roles included a turn as Amanda Peetâ¿¿s mother in the lackluster comedy "The Ex" (2006) and a supporting role in eclectic director Michael Gondryâ¿¿s oddball comedy-drama "Be Kind Rewind" (2008). As it had so many times before, tragedy struck her family once again when her daughter, Lark, died on Christmas day 2008, after a prolonged illness. Although the cause of death was not officially divulged, years earlier, Larkâ¿¿s then-husband had claimed that she was infected by the AIDS virus after being tattooed with a dirty needle. Farrowâ¿¿s already shaken world was rocked further when her brother Patrick, a noted artist and sculptor, committed suicide in his Vermont gallery in 2009. Moving forward, she narrated the documentary short "The Darfur Archives" (2010), a project close to her heart that reflected Farrowâ¿¿s deep and abiding commitment to activism which began more than a decade earlier with frequent visits to the impoverished, war-torn region of Northeast Africaâ¿¿s Sudan. In the mid-2000s she began writing extensively about the humanitarian crisis in various national publications and on her personal website, miafarrow.org. Farrow was named one of the worldâ¿¿s 100 most influential people by TIME magazine after her public chastising of director Steven Spielberg prompted the filmmaker to withdraw his involvement in the opening ceremonies of the 2008 Summer Olympics being held in China, a strong supporter of the Sudanese government.969), a romantic drama in which she played a young woman retroactively getting to know a man (Dustin Hoffman) the morning after their impromptu one-night-stand. Not all of her career choices were as well-calculated, however, such as when she turned down the role of Mattie Ross opposite screen legend John Wayne in the Western classic "True Grit" (1969), a decision she openly regretted years later.
Farrow took on new challenges in her personal life, as well, including a marriage to noted composer AndrÃ© Previn in 1970, followed by the birth of twins Matthew and Sascha, a third child, Fletcher, and the adoption of Vietnamese infants Lark and Summer Song over a six year period. She impressed audiences once again with another "girl in peril" role, this time as a blind woman stalked by a psychotic killer in the chilling "See No Evil" (1971). On TV that same year, she played a suicidal actress being consoled by a veteran Hollywood screenwriter (Hal Holbrook) in "Goodbye, Raggedy Ann" (CBS, 1971). She was next seen in theaters as an emotionally unsatisfied wife being tailed by a private detective (Topol) in "The Public Eye" (1972), followed
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"I'm a kaleidoscope, a thousand different colors, a thousand different moods." --Mia Farrow to Life, October 2, 1964.
"Trying to describe Mia is like trying to describe dust in a shaft of sunlight, There are all those particles." --Roddy McDowall
Although Farrow has appeared in more Woody Allen films than anyone other than the director himself. Her sister Tisa Farrow was in an Allen film over two years earlier ("Manhattan" 1979).
"Farrow stays busy making films as she wants to be, she says, 'But there couldn't be anything bigger than raising my children, or better than that." --From "Farrow Likes Family Entertainment" by Frazier Moore in the Chicago Sun-Times, October 2, 1999.
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