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|Also Known As:||Albert Finney Jr.||Died:|
|Born:||May 9, 1936||Cause of Death:|
|Birth Place:||Lancashire, England, GB||Profession:||actor, producer, director|
Biography CLOSE THE FULL BIOGRAPHY
1996), and the equally sodden Dr. Monygham in the lavish six-hour "Masterpiece Theatre" miniseries, "Joseph Conrad's 'Nostromo'" (PBS, 1997). In "A Rather English Marriage" (PBS, 1999), Finney played a former Royal Air Force squadron leader devastated by the loss of his wife, who forms an unlikely bond with a retired milkman (Tom Courtenay) sent by a concerned social worker to help care for his decaying estate. Following his turn as the grizzled, eccentric writer Kilgore Trout in "Breakfast of Champions" (1999), Finney essayed a former racing commissioner in the film adaptation of Sam Shepard's "Simpatico" (1999). The latter was particularly well-suited to this breeder of horses and son of a bookie.Though continually working, Finney had by this point in his career found himself less of a known commodity than in years past. But that changed when he was cast by director Steven Soderbergh to star opposite Julia Roberts in the commercial smash "Erin Brockovich" (2000). Finney played the skeptical, but open-minded California lawyer boss of Roberts' titular legal assistant, whose interest in a cancer cluster case gradually re-energizes him for what becomes the case of his career. Just like his character...
1996), and the equally sodden Dr. Monygham in the lavish six-hour "Masterpiece Theatre" miniseries, "Joseph Conrad's 'Nostromo'" (PBS, 1997). In "A Rather English Marriage" (PBS, 1999), Finney played a former Royal Air Force squadron leader devastated by the loss of his wife, who forms an unlikely bond with a retired milkman (Tom Courtenay) sent by a concerned social worker to help care for his decaying estate. Following his turn as the grizzled, eccentric writer Kilgore Trout in "Breakfast of Champions" (1999), Finney essayed a former racing commissioner in the film adaptation of Sam Shepard's "Simpatico" (1999). The latter was particularly well-suited to this breeder of horses and son of a bookie.
Though continually working, Finney had by this point in his career found himself less of a known commodity than in years past. But that changed when he was cast by director Steven Soderbergh to star opposite Julia Roberts in the commercial smash "Erin Brockovich" (2000). Finney played the skeptical, but open-minded California lawyer boss of Roberts' titular legal assistant, whose interest in a cancer cluster case gradually re-energizes him for what becomes the case of his career. Just like his character onscreen, Finneyâ¿¿s own career was given new life, especially after he earned a Best Supporting Actor nomination â¿¿ his first such honor in 16 years. That same year, he had a cameo as a chief of staff in Soderberghâ¿¿s deftly crafted "Traffic" (2000), which he followed with a turn as acclaimed novelist Ernest Hemingway in "Hemingway, The Hunter Of Death" (2001). In 2002, he took on the role of Winston Churchill in the acclaimed HBO drama "The Gathering Storm," a love story offering an intimate look inside the marriage of Winston and Clementine Churchill (Vanessa Redgrave) during a particularly troubled, though little-known moment in their lives.
For his role in "The Gathering Storm," Finney received widespread critical praise, including an Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie, a Golden Globe for Best Performance by an Actor in a Miniseries or a Motion Picture Made for Television, a BAFTA TV Award as Best Actor, and a Broadcasting Press Guild Award. He received another Golden Globe nomination the following year, this time for his role as the senior Ed Bloom, a man whose tendency toward fanciful self-mythologizing puts him at odds with his disillusioned son (Billy Crudup) in Tim Burton's "Big Fish" (2003). After voicing Finnis Everglot in Burtonâ¿¿s animated "Corpse Bride" (2005), Finney was the deceased uncle of a high-flying London businessman (Russell Crowe) who makes his nephew the sole beneficiary of his modest vineyard in "A Good Year" (2006). In "The Bourne Ultimatum" (2007), Finney played Dr. Albert Hirsch, the man responsible for creating Jason Bourne (Matt Damon) by erasing his former identity and creating a new one through behavior modification. Next he portrayed 18th century clergyman and writer of hymns, John Newton, in Michael Aptedâ¿¿s underappreciated historical drama, "Amazing Grace" (2007). Finney teamed up with Sidney Lumet for the directorâ¿¿s excellent crime thriller, "Before the Devil Knows Youâ¿¿re Dead" (2007), playing a man who suffers the devastating loss of his wife (Rosemary Harris) during the botched robbery of their jewelry store perpetrated by their own desperate and misguided sons (Ethan Hawke and Philip Seymour Hoffman). Surprisingly, Finney was relatively inactive over the next five years, appearing in the next decade with a reprisal of Dr. Hirsch for "The Bourne Legacy" (2012) and a turn as Kincade opposite Daniel Craigâ¿¿s James Bond in "Skyfall" (2012).resque hero "Tom Jones" (1963) in Tony Richardson's lavish, bawdy hit, earning his first Best Actor Oscar nomination.
That same year, Finney took Broadway by storm in John Osborne's "Luther" (1963), again directed by Richardson, before reteaming with Reisz for the remake of "Night Must Fall" (1964), on which Finney also made his debut as producer. In 1965, Finney founded Memorial Enterprises Productions with actor Michael Medwin, which was responsible for several outstanding features including his own directorial debut, "Charlie Bubbles" (1967), Lindsay Anderson's "If..." (1968) and "O Lucky Man!" (1973), as well as numerous plays, including Peter Nichols' "A Day in the Life of Joe Egg" (1968). Much to his chagrin, Finney reinforced his reputation as a romantic leading man opposite Audrey Hepburn as a bickering couple trying to save their happiness in "Two for the Road" (1967). Disdainful of his new sex symbol image, Finney sought to diminish his pretty boy status by hamming his way through the title role of "Scrooge" (1970), a musical take on Charles Dickens' A Christmas Carol, and delivering a tongue-in-cheek portrayal of a Humphrey Bogart wannabe in "Gumshoe" (1971). His reaction to the sex symbol nonsense prompted him to absolutely submerge himself in the role of Agatha Christie's famous sleuth Hercule Poirot for "Murder on the Orient Express" (1974), which garnered the barely recognizable actor his second Oscar nomination for Best Actor.
After "Murder on the Orient Express," Finney appeared in only one film over the next seven years, playing a small role in Ridley Scott's "The Duellists" (1978). From 1972-75, he directed several plays while serving as associate artistic director of London's Royal Court Theatre. Beginning in 1975, Finney concentrated exclusively on stage acting as a member of the National Theatre, portraying the title roles of "Hamlet," Christopher Marloweâ¿¿s "Tamburlaine the Great," "Macbeth" and Anton Chekhovâ¿¿s "Uncle Vanya." In the early 1980s, Finney returned to the screen with a flurry of new movies, though the first few â¿¿ "Loophole" (1981), Wolfen" (1981) and "Looker" (1981) â¿¿ were embarrassments. But later that year he hit his stride in Alan Parker's harrowing portrait of divorce, "Shoot the Moon" (1981), giving a sexually-charged, rage-filled performance as a writer crazed with jealousy that his wife (Diane Keaton) and children seem to be getting along fine without him. After pocketing a nifty sum to play Daddy Warbucks in "Annie" (1982) for John Huston, he essayed the aging Donald Wolfit-like actor-manager to Tom Courtenay's "The Dresser" (1983), with both actors earning Best Actor Oscar nominations for their superb work.
Over the years, Finney made a specialty of playing large, boozy, blustery men and was perhaps never better in this vein than as the gruelingly drunk diplomat of Huston's "Under the Volcano" (1984), adapted from Malcolm Lowry's autobiographical novel set in 1930s Mexico. Without overplaying the extremely difficult role, he imbued the self-destructive man with tragic nobility, earning his fourth Best Actor Oscar nomination for an extraordinary performance. Finney reprised his stage role as a deceptive, drunken Chicago gangster in "Orphans" (1987), demonstrating his flair for dialects with an authentic South Side accent. In the Coen Brothers' "Miller's Crossing" (1990), Finney was an Irish mob boss warring with rival Italians, whose artistry with a Thompson machine gun was felt by four would-be assassins in a memorable shootout set to the Irish ballad, "Danny Boy." Continuing his sting of Irish characters, he was convincing as a tragic constable in a small Northern Irish border town in "The Playboys" (1992), a sexually repressed bus conductor in "A Man of No Importance" (1994) and an Irish cop unable to express his emotions in "The Run of the Country" (1995).
In between his string of Irish-centric roles, Finney dropped his adopted brogue to make a fine, frumpish Southerner for Bruce Beresford's "Rich in Love" (1993), which he later followed with an appearance alongside old RADA chum Tom Courtenay in the London stage production of "Art" (1996). He next played a perpetually besotted television writer in two Dennis Potter-scripted miniseries, "Karaoke" (Bravo, 1996) and "Cold Lazarus" (Bravo,
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CAST: (feature film)
Milestones close milestones
"I grew up secure, and it was dull. Part of the reason I became an actor is that I like my life insecure." --Albert Finney, quoted in "The Great Stage Stars" by Sheridan Morley
About his rapport with fellow RADA alum Tom Courtenay: "When we were doing the filming of 'The Dresser', we just sort of had an ease together when we were working. It was great. Very soon it was clear there was a tremendous sort of trust between us. It's a very comfortable relationship, and we can discuss things quite frankly with each other." --Finney to Los Angeles Times, October 2, 1999
"Listen, I don't care if the queen of England ever knights me because frankly you don't get land with the deal anymore. Who needs it?" --Finney to Cindy Pearlman in Chicago Sun-Times, March 13, 2000
Asked to name his best film: "I must say 'Two For the Road' (1967) because it holds up so well. Working with dear Audrey Hepburn is a memory I will never forget. If I close my eyes, I can still see both of us spending a summer filming in the south of France. I see Audrey in the makeup trailer because it was hot and she had to change her hair, makeup and costumes three times a day.
"She was remarkable. She worked from five in the morning to late at night . . . I've been very lucky to work with pros. And sometimes when I think back, I actually cry about it. These are people who have been capable of going out on a limb in some way. And courage always impresses me." --Finney in Chicago Sun-Times, March 13, 2000
Remembering John Huston, who directed him in "Annie" and Under the Volcano": "We were doing the read-through of 'Annie' in the Plaza Hotel in New York, and I sat next to John. I knew that he wasn't allowed to smoke anymore, and I smoke cigars, the big ones. When we had a break for coffee, I said, 'John, I'm dying for a smoke; do you mind if I smoke?' John said, 'I wish you would.' And as my smoke drifted past him he took big gulps of it out of the air." --Finney to Premiere, April 2000
About why he took a year off after "Tom Jones": "My agent said, 'In a year thay won't know who you are.' I said, 'They didn't know who I was four months ago. What's the difference?' That year taught me a lot--that I love to travel, and that it was very important to get away from [acting]. It's not like a proper job, where you start with good, honest work, so by the age of 40 you become a branch manager but by 65 you're out. In our game, you don't have to retire. With a bit of luck, I can be boring people to death for the next 20 years or so." --Finney quoted in Premiere, April 2000
On working with Julia Roberts in "Erin Brockovich": "As far as her public is concerned, she could only do romantic comedy if she wished. But for this film I think she went out on a limb. It is over two hours long, and she's on screen for most of that time. She didn't have a day off any day that I worked. But she never came on set in any other state than being ready to work. She was always up. I was proud of her as a fellow professional. That's how a trouper should be. Working with her was enjoyable, because it was volatile and unpredictable." --Finney, quoted in the London Times, April 6, 2000
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